Book Review: Emiliano Zapata: Revolution and Betrayal in Mexico by Samuel Brunk

Emiliano Zapata:

Revolution and Betrayal in Mexico

by Samuel Brunk

      Here in Los Estados Unidos we don’t hear much about the Mexican Revolution of 1910-20. Most of what we get are Hollywood caricatures of bandits with moustaches on horses wearing sombreros and bandoliers over their serapes, riding around in the desert, shooting rifles and pistols into the air while swearing in broken English. Of course, when people learn about history through movies they are bound to get a few wrongheaded ideas about life in other countries. (Don’t even get me started on how idiotic the movie Braveheart is) But then there are a few academic works of history in print that attempt to untangle the knots of that seminal time period in Mexican history. The quality varies widely. Pancho Villa has emerged as the most discussed leader of the Mexican Revolution, at least in the writings of American authors. Emiliano Zapata has gotten less attention despite his status as a folk hero in Mexico, a symbol of inspiration for the lower classes, and the guy who used to be on the ten peso Mexican banknote. Samuel Brunk’s Emiliano Zapata: Revolution and Betrayal in Mexico serves the two purposes of telling the story from the angle of Zapata and dispelling the conventional interpretation that the Zapatista movement was strong because of its socially collective nature.

Initially the Mexican Revolution began as a reaction to the dictator Porfirio Diaz’s refusal to step down at the end of his term. The highly educated ideologue Francisco Madero started a rebellion in the northern state of Chihuahua with the intention of restoring democracy and enacting rule by constitutional law. The revolutionaries were subsequently called the Constitutionalists in opposition to the conservative, authoritarian Federalists or Federales in Spanish. Of course, Madero needed troops to fight the Federalist army, so volunteers from the peasantry were called up and led by Pascual Orozco and Pancho Villa. These troops had a separate agenda from Madero though. They were concerned with land reform since the hacienda system allowed for the stealing and selling of both public and private lands, thereby disinheriting many farmers from their livelihood and forcing them to survive as indentured servants. While Diaz rightfully deserves credit for bringing Mexico into the industrial age, his economic system led to the displacement and downward economic mobility of the lower classes. Through the leadership of Orozco and Villa, they believed that Madero would enact a program of land reform after seizing power in exchange for their support of his revolutionary movement.

The peasantry in the southern states had suffered a similar fate and when news of the rebellion in Chihuahua reached Morelos, a rebellion started independently there too. It was led by Emiliano Zapata, a leader who turned out to be a legitimate man of the people. He drew up his Plan of Ayala, a program for land reform that called for the return of stolen lands and the redistribution of hacienda property to ensure that farmers were allowed to own their own farms and the products of their own labor. The revolution started in the guise of guerilla warfare and the haciendas were seized along with the state of Morelos. Eventually they also seized the city of Puebla and marched on Mexico City to attack the National Palace.

After so much military success, Zapata realized that his revolution was too localized and had its limitations. One was that his army was made up of uneducated laborers and in order to pitch his revolution to people outside his sphere, he needed the attention of the educated classes. The first to be attracted to Zapata was Manuel Palafox, an engineering student who acted as spokesman and advocate for the Zapatistas. Later, a group of urban intellectuals, mainly communist and anarchist in orientation, became allies of the movement and worked to expose the revolutionaries to the wider society, mostly through the media. This is a point where Brunk’s version differs from those previously published. In earlier works on Zapata, the collective and egalitarian nature of the movement were emphasized, but Brunk points out that it was actually a made up of individuals, many with cross purposes to it and their own personal preoccupations. In fact, Brunk’s main argument is that ultimately Zapata’s revolution failed because it was ridden with conflicts. At the heart of all this was the intellectuals who eventually abandoned Zapata. They tried to use him for their own ends and he tried to use them for his own ends and eventually everything fell apart. One problem is that Zapata was actually a capitalist and the intellectuals weren’t. They tried to hijack the Zapatista movement which led to them being unable to coordinate their fighting with the Villistas in the north.

Other identifiable conflicts occurred between Zapata and his generals. Long range communications were difficult in that time and place, so commanders of guerilla bands located far from the center of command were largely on their own, only receiving sporadic communications by courier. There was a lot of competition for promotion in the ranks and conflicts were often solved with brutal violence rather than negotiation. Zapata’s revolution was made up of some rough people and some of them didn’t like taking orders from anybody. The chaotic nature of the organization didn’t help to sustain the revolution. Zapata also had trouble raising funds for weaponry and food for his troops. When they got desperate enough, some of them resorted to banditry, preying on the peasants they had sworn to defend. Eventually all these conflicts caused most supporters to abandon Zapata and the movement died.

