MARY WEPT OVER THE FEET OF JESUS: PROSTITUTION AND RELIGIOUS OBEDIENCE IN THE BIBLE - CHESTER BROWN

Still on my God shit. This was an impulse grab at the library but it does seem to be in line with the last book. I’ve read some other Brown books, though not his weird early stuff, actually all the stuff I’ve read has been really square. Even the previous book which was about being a John, called PAYING FOR IT, was remarkably restrained given the subject manner. It was clear reading that book that Brown’s thought a lot about sexwork and sexworkers  and tho I disagree with some of his conclusions (he is a libertarian and I have a much more pessimistic view of the market) it is clear that he’s a deep thinker on the subject and he’s refreshingly candid about his experience. Often when reading something “academic” or “policy driven” about a lurid subject, like drugs or sexwork or serious mental illness, you get the sense that the author has no real experience with the subject, just a lot of booklearnin’. I experience this constantly in my work. Brown has clearly read deeply about the subjects he cares about and is willing to discuss how these theories play out in his actual life. What I did not know is that Brown is really into the Bible and Christian history. This book is a comic retelling of a handful of biblical stories all of which revolve around prostitution or sex in some way (except for the Cain and Abel story, which is first). The retelling are simply illustrated and cleanly drawn-out. There are some differences between these versions and the canonical biblical versions but Brown really dives into this in a long afterwards and notes sections. This is where it becomes clear that Brown is pretty obsessed with the early church and the bible. He sites dozens of books. He goes deep on the etymologies of certain Greek and Hebrew words (the true sign of serious biblical scholarship, it never ceases to amaze me that “Christians” don’t think they should learn Greek) he gives us alternate versions from non-canonical texts, we get his opinion on various Biblical theories. My favorite are A) Mary Magdalene’s (who Chester and I agree is also Mary of Bethany) feet-anointing ceremony was sexual in nature since she was a prostitute (Brown gets deep into this), a woman’s hair was thought of as very sexual at the time (and is still in large portions of the world) and “feet” was a then-common euphemism for a penis. B) Mary, Mother of Jesus, was a prostitute. This Brown based on the unknown father of her child as well as a long genealogy at the beginning of Matthew that lists women, which is very unusual, and 4 women (Tamar, Rahab, Ruth, Bathsheba) who people familiar with the Old Testament would know engaged in some sort of prostitution or prostitution-adjacent activity. There’s also debate over the Greek word that gets translated as “Virgin” for Mary. All very interesting, I would have just preferred Brown writing some Biblical essays, he’s well read and highlights some interesting theories. Overall, quick and good. 3 Marys.

THE BOOK OF J - DAVID ROSENBERG & HAROLD BLOOM

The Harold Bloom death rereads continue apace. This time, perhaps his second most famous, the Book of J. Well, it isn’t really a Bloom book, it’s rather a new translation of the J writer sections of the Torah from the Hebrew scholar David Rosenberg. Bloom provided commentary before and after. Full disclosure, I skimmed some of the essays at the end of the book. It’s a lot and, in true Bloom fashion, it’s mostly comparing characters to Shakespeare. But you get great Bloomism too, like he’s convinced the J is a woman. Actually, he goes far enough to name a specific woman in Solomon’s court. He also claims that YHWH is an all time great literary character, in a vein that includes King Lear and Freud’s Superego. Tho, I will say that treating YHWH as a character in a story makes more sense than thinking of him as a peerless god. He changes his mind, people argue with him, his motivations are frequently unclear, he never seems too interested in “teaching lessons” in a manner we typically think of as Godly. As a child, I always found Old Testament God off-putting and repellent. And for good reason, Ol’ Testament God is a real bummer. Bloom helpfully points out that part of this is because YHWHism replaces many gods, who represent different ideas and viewpoints, with a single God that is supposed to be everything. This changes the cosmic relationship of man to God(s). When there are many gods, mankind’s place is to navigate these (literally) timeless obligations and alliances and really think about which gods they want to worship and in what way. Monotheism proposes that God is a parent, you are a child, and that’s that on that. I’ve never found this set-up very satisfying. YHWH is more interesting when he’s one of several gods with his own personality and quarks. By the time he’s in the “real” bible he’s flat, boring and cruel. 7 Sky-Gods

MY WORK IS NOT YET DONE - THOMAS LIGOTTI

Man, when you hear the phrase “corporate horror” and the name Thomas Ligotti together, one can’t help but be excited. My brother recommended this to me. I believe he called it a novel, which is wrong. It’s 3 stories, basically a novella and two short stories, that all center around corporations and business and involve cosmic horror. I have only limited experience in the sort of Dilbert-style office shenanigans psychosexual, sadomasochistic power-games that such a setting inevitably engenders but I do share Ligotti’s loathing of meetings. Actually, that’s a huge overstatement, I don’t loathe anything as much as Ligotti loathes everything. I was a touch disappointed that he chose to go the obvious route and centers around a laid-off employee (an angry middle-aged YT guy) committing a mass shooting. Obviously, galactic horror intervenes and everything gets all cosmic and Lovecraft-y but the bones are pretty basic. It involves a lot of punishing enemies with thematically resonate torments; I’ll bet Se7en is Ligotti’s favorite movie. The title story is, like I said, a novella and takes up almost all of the book. The other two short stories at the end are both good but not top Ligotti. The middle story is about a evil yellow smog in a thinly veiled Detroit called, “Murder City”. Over the past few days I’ve really been listening to a lot of Rio Da Yung OG, who’s from Flint, along with a lot of other current Michigan rappers so I’m very in the headspace to consume art about how murderous Detroit is. Rio’s work is equally pessimistic but could certainly use a cosmic element. The final story is quite short and the most experimental, both in terms of form, it’s classifieds and memos and press releases that you have to piece together, and content. It centers around a company called Oneiricon, which is something like GloboChem from Mr. Show, that merges with everything on Earth until all that is left is to merge with the Nightmare Network. A pretty great Ligotti image, second only to “The Great Black Swine Which Wallows in a Great River of Blackness, that to us looks like sunrises and skyscrapers, like all the knotted events of the pas and the unraveling of these knots in the future” which might be peak Ligotti. So the highs in this book were pretty high but overall it fell short of my expectations. Following an aggrieved business-drone as he seeks violent revenge isn’t something I’m very interested in; there’s no shortage of that particular narrative and Ligotti doesn’t do something radical enough to not get tossed in with the rest. He might just be a victim of his own success, those first 2 short story collections are the best horror available. 3 mass shootings.