Brunk identifies one other big problem. Emiliano Zapata, unlike most other leaders of the Mexican Revolution, was not motivated by personal ambition. He did not seek political office. His goal was to have the Plan of Ayala ratified by the government. After that he wished to return to a quiet life as a farmer. The problem is that the government had no interest in agrarian land reform so Zapata would have needed either to hold political office or work closely with someone who could push his program through congress. Unfortunately, you can’t win a revolution with an idea alone.

Despite giving an interesting counter-narrative to other existing literature on Emiliano Zapata, Brunk’s writing isn’t so great. He writes in long sentences that are loopy and vapid, sometimes being hard to follow. You could also criticize him for not going deeply enough into the life and character of Zapata. But if you want to get hung up on categories, it’s best to think of this as more of a history book than a biography. As far as his thesis goes, he supports his argument about the disharmony of the Zapatistas with abundant evidence so we can say that much of it is good. Really, the best part is the “Epilogue and Conclusion” chapter in which Brunk summarizes his argument and explains it all succinctly and clearly just in case you didn’t draw the right conclusions from the rest of the text. This is possibly one of the best conclusions I have ever read. It makes up for all the messy writing that comes before it.

Samuel Brunk’s account of Emiliano Zapata is interesting for its content even though his ability as a writer isn’t so great. History writers are notoriously bad at writing anyhow, although they are usually not nearly as bad as scientists when it comes to explicatory writing. If you’re interested in this aspect of Mexican history, this one is worth reading once. Otherwise keep in mind why Emiliano Zapata is important. He might have failed in his mission, but he remains a hero because he challenged the government in the name of uplifting the poorest laborers of his country. He brought awareness of the struggles suffered by farm workers into the national dialogue. These are the people who grow our food. Most people, including me, are too dumb to survive from subsistence farming alone. Without the farm workers we would mostly all die. They don’t deserve the contempt they get from the upper classes; they deserve to live good lives just like everybody else. The least you could do is say thanks. And then forget about Marlon Brando wearing brownface in the disappointing biopic Viva Zapata. 

 

Book Review: Black Heart Fades Blue Vol. 3 by Jerry A. Lang

Black Heart Fades Blue Vol. 3

by Jerry A. Lang

      Volume one of Jerry A. Lang’s Black Heart Fades Blue tells the story of his less than ideal childhood and teenage years up to the point where he formed his legendary hardcore punk band Poison Idea. Volume two tells the story of Jerry A.’s rise and fall as the band tours around America and Europe. He plummets into the black hole of alcoholism and heroin addiction in what has to be one of the most depressing accounts of the junky lifestyle ever written. Volume three is a much welcomed new chapter in Jerry A. Lang’s life and the final installment of his autobiography.

This volume starts where volume two left off. Jerry A. spends his time at the home of his friend and bandmate Tom “Pig Champion” Roberts, the genius guitarist of Poison Idea, whose place has turned into a shooting gallery. Their lives are no longer defined by music and they have sunk into an almost vegetative state that involves little more than scoring and shooting junk. Then the worst happens when Tom gets increasingly more ill and dies in bed. I wish he had written his own memoirs considering his encyclopedic knowledge of music, his odd sense of humor, and the war he fought against his own personal demons. His side of the Poison Idea story would have been just as interesting.

While this isn’t the end of Poison Idea, it is the end of Jerry A.’s nightmare lifestyle. He does what any good man would do at this point; he kicks his habit, cleans up his life, and takes control over his self-destructive habits. Personal responsibility is a large part of it all.

The rest of the book is a collection of odds and ends. Jerry A. writes about touring in Japan and his friendship with Adam Parfrey, the publisher of Feral House books and the man who inspired him to write this autobiography. The rest is mostly thoughts, meditations, reminiscences, regrets, hopes, and attempts at making sense of out of the world and his own life. He really puts the previous two volumes into perspective. These are the thoughts of a man who knows he screwed up and wants to change himself for the better while he still has the chance. Finally he says that this autobiography is meant to be an apology to anyone he has hurt. Then he admits it was also meant as a suicide note. But Jerry A. Lang is still alive today so it all ends on a high note and an optimistic view of the future. While I don’t think love can save the world, and I’m not sure anything can at this point, I do know that love can save an individual person. Maybe that’s all we can hope for.