LEAVING RICHARD’S VALLEY - MICHEAL DEFORGE

Unsurprisingly, the Seattle Public Library has a pretty hip and current comix selection. I have to assume that the job to buy comix for the SPL is a very coveted and hard to get job. Very prestigious. Therefore, I ran into this when I was wandering around the library during a rainy lunch. I work downtown now and I like to meander around aimlessly on my lunch break, tho the climate in Seattle can complicate that during the DarkWetCold. Irregardless, I’ve made my way through most of the DeForge but didn’t even know about this, the newest joint. DeForge is amazing, top 10 living and creating for sure. He also worked on AdventureTime so he’s approaching young god status. This book definitely adds to his legacy. Initially, I was drawn to DeForge because of the art and the colors. His style is so unique and specific, and it seemed to me to arrive basically fully formed. The stories were always crazy and far-out, which I love, but not the most important part. This book flips that. The art is still unique and specific, it is certainly DeForge and DeForge alone, it’s more paired back and simple than his other work. Fewer big splash panels, all the characters are drawn simply, almost abstractly (raccoons are drawn as large hearts, there are large sections drawn on mostly black panels, etc.) and most shocking, there is no color. I understand that this was published a daily comic, almost all of them are four panel strips that wouldn't be out of place in a newspaper, so coloring them all, especially in the lush and thoughtful and innovative way that DeForge colors, isn’t really feasible. That all being said, he makes up for it with this with a deeper commitment to plot and character and theme. The book is about a group of animals, squirrels and spiders and racoons, etc., who live in a sort of silvian paradise lead by a beautiful shirtless human named Richard. There’s all sorts of weird cult-y rules and traditions. As you can probably gather from the title, some of the animals run afoul of the rules and are banished. They then try to start a new life in Toronto proper (towards the end of the book it’s made clear that we’re in Toronto and the valley of the title is somewhere in Hyde Park) where they deal with modern life. Like most DeForge it’s mostly whimsical and fun, though this book is more connected to real world issues than his early stuff. There’s great stuff about Gentrification (DeForge really does well drawing those “proposed use” billboards that we also have in Seattle to signify a condo is coming), art (specifically noise music, which is also very Seattle), religions and cults, friendship and revenge. Made me wish I did more cartooning and it made me hope that DeForge goes back to color. 6 Valleys. 

RUSTY BROWN - CHRIS WARE

So much despair. So much YT male sorrow. This book is about the shape and weight of two bricks, taped together. It’s understandably, given its beauty and price, in not a small amount of  demand with the Seattle Public Library system. It’s made up of a few comics, some of which I own and treasure, stitched together, and purport to only be half of some larger work, since it ends with INTERMISSION. It follows a handful of characters, who initially meet in a 70s Omaha religious school, across a few decades. It gets bleak. We get a sad teacher/sci-fi writer/father of the titular Rusty Brown (who doesn’t feature too much in this but is in other Ware stuff and also ends up sad). We get a sad bully. Ware doesn’t spare himself from his bleak cold (it appears to only ever be winter in this Omaha) world, we get a character named Chris Ware who is a sad creep. The section about the bully, Jason Lint, is god-level. We see-saw back and forth between pitying him and despising him but we feel like we both understand him and understand the ways he’s lying to himself. The way it’s formatted, from a baby’s perspective to that of a dying man and death itself, is a perfect jewel. Ware’s exploration of how trauma is passed down and how this doesn’t let people off the hook is something I’ll think about for years. Ware’s style is on full display. We get his distinctive formatting and drawing. We get tiny, meticulously rendered panels, novel lay-outs and these panels where everything is represented so cleanly and economically. The cumulative effect makes lives seem very preordained and neat, even, and maybe especially, when they seem meaningless, or like they’re falling apart. One feels like Dr. Manhattan reading this stuff. The last section is the most surprising and was the most rewarding. Earlier I wrote about how this book is really distilled YT male misery. That wasn’t fair. For what I believe is the first time in his work (and I’ve read a reasonable amount of the Chris Ware stuff) Ware centers a Black woman, Joanne Cole. Cole also faces incredible sorrows (there’s some plot about a missing daughter that gets sort of dropped right at the end and will presumably be picked up after the INTERMISSION) but she’s resilient in a way the other characters aren’t. She has hobbies she sticks with. She doesn’t ever exploit those around her the way everyone else does. Ware’s meticulous layouts allow the range of racial aggression, from micro to macro, historical to personal, to be very present but not the point. The formatting allows for us to feel their cumulative weight over time, how it would feel when all of this adds up. Joanne’s story also gives crucial background that helps to explain the socio-economic underpinnings of the earlier sections. The YT characters are largely the beneficiaries of these forces and are oblivious to and uninterested in them. I was born in Omaha, my earliest memories are from there but I haven’t been there since we left some day in 1993. This makes a strong case to never return, lest I get stuck in the gloom vortex. An amazing work. 1 pit of despair.

TOMIE: NO USE ESCAPING - JUNJI ITO

Don’t have too much to say about this one, Ito is the fucking king. Of the three longer works I’ve read from him, Uzumaki, Gyo, and this one, I’d say I rank them in that order, best to worst. It might be more than a coincidence that my ranking lines up with the order in which I read them, but irregardless, they are all very strong and very strange and very good. Tomie is structured as a series of somewhat short stories that I assume were individual issues originally. I know very little about Manga, Anime and the cultures and fandoms that surround them, so I honestly don’t know how this would have been published originally and whether or not this is unusual. Likewise, the stories could be read in basically any order it seems, especially once you’re generally familiar with Tomie the character, only a few of them connect directly, and I don’t know how common this is either (Uzumaki and Gyo, on the other hand, were quite sequential and built on one another directly). Tomie is a beautiful teenage girl, with a small beauty mark. Men are constantly falling under her spell, bringing her the things she asks for (she’s got expensive taste) and killing on her command. However, they always end up killing and mutilating Tomie herself. So far, so Lacanian. It twists further and gets really Ito-y when you realize each shread or piece of Tomie grows back the body in an extremely gross process. I was a bit worried about how “normal” the idea of a femme fatale, especially a teenage girl, was but Ito manages to dip the story in so much body-horror and disgusting terror it could only be him. I think I’ve read all the long Ito now (except maybe one about Frankenstein?) so Manga people, let me know: what else is like this? 4 beauty marks

POISONER IN CHIEF - STEPHEN KINZER

Another one that was a long time coming. This is basically the book that CHAOS wanted to be, an overall history of MK-ULTRA and related CIA mind-fuckery as well as a semi-biography of Sidney Gottlieb, the man who ran these programs. MK-ULTRA is one of those things that you hear about growing up, especially as you start to take acid and think about the government and spend time around conspiracy people, but it’s always and purposefully confusing and hard to tell what’s true and what’s paranoia. The whole scope, as outlined in this book, is insane. The line runs like this. After WWII the US government, through Operation Paperclip and other programs, recruited both Nazi and Imperial Japanese doctors that had preformed unethical experiments (giving folks at Treblinka mescaline then interrogating and murdering them, preforming waking vivisection, testing bioweapons on people) most notably, famous Nazi Kurt Blome and Shiro Ishii the guy who ran unit 731. From there it moves to Operations Bluebird and Artichoke, a program wherein American intelligence people drugged then interrogated then killed Nazis and Japanese soldiers. This lead to MK-ULTRA which, eventually, yielded the KUBARK Counterintelligence Interrogation Manual, used in Vietnam, and the Human Resource Exploitation Training Manual, used by right-wing military dictators in Latin America. These same extreme techniques get revived post 9/11, though we’ll probably have to wait 40 years or so to find out exactly what was going on in those interrogations. Turns out the more lurid stuff, the LSD drug stuff, doesn’t work or at least not the way they wanted it to. “Brainwashing was largely a process of isolating a human being, keeping him out of contact, putting him under long stress in relationship to interviewing and interrogation. They could produce any change that may, without having to resort to any kind of esoteric means.” according the CIA psychologist John Gittinger. Between that and sleep deprivation, they ended up not even needing the totally insane methods they developed. They gave LSD to folks for weeks at a time while playing message-filled tapes in total sensory isolation. They injected people with LSD every day for 15 months. They drugged each other so often there are concerns from other, non MK-ULTRA employees, that Gottlieb would spike the punch at the holiday party. Beyond the psychedelic drug stuff, Gottlieb also deployed his knowledge of chemistry to other nefarious ends. He builds devices to kill Castro, he creates poison for Zhou Enlai, he travels to Africa to train a CIA station chief in how to use the poison he created to kill Lumumba. He creates suicide pills for agents on secret missions. It is fucking crazy and it certainly makes you wonder what we don’t know (maybe that Chavez conspiracy deserves a second look), especially since Gottlieb wisely destroyed everything he could when it looked like there might be the slightest suggestion of oversight. Most of the stuff we know about concerns operations in the USA (Midnight Climax, etc) while I’m sure the evilest shit when down in secret prison abroad, which Gottlieb would visit. Like all good conspiracies, the secondary characters are so strange and keep popping up in such strange places it’s hard not to build a web in your mind that connects everything. There’s the famous magician John Mulholland, who creates a manual about how to use sleight-of-hand to surreptitiously drug people. George Hunter White, the drug-addict cop who framed and destroyed Billie Holiday. Jolly West, who features more in CHAOS, who killed an elephant with LSD, worked with Jack Ruby and Patty Hearst, and was around the Haight-Ashbury Free Clinic. Whitey Bulger, the famous criminal, was given LSD by IV without his knowledge for 15 months in an Atlanta prison. When he heard about MK-ULTRA in the 70’s he finally figures out what happened to him and vowed to kill the doctor who’d given it to him. It’s also amazing how many moments in counter-culture history the CIA affected. That famous Life article about Maria Sabina? CIA funded. The study that introduced Ken Kessey to acid? CIA funded. The study that introduced Ginsberg to acid? CIA. At one point in the early 50’s the CIA bought and then controlled all of the world’s acid. So much of this was done to counter a perceived Soviet effort to create powerful psych-weapons, and how much of this the USSR was actually doing seems unanswered to me. Perhaps there’s another book about this. Additionally, this book doesn’t go too much into the Frank Olsen stuff, especially w/r/t the US using bio-weapons in the Korean War. Though, for all that stuff, Wormwood does exist. I wonder if reading this book will affect me the next time I take acid (which I try to do every few years or so)? You think of LSD as this groovy accident that the CIA just happened to be interested in during one of their more paranoid moments, Not something that is basically a failed bioweapon. I wonder what book like this I’m going to be reading in 40 years about what the CIA is up to now. My guesses, obviously the rendition stuff, I’m sure they’ve tortured and killed those people. Like I said before, this has got me thinking about Chavez and other possible assassinations. Tho the big one is certainly Epstein, I’m guessing we’ll have to wait about a half century on that stuff. Irregardless, this book was amazing, our government is insane. This is what happens when no one ever gets in trouble for this shit. All these guys live long lives and die with their reputations intact. 25 mind-melting trips.

FEARING THE BLACK BODY: THE RACIAL ORIGINS OF FAT PHOBIA - SABRIA STRINGS

It’s wonderful and a little strange when you find a book on exactly the topic you were hoping for. After reading those 2 books about beauty and ugliness as well as excerpts and online stuff about aesthetics and the human body as well as pondering and considering the topics for my entire adult life. It’s a subject that I assume fascinates basically everyone since we all have bodies and desire to be considered beautiful. However, every time I’m reading about this stuff I get annoyed that they’re avoiding race. Well, this book fixes that. I know from Nell Painter that even in its infancy, race theory was obsessed with beauty and ranking beauty and finding the “most beautiful” people. In fact, it was this quest, as helmed by Blumenbach and Meiners that left us with the silly designation of “Caucasian” for YT people. Strings does a great job showing how just as Europeans began designing and implementing a global system to enslave and annihilate they need to construct hierarchies that explain, justify and even demand the “vast machine” (to quote THE SLAVE SHIP) being put in place. It’s illuminating how quickly the Europeans connect sloth and fatness and blackness. Likewise, true Europeans were tall and pale and thin and, thanks to a dash of Protestantism, hardworking. The book gets right at it and points out how this biopower, this idea that there is an ideal body that can be achieved, that not having it is a sign of laziness and that the best “ideal bodies” are white, cuts two ways. To quote the book, it’s used to “Degrade black women and discipline white women.” (emphasis Strings’). I really enjoyed sections at the end regarding BMI and how this and other metrics were designed for/by YT bodies, and for insurance companies who are seeking to impose a very specific worldview w/r/t medicine (I see this pernicious attitude corrode actual care constantly non-stop w/r/t mental health) and how Black women do have higher BMIs on average but not the same mortality correlation. I would have liked to see this idea explored further, though that might be more a doctor thing than a social science thing. Likewise, the book focuses heavily on the ways that this regime is focused on YT women (men, of course, are not at all interested in having their bodies criticized in this way nor to have them become the site of a political project) but features fewer instances of ways that this narrative was understood and subverted by Black people. The book features a long section about the founding of Cosmo and the ways that magazine sought to champion a specific YT body; Sir Mix-a-Lot famous said, “So Cosmo said you’re fat / Well I ain’t down with that.” I would have liked more history and anthropology around how different Black aesthetic ideals were developed and propagated in the same milieu that gave us the body image, if only to offer another perspective on the main story Strings is trying to tell. Irregardless, very interesting and had me thinking. Due to the cover illustration and title, it was somewhat hard to read on the train. 1886 beautiful pale YT women.

THE SLAVE SHIP: A HUMAN HISTORY - MARCUS REDIKER

Oof. I suppose one doesn’t read a book called THE SLAVE SHIP and expect it not to be intense, but still, oof. Rediker also wrote that MANY-HEADED HYDRA book I read a while ago, which I found to be incredibly (and I say this as a very pro-pyrate person) pro-pyrate but also amazing and detailed. He clearly knows a lot about this time period (1500-1900) and location (the floating worlds atop the Atlantic and the landbased worlds they touch) so he’s the perfect person to take this subject on. Since the book focuses on what is, at heart, a business venture and thus drenched in logbooks and bureaucratese I worried about being overwhelmed with statistics and figures. In fact, the books most interesting parts focus on the Slave Trade’s role in creating the sorts of multinational corporations and ways of doing business we see everywhere today, where things like your bedsheets or phones are at the end of long, multi-continent processes, some parts of which seem evil. But Rediker sidesteps this problem with the books layout. We get chapters that mix maritime technology with history with zoology with political science with anthropology. We also get chapters that focus on single people (John Newton, Equiano) and traces their lives and shows us how living inside this vast machinery would have felt. I guess the most heartbreaking stuff is to see how even as the modern racial lines were being drawn the strong/rich in all racial categories (as a quick aside, the only aspect of the Atlantic Slave Trade we don’t spend any time with is the enslavement and shipping of Native Americans) were engaged in the most brutal sorces of exploitation. In Africa, there’s multiple accounts of the more coastal Fante, who at the time were  building empire and enslaving the inland Chamba (who the Europeans intially called the “Dunco” which was a term they learned from the Fante which actually meant “stupid person”), raising up on slave ships (the Europeans, predictibly, spend alot of time sharing gossip about which tribes and ethnic groups were most prone to insurrections on the the ships) only to end up focused on fighting the Chamba onboard. On the YT side (and this is the period where the idea of being YT and who is YT is first being created. Rediker points out that on many ships’ logs every crew member was listed as YT, despite some of them being Black Africans) Rediker points out how the economics of the triangle trade meant that you didn’t need a very large crew to go back from the New World to Europe. Since such ships only carried goods and didn’t have a prisoner that needed constant guarding, you could get by with about half of the crew. And remember, the people who didn’t make it back to England wouldn’t be paid. So captains were incentivized to leave sailors who were sick or weak leading to a situation where New World ports like Charleston and Kingston were full of “Wharfingers/Scrowbankers/Beach Honers” stranded poor sailors, often with brutal West African diseases or parasites. Otherwise, the stuff about how these ships were followed by shiver of sharks, anxious to eat the dead and living thrown overboard, which the captains exploited as a source of controlling terror, might have been the most chilling. There are terrible echoes of today towards the end of the book when British groups are seeking to outlaw the trade while others seek to make the process more humane. There were several laws passed about how many slaves could be on what size ships. There’s fascinating stuff about how African’s assumed the Europeans were cannibals and/or buying these people the sacrifice to their god while at the same time there are dozens of accounts about how these Africans are cannibals and how the slaves they (the Euorpeans) are buying are being saved from human sacrifice. A powerful metaphor, hard to tell if it’s euphemism or dysphemism. Anyway, I loved it, it fits in with my last few years interest and fascination with this time period. I’d like a book that more directly explores the link between this trade and the creation of capitalism, a topic that THE SLAVE SHIP touches on but I’d love to think more about. 2.5 billion ships. 