This third volume is really just a coda to the other previous books. It’s mostly just scraps of information more than actual storytelling. It’s not as hard hitting as everything that came previously. But stories of rebirth and redemption rarely ever are. The most exciting book in Dante Alighieri’s Divine Comedy is Inferno where the author takes a journey into Hell. Purgatorio is good but less exciting. Paradiso is downright boring. While it is good that Raskolnikov in Dostoyevsky’s Crime and Punishment redeems himself at the end, it is his senseless crime that is the truly exciting part of the novel. But maybe these comparisons aren’t fair since Jerry A.’s memoirs are not fiction. This shit really happened to him so his renewed passion for life as he gets on in years is all that much more meaningful.

Instead of ending with a final thought on volume three of these memoirs, it makes more sense to end with what I think of Black Heart Fades Blue as a whole. Jerry A. Lang has had a unique life both charmed and cursed. He has taken everything he has done to an extreme and traveled a fine line between ecstatic freedom and hell. He tells his story precisely and this is a work of sharp self-analysis. Most people could not live the life he lived. Most of them would die. I myself know a few too many people who didn’t make it. Of the few who survive, there are few of them who could write such insightful memoirs and then move on to a better life. Even so, a lot of people were attracted to the punk lifestyle because they were maladapted to mainstream society. I’m sure a lot of them will find something to relate to in these books even if they were fortunate enough to avoid the heroin trap. Let’s just hope that Jerry A. puts as much energy into his newfound life as he did into his addictions and his music. If he does he’s got it made. Best of luck to you, Jerry. Poison Idea still reigns as the Kings of Punk. 

 

Book Review: Revolution! Mexico 1910-20 by Ronald Atkin

Revolution!

Mexico 1910-20

by Ronald Atkin

      Mexico exploded right after the turn of the twentieth century. Political change looked impossible and life for the poor was stagnant and increasingly looking more and more hopeless. Ronald Atkin’s Revolution! Mexico 1910-20 gives an account of this most turbulent decade from multiple points of view.

This history starts with an explanation of the social, economic, and political circumstances that made the Mexican Revolution almost inevitable. The president Porfirio Diaz had stayed in power through dictatorial means for several decades. He had close relations with international businessmen and cientificos, educated members of the upper class who played a similar role to what conservative think tanks do in the USA. Diaz centralized his power through influence over the governors of each state in Mexico. Also of importance was the hacienda system of agricultural production. Led by wealthy hacendados, each hacienda was like a medieval kingdom in miniature with a feudal class structure. The haciendas were like villages where the villagers, campesinos and peons of mostly mestizo and indio ethnicity, lived and worked as sharecroppers and subsistence farmers with most of what they produced being taken to market by the hacendados who enriched themselves on it without giving anything back to the farmers. Outside the haciendas, the peons lived in villages with ejidos or communally owned land where they grew their crops. Since the land was not legally owned by anybody, the hacendados were seizing the ejidos and incorporating it into their haciendas, forcing the peons to work for starvation wages on the haciendas to survive.

Atkin begins by addressing the political structure from the top down. He gives a history of Porfirio Diaz’s regime and how he worked through corruption, nepotism, the media, and fake elections to remain in his place. Despite his old age and growing unpopularity with the Mexican masses, he refused to step down. As we should know by now, the most likely way of ending a dictatorship is through political violence or revolution. That is exactly what happened in Mexico.

From another angle, Atkins writes about the Mexican Revolution and how foreign governments and businessmen were either responsible or influential over it. Those businessmen, mostly American and British, though some were also French and German, were extracting natural resources in Mexico and paying little more for them than shipping costs. This was made possible through a loose network of diplomats and journalists who had access to the president, advising him that relations between their countries would remain strong as long as he allowed the businessmen to do as they pleased. This was not popular in a nation struggling to modernize itself at the end of the Industrial Revolution. Many believed that those resources belonged to the Mexican people and not to wealthy foreigners who cared nothing for their country. When the Mexican Revolution started, however, American president Woodrow Wilson took sides with the rebellion because of his commitment to democracy and political stability. Some of the weapons used by the revolutionaries were purchased from the nortenos and the US actually invaded Mexico twice during the revolution, once in Veracruz and once at the border in Ciudad Juarez.