THE BEAUTIFUL ONES - PRINCE

We were robbed. I knew that before I read this book, but it’s all the more clear now. We knew the moment Prince died (the day before my birthday) that we were robbed a few decades of untouchable, god-level music. People like me had robbed ourselves into never seeing Prince live in-person. In terms of general vibes, the loss has been devastating. However, we’ve now learned that we were also robbed of a great Prince book. Dan Piepenbring (who, I’m just now learning, also helped Tom O’Neill write CHAOS. Get out of my head Dan), the Paris review editor and co-author of this book, met with Prince a few times about the project but Prince passed before anything substantial could be done. Piepenbring illuminates the whole processes of meeting Prince and getting the job and the conversations they had before his passing. Prince talks about how he wants this book to be a guide for musicians to avoid exploitation in the music business, and/or a book about his mom/dad, and/or an annotation of his lyrics, and/or a more traditional autobiography and/or a “guide to the brilliant community” (my favorite, he never explains what “the brilliant community” is. I assume it’s like MLK’s “beloved community” but sexier). Sadly, we get almost none of this, or, to be more generous, a mini-sampler. Prince writes 7 chapters about his early life, which are reproduced in photocopies of the literal pages Prince wrote them on, as well as typed version that includes the Prince idiosyncrasies like using 2’s and 4’s and U’s and 👁. It’s a little hard to read but it’s funny to think that Prince did this always. It’s pretty interesting too. Prince’s first kiss was with a YT girl in racist  Minnesota, his first memory is his mother winking at him, his teachers wouldn’t call him “Prince” (more racism) so they called him “Skipper”. All fascinating, Prince had a good sense of what a reader would be interested in, it’s an immortal wound that we’ll never get to read his thoughts on the heights of his career or his thoughts on his musical peers (though he does shit on Bruce Springsteen, which is wonderful). The rest is filler. It’s photos and bric-a-brac that Piepenbring found at Paisley Park. Prince is like Rasputin or Che in that he never photographs less than perfectly and many are of a young upstart Prince. It was really enduring to see that he photographed the literal “Sunset Blvd” sign, so obviously glamoured by LA. There are some interesting storyboards for Purple Rain, but the whole book can be read in a day and if you only wanted pics, I’m sure there’s no shortage of Prince photo books (to say nothing of google image). Either way, Prince is immortal. 1999 doves. 

ON UGLINESS - UMBERTO ECO

A companion piece to HISTORY OF BEAUTY, a set I wish I owned. They’re really gorgeous books with really high-quality and ample full-color reproductions of hundreds of artworks. The selection of artworks Eco chooses ranges from the very obscure and forgotten to major, marquee names in Western art. The project itself is mostly about this selection, Eco is sort of a visual art DJ, but the pedantic-type, like someone who’d make a mix tracing the “Dembow” rhythm (to be clear, I love that sort of shit). I would say that, if pressed, this is the better volume. Truly, they should be considered as a set, but I would say ON UGLINESS is more wide ranging and interesting and that Ugliness as a subject is clearly more interesting to Eco. Which makes sense, Beauty is static, in the Western mind, a sort of eternal, platonic ideal. Eco does a good job poking holes in this and showing how Beauty does, in fact, change with time and culture, but it’s a much more complicated and nuanced argument than just pointing out the things that aren’t beautiful. Also, ugliness is just more fun. You get to see all these crazy medieval monsters, and paintings of the War-wounded as well as devils and prostitutes and bizarro avant-garde weirdness. Ugliness goes more places, and is really only defined as “things that aren’t beautiful.” Even in HISTORY OF BEAUTY Eco sort of pads it out by including chapters about ugliness in order to show what Beauty isn’t. I think that makes sense, but this book is basically these sections flushed out. This leads to a bit of redundancy. In fact, the Baudelaire quote I’ve remembered for almost a decade since college, is in both. But either way, I love this book, I wish I owned it. 13 ugly scenes.

A SELECTION OF WORDS I PRINTED OFF AT WORK

It’s been a long standing habit of mine to print off long articles for free at any job I’ve ever had that’s given me access to a computer. Typically, I hum the Dead Prez song “Hell Yeah” while I do this. The internet is stuffed almost pornographically full of wonderful essays and papers and bizarro rants and all sorts of great stuff. You can get lost forever in it. I used to print out 20 or so pages a day when I worked at this shitty school in Mexico City to tide me over on the outrageous commute. Here I’ll quickly review 10 I finished recently. They’re all obviously, available online but if someone wanted I’d mail them my copy. 

HUMAN ORIGINS IN A SOUTHERN AFRICAN PALEO-WETLAND AND FIRST MIGRATIONS - EVA K. F. CHAN ET AL.

I had to hit up my mom for access for this one. They published it in NATURE magazine which wants $9 for. Outrageous. Insane that they’d put up a paywall for research conducted by scientists who work at public universities. Outrageous that they’d charge for research period. What about the spirit of scientific discovery, etc.? But all that aside, this is fascinating. We’re all swamp people. Or, delta people, if you want to be precise. The scientist in this paper trace anatomically modern humans (AMH) to 200 thousand years ago, or at least the ones that represent our ancestors (based on mitochondrial DNA data), in the Makgadikgadi-Okavango paleo-wetlands. The Okavango delta, basically. All of our ancestors lived in this swamp prieval for 70,000 years, a period of time over time times longer than humans have had writing. We split up after this, the paper identifies major lineages moving out of this region and going on to populate the world. They figured this out (as far as I understand this, and, to be clear, I know very little about science) by mapping 198 new mitogenomes from current southern Africans and found the oldest strains in KhoeSan population who live in the area. When I visited South Africa I did hear about (from both whites who were making bizarre, racist analogies and from Black African folks) the San and how they predated the other major groups (Zulu, Xhosa, etc) in the area, and seemed to be thought of somewhat the way people might think about Native Americans in the USA. It was an interesting history and now corroborated by science. I love all this early man stuff, and I always feel like a genius when I read a scientific paper. 

THE PUGILIST AT REST - THOM JONES

The big homie Nick recommended this one to me; the man’s an English major so I’ll always take his literary suggestion somewhat seriously. This story slaps. The obvious comparison is THE THINGS THEY CARRIED which I was asked to read in more than one class and I’d say that Jones wins. His story also features gritty jungle battles and moves back and forth in time but THE PUGILIST hits harder (pun intended) and the twists and revelations are unforeseen and ambiguous. After reading I did some research into Jones and his personal bio wraps around this story in strange ways. He was all ready to ship out with the same sort of ReCon unit described in the story but was badly injured in a boxing match right before shipping out. All but one of the men in that unit were later killed in battle. This is one of the more elegant reworkings of a spectacularly specific and horrific trauma. I’d recommend for sure. Get kids to read this in High School. 

BARTLEBY, THE SCRIVENER: A STORY OF WALL-STREET - HERMAN MELVILLE

 A known banger. I’ve read this a couple of times before but recently reread it for some reason, I can’t actually remember the motive. Irregardless, it still hits. I would say on this reading I focused more on the “A STORY OF WALL-STREET” subtitles and why Melville would have included it. The other readings I’ve done the Wall-Street aspect never really jumped out, it seemed like it could have been set anywhere. Not so, I believe now. I think there’s a lot in the story about the Bullshit Jobs phenomena. At the beginning of the story the narrator basically lays out that he doesn’t have a job that does anything real, he’s a lawyer that doesn’t go to court, he only handles “business” matters and agrees that what he does doesn’t make difference and isn’t important. But he’s okay with that, he wants an easy life and it pays well and he is getting along fine till Bartleby refuses to do work that the narrator agrees is tedious and, ultimately, pointless. I think it drives everyone crazy because the facade only works if everyone agrees that the labor has value and that one must do it. I don’t know. It’s also interesting to think about the story in terms of anorexia and how much a totally refusal upsets and confounds people and systems. Continue to teach this in school.

THERE NEVER WAS A WEST - DAVID GRAEBER

Speaking of Bullshit Jobs, here’s the first of a few David Greaber things. I’m a well-known Graeber-stan and, fortunately for the GraeberHive, the man’s anarchist principles mean that most of his stuff is available for free in someway online. I think this essay might be in some book? Anyway, it’s dope and helpful. Graeber takes on this dumb and widespread notion that “Democracy” is the endpoint of Western political thought that begins in Athens and runs through until today. The Western Chauvinist people are very tedious and, bizarrely, stronger than ever. You would think that these people would read some of the history the claim to hold so closely, but, of course, they haven’t. It quickly shows how all of these ideas one might think of as “Western” like say the nation-state, or individual liberty, or the sorts of contracts that make corporations possible, all have antecedents in other cultures and the very idea of a sealed, unified Western tradition is a racist fairytale. 

“OH YE AMERICANS”: THE AUTOBIOGRAPHY OF OMAR IBN SAID

 Another thing I had to read because my public school education contained all sorts of holes. This is a short autobiography of a slave that lived in North and South Carolina right before the Civil War. Omar died in 1864, which is almost too sad to think about. It’s interesting to read about how he squares his islamic beliefs with the christianity required of him the new world. Omar studies to Koran for the first 25 years of his life in what is now Senegal before being kidnapped and sold into slavery and shipped to places the area I grew up in. It’s amazing he writes Fayetteville, Fayd-il. Very moving.

WHITE SUPREMACY CULTURE: FROM DISMANTLING RACISM - KENNETH JONES & TEMA OKUN

 This is a handout I got at a Coalition of Anti-Racist Whites training from a while back. It’s largely a list of characteristics of White Supremacy Culture that show up in organizations. They list the following: Perfectionism, Sense of Urgency, Defensiveness, Quantity of Quality, Worship of the Written Word, Paternalism, Either/Or Thinking, Power Hoarding, Fear of Open Conflict, Individualism, Progress is Bigger/More, Objectivity and Right to Comfort. I don’t have a problem with anything on that list, all of these things seem like a problem to me and I’ve had first-hand work experience bumping up against a couple of them. That being said, I have the same question for this training that I do with all of the diversity/sensitivity/microaggressions/racial equity/social justice trainings I’ve been in over the years (and it’s been a bunch): how is this supposed to work? If we could mandate that everyone took this training and paid attention, would there be no or substantially less racism? Seems unlikely since, as they often acknowledge in these classes, the issue is systematic an super-structural. It’s always the lowest level employees at these things, I never see the people on the board for example. I never see actionable suggestions like, immediately hire 3 people of color in senior management positions. Instead you get this bizarre ouroboros of the Seattle Woke training and taking one another’s training, it’s the first and last step since it’s all seen a personal project, like you need to excise the racism from you. I just can’t figure out if the people who run these trainings think that the list of problems they handed out could be solved in a single company by itself, and if such as company would be compatible with capitalism? A symptom of the neoliberal drive to individualize and atomize culture, here even infecting our ability to dismantle these problems. I am incredibly suspicious of this approach. 

HOW TO CHANGE THE COURSE OF HUMAN HISTORY - DAVID GRAEBER & DAVID WENGROW

 More Graeber stuff, more early man stuff. What can I say, I like what I like. This one is about the origins of social inequality and the possibilities built into a study of deep history. This essay does a great job isolating the problem, where does inequality come from, and exploring/dismantling the mainstream narrative. Basically, the version you always here in history class goes something like this, for millennia, people lived in small hunter-gatherer bands which were egalitarian and equal. Then, agriculture and cities sealed our fates and mandated the sorts of top-down hierarchy that we see today. The utopia is lost forever. All of this is wrong, the Davids marshall all sorts of interesting evidence to show a double morphology in human organization during this time. They do some brain-stretching around thinking of ancient people as our cognitive peers and helps to dispel a trope that bothers me a lot, the insistence that modern hunter-gatherers are some sort of time-machine into our past rather than our peers here in the present. It also features this quote: “Inequality is a way of framing social problems appropriate to technocratic reforms.” That’s a fucking bar. Also, I believe these two are writing a book about on this subject, I can’t wait.

THE VERY IDEA OF CONSUMPTION - DAVID GRAEBER

More Graeber still. Of the three Graeber essays reviewed in this batch, this essay is my least favorite. Not to suggest that this isn’t a good essay or that it isn’t insightful, it is, it merely doesn’t reach the heights or contain as startling an insight as the other 2. Graeber here is mostly trying to sharpen our understanding of creativity and production in our world. When we use the metaphor of consumption to describe things from as burning fossil fuels to watching a TV show you’re making fan fic for we erase something vital. We get a lot about the history of desire and the ways in which desire is conceived of as unattainable and the ways in which desire connects with pleasure. 

HOW URBAN POOR COMMUNITY LEADERS DEFINE AND MEASURE POVERTY - SOMSOOK BOONYABANCHA & THOMAS KERR

Man have I been waiting for someone to write this. If you’ve ever worked in the 3rd World you’ll come across stats all the time about what percentage of a country live below the poverty line or how many people in such-and-such a country are poor. Where did they possibly get this number, you’ll ask. Has the person who wrote this ever been here or been poor? Obviously, they have not. The current poverty line, the one used by the World Bank and the UN and most international NGOs is $1.25/person/day (USD). This number was decided upon by experts and economics with no actual experience with poverty and, clearly, no sense and how silly it is to place a global below-this-you’re-poor line. I work at a homeless shelter in Seattle. If a guy here takes a bus ride, he pays $2.25 and is thus not poor by this standard. Likewise, I’ve met folks engaged in agriculture in Madagascar who certainly don’t really spend money in a way the UN would recognize and certainly spend less than $1.25/day but have a dignity and level of control over  their lives and circumstances that the middle class in the USA would envy. So how do you determine who’s poor? Easy, you ask a poor person. This paper was written by the Asian Coalition for Housing Rights a transnational advocacy group who convened groups in 6 SE Asian countries to define for themselves what it means to be poor in their areas. People who actually are poor or know a poor person are so much better than some 1st world UN dipshit in trying to imagine what the experience of being poor is like. For example, all of the 6 countries have “free” school but people who haven’t been in the schools in these places doesn’t get that parents still have to get transportation, uniforms, books, food and loose the labor in order to send their kids to school. Not really free. The paper also breaks down the Urban Poor into 5 types in a way I find interesting and not exactly transferable for a US city (mostly because we don’t allow the sorts of slums they have in SE Asia). Finally, the biggest takeaway is about how poor people understand that poverty is ultimately a lack of political power, the money issues run downhill from this. Anyway, great stuff, I wish they’d do research like this here in the USA.