Ronald Atkin also identifies the significant leaders of the Mexican Revolution. Francisco Madero was the ideologue who sparked the upheavals. After some battles in Sonora and Chihuaha, his forces moved on Mexico City and seized the National Palace. Porfirio Diaz fled the country, and Madero got elected president. Unfortunately he was naive and politically inept. His military general Victoriano Huerta overthrew his government, seized the presidential office, had Madero murdered, and returned Mexico to a dictatorship. This caused another round of battles in the northern states and the Constitutionalist Vensutiano Carranza chased Huerta out of the country. Carranza was an hacendado and even though he sided with the Mexican Revolution, he ultimately used it as a vehicle for seizing the presideny and then throwing the lower class revolutionaries under the bus once he took office.

The alliance between the democratic Constitutionalists and the revolutionaries was never that strong. Pancho Villa and Emiliano Zapata were concerned with land reform and economics while the Constitutionalists were more concerned with gaining and maintaining power, mostly for their own benefit. Pancho Villa was the strongest of the agrarian revolutionary leaders. His populist revolt took place in northern Mexico and sometimes it even spilled over the border into the USA. He was the first to see the value of using the newly built railroads to transport troops and war materiels throughout the country. He also saw the value of sabotaging train tracks as a strategy to prevent the movement of the Mexican military.

The other leader of importance was the charismatic Emiliano Zapata. His initial rebellions in Morelia and Puebla started without any imput from the northern revolutionaries. It wasn’t until the Conference in Aguascalientes, in which Zapata’s representatives were in attendance, that the forces agreed to join. Their alliance was not a strong one though. Even though Villa and Zapata eventually did meet once, the two never succeeded in coordinating their military assaults on the government.

Ronald Atkin gives a thorough, fact based account of the Mexican Revolution. He clearly identifies the important people involved, the issues at stake, and the events that impacted the course of the revolution the most. His inclusion of the foreign influences on the Mexican Revolution is also unique in its execution, even if it makes the narrative a little biased towards the American and European point of view. He does capture a lot of nuance though and the minute details are written with clarity despite their complexity. The writing is a little dry though and sometimes lacks the spark it needs to be interesting. It is a history book and historians are not known for being great authors. The biggest disappointment about this book is the overemphasis on the Villistas in the north and the underwhelming account of the Zapatistas in the south. Atkin writes like he has no interest in Zapata’s guerilla warfare campaigns and mentions him only because he feels like he has to. There is so little detail about that aspect of the Mexican Revolution that you have to wonder why Atkin left so much of it out.

If you want a good introduction to the Mexican Revolution, then this is a good place to start. It might be a little dull at times, but it does point you in the right direction if you want to pursue this subject in more depth. It may not be of great interest to experts in Mexican history, but for the general reader it serves its purpose well.

 

Book Review: Black Heart Fades Blue Vol. 2 by Jerry A. Lang

Black Heart Fades Blue Vol. 2

by Jerry A. Lang

      It was the fall of 1990, less than a month after I had caught a Butthole Surfers show at the notorious Lyric Theater on 42^nd St. in Manhattan. (I suppose the Danceteria didn’t invite them back, haha) Poison Idea was playing in a small club with a two foot high stage that was so narrow that the gargantuan band members barely fit on it. These guys were said to collectively weigh over a ton at one point. I stood in the front, two feet away from Tom “Pig Champion” Roberts whose guitar looked tiny in his massive arms. Jerry A. was on his best behavior although his fire breathing act probably singed a few locks off some spiky haired members of the audience. He was giving high fives in the crowd so I reached out and he shook my hand; it was like shaking hands with a grizzly bear. There is no sense in describing the music but a Poison Idea concert was like being in the middle of a cyclone of fire. It was ferocious, nihilistic rage to the extreme and it felt so goddamn good. There is a strand of the punk counter culture that starts with Iggy Pop and The Stooges, connects them to Johnny Thunders and the Dead Boys, The Germs, and GG Allin; Poison Idead sits comfortably in that lineage. I hate to get mystical sounding about it, but there is a transcendental state of ecstasy that can be achieved by abandoning all caution, spinning wildly out of control.

In the first volume of Jerry A. Lang’s autobiography Black Heart Fades Blue he tells us about his troubled childhood and teenage years, the time when he moved to Portland, Oregon and got involved in the punk and underground music scene. He also tells us about his precocious encounters with drugs, alcohol, sex, and violence. Volume two picks up where that left off. As Poison Idea’s popularity grew, so did their good and bad times, and so did their reputation as being a problem child of the music industry. But this book isn’t about the band so much as it about Jerry A. It’s not that he denies the importance of the other people in his life; it’s just that he knows their version of events won’t match his and he doesn’t want to speak for them. So he makes sure that we know that this is how he sees his life as only he can and leaves it at that.