REDLINING AND DISINVESTMENT IN CENTRAL SEATTLE - CENTRAL SEATTLE COMMUNITY COUNCIL FEDERATION

A real time-capsule. This report came out in July of 1975, over 40 years ago. The situation in the Central District, the area this report is about (the redlined district, as outlined in this paper, is actually larger than what people now call the CD but for the purposes of this review, I’m going to treat them as interchangeable) has managed to both change totally and be completely the same. This paper is trying to prove that redlining exists and that it’s harming Black neighborhoods in the present (the 1975 present). This paper quotes bankers denying redlining and crunches the numbers to prove it. According to them, only 24% of the money deposited in the CD is reinvested there. Contrast that with 97% rate in the suburbs. The paper is right to point out that the urban poor’s money built the suburbs. The paper points out the aggressive tactics and predatory lending of the mortgage Companies (where you have to get a loan from if you can’t use a traditional bank). There something sad about how fervently the paper is trying to convince you of something that we now know, beyond a doubt, is true. The banks and the goverment really did fuck these people up for generations and lock them out of the sort of generational wealth availbe to other. Imagine a house bought in Seattle in 1975, especially in the CD, how much would that be worth now. The paper also is written before this dynamic switched. Instead of the white flight outlined in ‘75, we have the aftermath. All of the housing prices in this redline areas dropped for decades and the people living there were trapped in poverty. Now people want to live in this are and are investing in businesses and development but without any of the people. I hope we don’t have to wait 40 years to believe the people railing against gentrification. 

POLYNOMIALS AND POLLEN: PARABLES, PROVERBS, PARADIGMS AND PRAISE FOR LOIS - JAY WRIGHT

100 R.I.P. Harold Bloom. The man died recently and I found myself considering his legacy and watching YouTube videos of his interviews. He’s a great at it. He’s overly dramatic (he’ll call something like Harry Potter the death of literature, or tell you that Shakespeare invented being a human), he can recite basically all of the Western Canon (which he, of course, famously defined) and he calls everyone “my dear” or “sweet child.” But when thinking about his legacy, I think he often unfairly gets painted as a racist and a YT chauvinist (as far as the other major Bloom criticism, the one alleging he harassed and molested female grad students, I feel disgusted and disappointed). I think it is fair and proper to say the Bloom is overly dismissive of art’s role beyond personal aesthetic pleasure, especially the ways people who are not ancient, tenured, rich college professors might want to use art. Though I do not think it’s right to say that he seeks to deracinate the Canon. While it’s true that he’ll say that Alice Walker or Toni Morrison don’t deserve places in the firmament (I don’t know Alice Walker but he’s wrong about Toni Morrison) he does propose non-YT alternatives. Which brings me to how I heard about Jay Wright. Bloom recommended him, suggesting that he’s being overlooked at a Black Poet due to academic desire to have Black Poets write more polemically. I would say that Wright isn’t more popular because he’s really hard. The work is rich with allusions and leitmotifs and all the stuff you’d expect from Poetry with a capital P, but the religious/symbolic language draws from Indigenous American and African traditions. Specifically, each chapter is a series of short poems built around a concept from Yoruba, Akan, Dogon, Bamana or Nahuatl cultural traditions. I don’t know a lot about these cultures and cosmologies, I’m sure I missed a ton of connections and thoughtlines. My favorite section is “Ilhuitl,” the Nahuatl one. Since I know a little something about Nahuatl culture (the title is the Nahuatl word for a day or festival day) I caught some of the stuff surrounding flowers and hummingbirds, which occupy a different position symbolically in Nahuatl culture than they do in the “Western” poetic tradition. Seems like it would be great to read in a class with a teacher who could walk you through the references. Plus,there’s some untranslated ancient Greek. I could read one word and felt like a fucking braingenius. Otherwise, I’m not the best poetry reader or reviewer. I will say that I enjoyed the length and that you can read each section in one setting and really lock into the flow and cadence. It was an interesting rhythm of sections that resonated and I enjoyed followed by sections I found impenetrable. But those sections never lasted long and the parts that hit really hit. 400 +1 non-Western conceptions of god.

CHAOS: CHARLES MANSON, THE C.I.A. AND THE SECRET HISTORY OF THE SIXTIES - TOM O’NEILL

Full confession: I’m not a Manson guy. I’m obviously not old enough to have experienced the Manso thing first hand, nor to really to mourn the world that his crimes supposedly ended, so it was never an option to be that sort of first-order Manson guy. However, there is a type of person, my age and older (are there young Manson guys? Or any non-male ones? I would guess that the sheer volume of lurid crime stories nowadays would make any potential gen z Manson guy pick another big-media-story atrocity to fixate on) who’s really into the crime and into Manson’s persona. I definitely knew these people in High School and College into his music and general vibe as a killer hippy (his racism was never brought up by these people). Second to the Kennedy Assassination (which, of course, come up in this book), Manson is the number one boomer conspiracy obession. I didn’t think I liked Manson at all, it always seemed weird but contained, a crazy guy got a lot of very stoned young people to do something awful, but then I listened to the You Must Remember This season about Manson and was intrigued. There’s so many characters in the Manson thing, and so many of them or either famous or so deeply bizarre (towards the end of the book, part of a conspiracy revolves around the facts that a) a body was discovered without pubic hair and b) there was someone in Manson’s orbit famous for having a vest made of pubic hair) it’s fertile ground to go deep. And man, does O’Neill go deep. The book stems from an article he was originally assigned for the 30 year anniversary in ‘99. Instead of making his deadline, he developed Manson-Brain and stayed caught in the web, catching the Tarintino lead 50 year anniversary “nostalgia”.

 And the book is really built around this: O’Neill’s development of a Manson obsession. It’s a book about putting together this book; we follow O’Neill piecing things together and pulling back layers, not the crime and surrounding milieu from start to finish. Which is why we get all these weird cul-de-sacs, like the first 150 pages where it seems like O’Neill is pursuing a theory that Manson didn’t do it (the Tate killings) because Jay Sebring and Wojciech Frykowski (2 of the victims) assaulted and raped a drug dealer in the Cielo house earlier and the famous slaughter was revenge. There’s also a lot of time spent trying to confirm a rumor and then uncover a cover-up w/r/t Terry Melcher hanging out with Manson (specifically several people report a tableau in which Melcher was tripping and begging on his knees at Manson’s feet) and a general sense that someone was covering for Manson because he’s technically on Federal Parole this whole time and he keeps avoiding trouble. Here I’m pretty sympathetic to the conspiracy that the LAPD and the LACS were lenient at best with Manson because he was a racist prison nut and violently anti-Black Panther and they (the authorities) were maybe hoping he’d not be all talk and try to start a fight with the Panthers.       Of course the LA Panthers were famously the target of a murderous COINTELPRO operation, very much along the lines of what O’Neill’s alleging in the book. My favorite section is the book focuses on the less famous CIA counterpart to the FBI’s COINTELPRO, CHAOS. In this section we learn about doctors in the Haight during the Summer of Love who were CIA connected. The guy who ran the Haigh Ashberry Free clinic seems to have gotten CIA money and did a lot of, what I would consider very obvious, research about how confining rats crowded conditions then subjecting them to doses of LSD and then Speed would make them violent. Manson apparently frequented the clinic with his girls for STD treatments. Dr. Jolly West, the famous MKULTRA evil acid doctor, was around in scene too, apparently doing research on implaning or erasing memories and getting people to kill. Clearly all of this is evocative but he can’t make the final connection and show the two together, beyond both being the San Francisco at the same time, both up to no good. There’s a great rundown of all the shady shit Jolly West was involved in, though I believe I’ve read about most of it elsewhere. O’Neill claims that he proves for the first time the West was definitely involved with MKULTRA, which I didn’t know was up for debate. There’s a few more people in Manson’s orbit that O’Neill pegs as CIA (or con-men who are telling people they’re in the CIA). I love all the crazy CIA spy conspiracy stuff and the LSD mind-control angle but even O’Neill admits that he can’t finally connect it all. He includes pictures in the book of his work space which is strewn with overstuff files and folders and feature literal white-boards with spider-web connections between names, the classic conspiracy nut decoration. We get interviews with major figures that stall out or end with them refusing to talk. We get the sense that this quest will go on forever. Either way, the CIA really was drugging people and trying to control their minds and all sorts of wild sci-fi shit. I wish I could believe that Manson was a CIA experiment gone wrong, or perhaps the model (since he could order his followers to kill on command and without remorse) for a particular CIA project but I’ll have to settle with what we do know for sure, which is already beyond the pale. 69 Political Piggies

SMASHED - JUNJI ITO

A Halloween miracle. I was able to get my hands on both of the Ito short story collections during October. Ito is a horror master, this collection does nothing to change that. It’s very similar to SHIVER, its a collection of a dozen or so stories that all last about 20 or so pages. The art is immaculate. The splash panels (not sure what the Manga term for this) are among the scariest, grossest, and coolest I’ve ever seen. The concepts of the stories are likewise brilliant and amazing. We get an evil tree, a man who replaces his circulatory system with a colony of vampire bats, evil mirrors/gazes, evil books, evil tickle-ghosts, it really has it all. Unlike SHIVER, this collection contains 3 stories that feature the same events and characters (plus a cameo from SHIVER). While this story is still good and scary, it was my least favorite part of the book. I like the quick in-and-out of the unconnected short story format. Having a story that retells and doubles back and asks you to remember stuff from 50 pages previous fucks with the flow of the story and the vibe I tap into reading it. However, let me not shit too much on this. It’s a classic, SHIVER is a classic. The sentence, “Try not to be noticed when you eat the secret nectar, otherwise you’ll get smashed,” is immortal. Ito is the master. Manga nerds, what else is this good and this scary. 13 scary trees. 

LEARNING FROM LAS VEGAS - ROBERT VENTURI, DENIS SCOTT BROWN, STEVEN IZENOUR

AVAILABLE

I’m not sure if I’ve ever  read a book in a building designed by the author. My dad’s a big architecture guy, and I’ve seen this book in his house for a few years now, but only on my last trip out to NC did I steal the book from him. I was somewhat familiar with the gist of the book since it features heavily in FROM BAUHAUS TO OUR HOUSE, the Tom Wolfe book that I believe I read in High School. The book itself came out of a class that Venturi, Brown and Izenour taught at Yale that focused around the Vegas strip, and an attempt to theorize the issues that the strip raises. That triad, Venturi Brown and Izenour go on to found, or be part of the foundation of, Postmodernism as an architectural movement (and architecture being the first field where the term “postmodernism” takes hold), as well as to create numerous world famous buildings, including the Seattle Art Museum. Since LEARNING FROM LAS VEGAS  was my daytime walk-around/transit book (due to being paperback and rather slim) I read some of it in the lobby of the museum, within a structure whose philosophical underpinnings are outlined in the book. And you can tell. The thrust of the argument in the book is that the buildings of the last, roughly, 50 years (the book came out in 72) can be broadly broken up into two categories, Ducks and Decorated Sheds. A Duck is their dismissive term for a modernist building. Basically, a Duck is a building whose very shape and structure is the point. They got the term from a roadside attraction on Long Island that’s shaped like a duck. So something like Falling Water or the Fagus Factory are shaped and constructed in a way to help announce what they are and how important they are and how clever the architect is. VBI see this movement as being connected to a sort of Fuller-esq mega-project Utopianism that they also dismiss. The opposite of a Duck is Decorated Shed, which is a basic building that is adorned in such a way to tell you what it is and how it functions. The SAM works like this. As the book itself says, “It is alright to decorate construction, but never construct decoration.” This is an interesting take, and I’m pretty favorable to arguments for abandoning elitist, lofty goals and instead meeting people where they’re actually at. The book points out that architects spend a lot of time designing huge mega-projects that never get built while ignoring the mobile home industry. I’m also partial to the sections about the interiors of casinos, how they seek to create an endless shimmering darkness, like the cave in Aladdin. However, I like a good Duck. Irregardless, it’s also interesting to consider how none of the Vegas stuff that they discuss in the book is there anymore, Vegas has been built and rebuilt 100 times since then. I’d love to hear VBI’s suggestion w/r/t a 2017 massacre memorial. 61 Ducks

HISTORY OF BEAUTY - UMBERTO ECO

I remember reading the sequel to this, ON UGLINESS, in college. In fact, it was the desire for a quote I half-remembered from that book that drove me to pick-up this at the library since someone else had ON UGLINESS. I’ve got OU now and I’m working my way through it, but it’s clear they should function as one volume. Beauty is a harder subject to write about. You know that “happy families are all alike, each unhappy family is unhappy in its own way” quote? It works for beauty and ugliness too. Beauty is static, a timeless ideal; Ugliness changes. One gets the sense that Eco knows this, BEAUTY has several chapters that are basically about Ugliness. Even that quote I half remembered, which was by Baudelaire and about ugliness (I’ll go more into this in the ON UGLINESS review), was in this book. Irregardless, consider these one huge volume on Western aesthetics and it’s a remarkable achievement. The format itself might be the best thing about it for me. HOB is basically a picture book. Each chapter takes one narrow theme (depictions of heaven in the middle ages, art deco designs) and goes in. Eco gives us small essays as well as tons of beautiful large reprints of the images he’s discussing. He also includes tons of long quotes from writers like Plato, Shakespeare and the aforementioned Baudelaire (who gets a lot in, Eco is clearly a big fan). It’s great to see he’s tackling issues around the creation of beauty in non-visual art as well as visual. I really wish I had copies of these to keep, they’d be great coffee table books, something you can dip into and out of, enjoying it piecemeal. I had to sort of sprint through the thing to finish it in time, but the book really wants to be admired over time. Additionally, I wish the book would have focused more on human physical beauty and how it changes over time and how large social forces shape and use this designation. It is also, by its own admission, “Western”  But, the book is already long enough, perhaps I just need to read more philosophy of beauty stuff to get that itch scratched. Very moving, 444 delicate paintings.

SHIVER -JUNJI ITO

I really don't know a goddamn thing about Anime. Or Manga or any of the 20th/21st century Japanese illustrated whatnot. Not that I’m an Ukio expert or anything  but this sort of drawing is an aspect of Japanese culture that hasn’t ever really connected with me. I like all and love some of the Miyazaki things but otherwise, I don’t know anything about it. Which, apparently and thank the gods, allowed for me to have constructed a life totally unaware of Ito (who I gather, is super famous and my “have you heard about this Ito guy?” thing might be like a Japanese fan raving about this underground Alan Moore guy) and thus totally set-up to have him blow my mind to smithereens. I’ve read a few things of his before, and loved them, but the short story is really the mode for him to work in. He has a terrifying imagination, and each story is short and basically outlines a nightmare scenario and lets it play out over a few pages. Since it’s horror they all just get worse and worse then end horribly. It’s an amazing set-up. Something like this rises and falls on the strength of the gimmick in each story and this book has a collection of all killers. We get evil records, evil ancestors, evil puppets, evil grease, evil models, evil giant balloons shaped like people’s heads. Ito’s got a better batting average than the Blackmirror guy or the whole Twilight Zone crew. I can’t believe I didn’t know about this and I’m so glad I’ve already got his second volume of short stories. 4 horrible deaths.