The story isn’t anything unique. Most rock bands follow the same path of putting out records, building a following, partying to an excessive degree, and then going into decline as their drug habits take over. The most unique thing about Jerry A.’s story is how high he got and low he sank. Jerry A.’s intentions were to pick up where Darby Crash, lead singer of The Germs, left off. That meant pushing all limitations in terms of lifestyle and music well beyond what anybody had done previously. One of the songs on Poison Idea’s War All the Time LP was called “Romantic Self Destruction.” The catch here is that Jerry A. was not only physically bigger and stronger than most other rock stars, but he was also made of sturdier material than most other people. On top of that he had a complex personality, a strong mind, and a surprising awareness of morality and social justice that helped him navigate through the scummiest of the scum pits in the world. Those finer aspects of his mind included appreciation for art and literature, a wide ranging taste in music, a love of nature, a curiosity about the world and its variety of cultures, a willingness to defend outsiders and misfits, a respect for women’s rights, and an anti-bigotry stance on issues of race and gender issues. Sounds like one great guy.

Not so fast. As Jerry A.’s life spun out of control, mostly because of drugs, alcohol, and violence, those refined attitudes receded into the background. But they never entirely disappeared and that is the key to understanding where this autobiography is going.

As Poison Idea toured America, Europe, and Japan, the band was having a non-stop party. Jerry A. loved drinking; he could chug a whole quart of whisky without taking a breath. But on top of that he, and other band members too, got hooked on heroin. Drugs and alcohol are fun until they aren’t. They went from being a band that used drugs to drug users who had a band to support their habits. Things took a nasty turn for the worse. The combination of drunkenness, heroin withdrawal, and diabetes resulted in some disgusting injuries and illness and a couple near death experiences resulting from overdoses. Jerry A. tried to clean up with Alcoholics Anonymous and methadone and has some interesting things to say about what a sleazy grift those clinics and therapy groups are. To support himself, he got a job as a professional jizz mopper in a porn store. Then just when you think he had hit rock bottom, he sinks even lower as the methadone doesn’t help and he turns to stealing and ripping off drug dealers to get his fixes. Jerry A., along with Pig Champion, end up homeless at one point. As far as stories about junkies go, there isn’t anything too unique about these events. It’s just that the story is told with the same intensity and power that Jerry A. put into his music. This is the kind of harrowing literature that makes you feel like you’ve been kicked in the balls with a steel toed boot. As far as accounts of heroin addiction go, this autobiography is in league with William S. Burroughs and Jim Carroll. It’s tempting to say it might even surpass the works of those authors in terms of their impact on the reader.

This subject matter may be too much for some to handle. The abrasive details are described in a smooth, easy going writing style though. The writing itself is not challenging although there are some flaws. Jerry A. sometimes repeats information as if he forgot that he has already told us some of his stories before; this is no big deal though because he doesn’t dwell on these details for so long that it ruins the narrative. Some of the sequencing can be a little disordered too. In one chapter he’s homeless, in the next he’s living in an apartment. At the beginning of a chapter he goes to the methadone clinic and then he shoots up heroin a few paragraphs later. It’s like he wrote everything down in the order that he remembered it rather than putting into an organized timeline. Also, his unwillingness to write about people he was close to leaves some huge gaps in the story, but he has his reasons for doing this and as a reader, we have to understand where he’s coming from.

None of those flaws are bad enough to make this unworthy of reading. What Jerry A. does get right is what matters most. This isn’t a work of self-aggrandizement nor is it a work of self-pity. It is neither a work of self-celebration nor is it a work of self-hatred. He obviously regrets a lot of what he did, but he writes in such a calm and detached manner that presents us with nothing but the facts, or at least the facts as he understands them to be. This is a work of self-evaluation, like a surgeon who removed a tumor from his own body and then studies it under a microscope as objectively as he possibly can. This is the kind of book a complete fuck up would write when they decide to turn their life around and make themselves into something better. There is an undercurrent of self-respect here and an attempt to reclaim some sense of dignity after surviving a hurricane of self abuse.