ON EARTH WE’RE BRIEFLY GORGEOUS - OCEAN VUONG

Another book I read because it’s trendy. I’m sure this one will get more likes than most of my boring, mostly for me, catch and release book posts. I saw Ocean Vuong on Seth Meyers. He was really charming and charismatic but you don’t see a lot of novelists/poets on late night TV. But actually that apperence helped clarify something that I would have found confusing (on purpose, for sure) otherwise. At the end of the interview, Seth Meyers invites Ocean to say something to his mother, who Ocean has explained is watching at home but doesn’t speak any English. Ocean looks straight into the camera and says something in Vietnamess with an incredibly ernest and intense look on his face. You can feel the intent across the language divide. Ocean’s work often traffics in this tension of languages. Several characters in the book speak only English or Vietnamese and are thus cut off from one another yet still manages to be in some form of communication. The narrator, Little Dog, speaks both and lets this in-betweenness act as a means by which to make the english of the novel strange and poetic. There was some rose/rose wordplay that I was particularly fond of, as well as several instances of short dives into the mechanics of Vietnamesse and how those linguistic relationships mirror human ones. I was thinking about how Ocean’s writing reminded me of Anne Carson, who also uses another language (in her case, ancient Greek) to infuse her English with strangeness and a bizarre poetic weight, but Ocean makes the connection himself, thanking her in the back of the book. The other thing that Seth Meyer interview does is complicate the genre of the book. The book really feel like a memoir, since the main character, like Ocean Vuong, is also a gay Vietnamese man who moves to the USA as a young child with his mother and grandmother, both of whom house horrific war/poverty induced traumas and neither of whom speak English. Parts of the book goes beyond simply being weighty and poetic in style to seeming poetic in form. There’s sections about Tiger Woods and his connection to the Vietnam War and American history that resemble the best sorts of essay writing and actually got me to think about Woods (a pop-culture figure I care almost nothing about) more deeply. I think he was smart to call the whole thing a novel though I would be shocked if the main love interest, a YT man named Trevor who dies tragically, a victim of the opioid crisis, wasn’t very closely based on a real person. Either way, worthy of the hype. Really, really heart-breaking and beautiful. Dirtier and sexier than I was expecting; always a welcomed surprise. The book is very shrewd and wise about the way traumas are passed on, about how people are trying to raise kids and keep it together and how all those experiences and feelings trickle down. If this is as close to real life as I believe it to be, Ocean is almost superhumanly perceptive about the dynamics and history and echoes in his family. If it isn’t then he’s an amazing fabulist. Either way, I’d love to get more Vuong. I hope he writes more “novels”. One endless ocean, connecting Vietnam and Connecticut.

DOPE - $AX ROHMER (ADAPTED AS A COMIX BY TRINA ROBBINS)

Like most people born after 1900, I’m mostly familiar with Rohmer through his trickle-down influence on culture. While he didn’t whole cloth invent the “Yellow Menace” suite of stereotypes and cliches, his is the most enduring version. I’ve never read a Fu Manchu book but, like everyone else, I know the name (and the mustache, which I had for a while and people hated). Also, I’m partial to the Batman villain Ra’s al Ghul, one of half a dozen Fu Manchu rip-offs that litter pop-culture. I’m interested in Rohmer’s work as a sort of beginning of modern drug war scripts and cycles. The book itself I can review super quick: not that great. It suffers from the classic “originator problem” where it’s so influential and ubiquitous that it becomes hard to remember the cliches in this book aren’t really cliches, they’re the originals. Basically several viginal YT women, in upper-crust Victorian society fall under the spell of Sin Sin Wa, an evil Chinese drug dealer and his wife, Mrs. Sin, who is a Cuban-Jew. They get hooked on coke and hash and Veronal (I hadn’t heard of it either but it’s an old-timey barbiturate) and, of course, opium. Various police chiefs and inspectors and whatnot try to find the drug-kingpin before all of London’s beautiful young women are dead. It was actually mostly boring. The illustrations are good, though Kevin O’Neil is the king of Victorian looking/set comics (LOEG has a huge and acknowledged debt to Rohmer). Robbins really emphasizes the clothing, which looks great. The action and backgrounds are less well rendered. All that aside, it’s the stuff about the book at the end that’s most interesting. I didn’t know that London had the first Chinatown of a western city, called Limehouse (apparently destroyed in WWII), and it is interesting to chart the racism and stereotypes that came out of this. You need only turn on the news or listen to our president to see Chinese (or really any East Asian person) portrayed as sneaky or inscrutable or up to something. “He who looks at a Chinamen looks at an illusionist” comes straight from the book and you can imagine Trump saying it at a rally tomorrow. However, in the USA at least (and I assume England but I guess I don’t really know) EAs are no longer associated in the public mind with vice and drugs and crime. American assumptions around the Chinese now seem to largely focus around two opposing sexual stereotypes: men as unmasculine and nerdy and small-dicked. Smart but not leaders or charismatic (this particular storyline recently came up in that Harvard affirmative action case when it became clear that EA applicants were not scoring high on “leadership qualities” due to the racism of the admissions worker). Women are seen as subservient and young and innocent. I wonder if this has to do with our America’s love of outlaws and criminals. Deep down we think there’s sometimes cool and admirable in the you-can’t-tell-me-nothing-ness and get-it-by-any-means-ness of drug dealers and this didn’t square with a desire to see Chinese people as not sufficiently masculine and muscular and therefore not worthy of the status (and pay) of rugged YT westerners and rail-road workers. Not sure, just spitballing. It’s likewise telling that the narrative of a “drug kingpin” or one person responsible for all this addiction and sorrow. The book mirrors a real-life tragedy that really hits on all the tropes we see in drug war stories to this day. Billie Carleton was a young, beautiful actress and what we’d now call a socialite, who grew up poor but got some fame and leveraged it into relationships with powerful older men. She and these men and many upper-crust folks would slum in these new slums, dance and drink and try their drugs and have great stories to tell later. She died in the now classic manner, tons of coke and booze to party and stay up and look great, downers to go to sleep afterwards and help the coke wear off. Tale as old as time. People have been using opium and derivatives for 7k+ years. Likewise coca. What was new was the more powerful, industrial versions (powdered coke, Bayer-made Heroin, etc) and a press apparatus that could explode this into a national scandal and set a temple-plate we still use. Here rich friends were brought to court (mostly the court of public opinion since then, like now, actual judicial courts were not for the wealthy). They decided that their must be a king-pin. A criminal mastermind at the heart of the lurid Limehouse milieu. This book contains contemporaneous drawings of someone named “Brilliant Chang” which is a great drug lord name. All this stuff lasts to this day. It’s amazing. The final and cruelest irony this book calls to mind is how the Yellow Menace, drug-pushing, opium-enslaving asian person stereotype is a total inversion of actual relationship between England and China. Dope was published in 1919, the Second Opium War ended a generation before, in 1860. It sure seems like (fictional) fears about evil asian outsiders secretly pumping drugs into a society and destroying its moral fabric and subjugating it through addiction might maybe be displaced guilt from literally fighting an actual war for the right to pump a society full of drugs and destabilize it. All of British history is basically that Mittcell and Webb, “Are we the baddies” sketch. Lots to think about. Calls to mind that Jay-Z line from the Hell Yeah remix, “y’all don’t like that, do ya?/ you fucked up the hood, nigga, right back to ya”. 1919 racist wars.