Watching somebody self destruct isn’t pleasant. You shouldn’t expect it to be. You wouldn’t read a book like this for simple entertainment though. Black Heart Fades Blue tell Poison Idea fans a lot of what they need to know if they ever wondered where this band was coming from. Jerry A.’s childhood was nothing to envy. We see how he grew up without parental guidance or restraint, had some intense experiences at a young age, and then spent his life in reckless abandonment, seeking out any experience more intense than the last. Or maybe he was trying to numb the pain with heroin and alcohol then trying to undo the numbness with sex, violence, and music, an eternally repeating cycle that fed addictions of all kinds. You can feel sorry for his bad childhood if you choose, though I don’t think he wants that. One thing is certain: if he hadn’t grown up the way he did we might never have been blessed with one of the greatest hardcore punk bands that ever existed, if not THE best. Poison Idea named their first LP Kings of Punk and they earned their right to that title. And if you think that’s all there is to this story, than remember that hitting rock bottom always offers the opportunity for redemption. Be sure to read volume three of these memoirs for that part of the story if you haven’t already. 

 

Book Review & Analysis: The Skeleton's Holiday by Leonora Carrington

The Skeleton's Holiday

by Leonora Carrington

           Leonora Carrington, British citizen who adopted Mexico as home, wife of Max Ernst, and a premier female member of the Surrealist art group is also known for being a writer of fiction. Her novel The Hearing Trumpet is possibly the greatest work of Surrealist literature ever written. Her collection of short stories, called The Skeleton’s Holiday, doesn’t quite live up to her other achievements though.

In this slim collection of seven stories, spanning less than fifty pages, we get a variety of wildly imaginative vignettes. In “White Rabbits”, a girl gets invited into a home owned by an older couple whose elegant mansion is filled with rabbits. In “The Debutante”, a teenage girl convinces a hyena to take her place at her debutante ball. In “The Oval Lady”, a teenage girl gets punished by her father for magically transforming herself into a horse. In “The Skeleton’s Holiday”, we get introduced to a mischievous skeleton who likes pranks.

Certain motifs and themes reoccur throughout the stories. Houses are used as symbols of the unconscious and whatever else is hidden from public view. Animals, especially horses, are used as alter egos. Family conflict is another theme taken up by Carrington. The girl in “The Debutante” is at a crossroads with her mother because she doesn’t want to attend her own party. The magical powers of the teenage girl in “The Oval Lady” are a source of discord with her stern and unimaginative father. In “Uncle Sam Carrington”, a family dispute is solved by two women in the forest who torture vegetables. This style of irrationality is another theme in these stories since the solutions to family dysfunction involve things that make no sense. Likewise, the father in “The Oval Lady” punishes his daughter for her magical transformations by whipping an imaginary horse. One other theme is social dislocation. Some of these stories are narrated by a teenage girl who penetrates into a world she cannot understand, one in which she can only observe without participating. In “The Debutante” she outright refuses to be a participant and in “My Flannel Knickers” we have a story about a girl who gets forced out of society and publicly humiliated, again in a way that is incomprehensible to rationalists.

Carrington is a great writer. The whole problem with these stories is that they are so short that it makes it almost impossible to draw definite conclusions about what she is trying to say. They are more like sketches, vignettes, or introductions than actual stories. She feeds us scraps of information and then cuts off our nourishment just as we begin to chew on it. It’s hard to interpret these vignettes when there is just enough information to arouse our interest and then abruptly stop just when the stories should be picking up and moving along. The sense of incompleteness just makes them fall flat. It’s hard to tell if this is intentional since Surrealism is all about relinquishing control of rationality and allowing psychological content to run free. Carrington may have intended to break off the narratives just when we begin to analyze her symbolism by recognizing patterns. I’m not convinced that is the case though. These stories just feel like literary sketches that she probably intended to build on at a later date and then never got around to doing so.

In this brief volume, almost so thin it is difficult to even think of it as a book, the author gives us some unique and provocative ideas. They are so unique and provocative that it is disappointing they aren’t drawn out further. We are given canapes when we are in the mood for a banquet. If you’re interested in Leonora Carrington, then The Hearing Trumpet is a far more fulfilling read. She really developed her talents in her paintings though, and the sorely underrated book Women Artists and the Surrealist Movement by Whitney Chadwick gives an excellent introduction and critical analysis of her art. The Skeleton’s Holiday is an interesting diversion, but it probably works best for diehards of Carrington and devotees of Surrealism. 

 

Book Review: Black Heart Fades Blue Vol. 1 by Jerry A. Lang

Black Heart Fades Blue Vol. 1

by Jerry A. Lang

      This review is dedicated to the memory of D.H., the biggest Poison Idea fan I’ve ever known. I miss you, brother.

By the late 1980s, hardcore punk was starting to run out of steam. People were bored with three cord thrash so both bands and audiences began branching out into other styles that were punk adjacent. Punk/metal crossover was growing in popularity especially because thrash metal was making inroads into the mainstream. Around that time Poison Idea released their first full length lp Kings of Punk. The cover had a picture of lead singer Jerry A. after carving the band’s name into his chest with a razor. Poison Idea weren’t a crossover band, but they had a definite metal tinge to their sound that was harder, more brutal, and distinctive due to the better than average musicianship and outright sincerity in their expression of rage. While typical hardcore punk was falling out of favor, Poison Idea took the style to a whole new level. It had enough power to propel the band through more than a decade of touring and recording. The music was an overload of anger and some punks wondered just where exactly these guys were coming from. Now Jerry A. Lang has published a three volume autobiography called Bacl Heart Fades Blue and of course the first volume is all about his childhood.

Jerry A.’s parents were a couple of rednecks who had him when they were seventeen years old. Soon after, they had two more kids, one daughter and a younger brother. Then they split up. Jerry A. was bounced back and forth between the two parents, each taking care of him for about a year at a time. His father lived in Eugene, Oregon and his mother lived in West Bumfuck Montana. Though he had a deep love for the natural surroundings there, especially the rivers and forests, his mother was an alcoholic who went through a long string of loser boyfriends and the local cowboys bullied Jerry A. to no end. Eugene was a little nicer even though his father was a complete asshole. In Eugene Jerry A. discovered rock music, looked up to the local hippies, and started using drugs and alcohol before the age of ten. Back in Montana, he was also involved in troublemaking and that is where he learned how to fight. Rock music had always been an important part of his life, but when he discovered the Ramones and Sex Pistols, he knew he had found a key part of his identity, a part that would stay with him until the end. Throughout his childhood, he suffered from any kind of abuse or neglect imaginable. And yet he had an undying curiosity about the world and a touch of intellectualism that kept him going.

At the start of his teenage years, Jerry A. moved to Portland and got involved with the underground music scene. He sometimes played with the avant gardist noise band Smegma. This was in the transition period between first and second wave punk which combined political anger with nihilism in its lyrics and attitude. Darby Crash had died of a heroin overdose and the music was getting stripped down, more basic, and faster. Bikers like to chop their Harleys, removing all the unnecessary pieces to make them lighter for the sake of going faster; punks did the same thing with rock and roll, eliminating all the extras to emphasize the most basic elements that were played at maximum speed and volume. Portland, at that time, was a shithole of a city, nothing like the gentrified hipster haven it is now. So Jerry A. put together his own hardcore punk combo that took on the guitarist from another band called The Imperialist Pigs. That morbidly obese, record collecting, cocaine dealing guitarist was Tom “Pig Champion” Roberts, a man who later proved himself to be the premier genius guitarist of second wave punk rock. Some would say his style and ability surpassed other hardcore legends like East Bay Ray and Greg Ginn. Poison Idea was born and their music was simultaneously rough and smooth, chaotic and neat, and its anger was infectious to any punk who felt like they were being screwed over in life. With their growing popularity, Jerry A. drank heavily, did drugs like speed and cocaine, had lots of sex, and got involved in a lot of street fights. It was just the typical trajectory of an up and coming rock star. But despite his thuggish ways, he always had a taste for Leftist politics and social justice causes. As the band evolved, Jerry A. sank into a whirlwind of self-destruction and it was all so much fun.

This first volume ends around the time that Poison Idea’s classic album Kings of Punk came out. Like the music of punk, the writing is fast paced, direct, and to the point. It isn’t overly descriptive, but it is descriptive enough for the reader to see everything that is going on. Jerry A. tells his story with a clarity of self-perception that is unique. This is the kind of insight you gain when you are older and have looked back over your life with analytical eyes, trying to make sense of it all. Part of what is interesting is how he tells his story with the detached objectivity of a journalist. Despite how rotten his childhood was, he doesn’t indulge in self-pity and he doesn’t even express much anger at the unfairness of the life he was born into. This kind of calm self-reporting is what you get from a mature man who has made peace with that infuriating part of himself. Judging by what happens in the second volume of these memoirs, you can tell he really struggled to make sense of his life. Jerry A. doesn’t sound like he’s full of himself either; he doesn’t brag about being a survivor of a rotten childhood. If it had been up to him he obviously would have chosen a better upbringing, but he had the wits to stay alive and sometimes even benefit from his situation. He just doesn’t stand around shouting about how great he is for not ending up dead or in jail. He saves the shouting for his music.

If there is anything to criticize here, it is that some potentially interesting things were left out. Jerry A. doesn’t say much about how he actually met Tom Roberts and the other band members. He doesn’t say much about his siblings either, but to be fair, he does explain that he doesn’t want to tell other people’s stories for them, especially when they don’t have the opportunity or the desire to share their side of it all with the public. Most significantly, Jerry A. doesn’t say much about Poison Idea’s earlier records. He does talk about the Pick Your Kings ep and says a little about Kings of Punk, but he doesn’t even mention the Record Collectors Are Pretentious Assholes ep. It would have been interesting to hear what it was like to work with Pushead, the artist who did album covers for The Misfits and Metallica and put out Kings of Punk on his own Pusmort record label.

Black Heart Fades Blue Vol. 1 is a good, solid start to the autobiography of Jerry A. Lang. It makes Poison Idea less enigmatic and gives good insight into the source of the author’s anger as well as his impish sense of humor. If you think volume one is fascinating enough, you might as well get ready to read volume two. Beware though. What comes next in this series is a nasty and soul crushing story that might leave you with a touch of PTSD if you aren’t ready for it.

 

Book Review & Literary Analysis: Miss MacIntosh My Darling by Marguerite Young

Miss MacIntosh, My Darling

by Marguerite Young

      It’s all about the isolation of the individual. It’s also about the interrelationship between life and death. More or less. That’s it. But such simple concepts get stretched out into 1,321 pages of dense, long winded, and sometimes opaque text that is written less like a novel and more like an extended prose poem. Marguerite Young’s Miss MacIntosh, My Darling is like atomic fission. Just as a nuclear physicist takes a microscopic atom and smashes it against anothet atom to make a bomb explode, Young takes the tiniest of ideas, clashes them together like cymbals, and the result is an explosion of contemplative language.

Vera Cartwheel is the narrator. At the start of the book, she is a thirteen year old girl, living with her invalid mother and being raised by a nursemaid named Miss MacIntosh. Vera thinks of Miss MacIntosh as her mentor and hero. The elderly woman is described as being plain, practical, and pragmatically opposed to any embellishments or flights of the imagination. The education she gives Vera involves doing chores in preparation for her future as a housewife and making her memorize the facts in an almanac. They live in a mansion owned by Vera’s bedridden mother on the ocean shore in Massachusetts. Then one day, Miss MacIntosh wanders off into the sea and disappears.

Soon, we find Vera Cartwheel on an old bus, traveling at night through Indiana, going in the direction of Miss MacIntosh’s hometown in Iowa. Aside from Vera and the bus driver, there are two other passengers, newlyweds named Madge and Homer. The two have a long discussion about Homer’s ex-girlfriend who, according to Madge, is dying of tuberculosis. Homer had never heard this news and Madge chatters on about it all throughout the bus ride. We never find out if Homer’s ex is really dying or not, but it is quite obvious that Madge is jealous of her. In this conversation, we get introduced to a theme that gets examined throughout the whole novel: the relationship between marriage and death. Closer to the end of the bus ride, the couple also discuss other people in their town and the themes here morbidly involve poverty, incest, mental illness, suicide, and the possibility that a woman who had married two brothers in two separate marriages had murdered both of them. Another interesting thing to notice abput their conversation is that the two of them hardly know each other. Madge and Homer’s discussion about the dark side of their hometown is one of the only instances of actual dialogue throughout the whole book. Thus, the two characters who display the deepest level of intimacy are two people who barely understand each other. Other character speak in the forms of soliloquies or monologues, sometimes with Vera listening with only minimal participation.

The bus driver is another example of this. While drinking whiskey throughout the entire trip, he drunkenly talks endlessly about why he never cuts his hair, how he is unmarried and lives with his mother, and then obsessively rants about a senile doctor who tries to drive a car that is falling apart and has delusions about delivering babies. The doctor delivers babies that never exist. Death, life, presence, and absence are all intertwined. You can’t even be sure that the doctor is real as the bus driver’s babbling seems to veer off into delusion too. In fact you can’t even tell if the bus driver and his leaky bus are real or figments of Vera’s imagination. Throughout the prose, from beginning to end, the interpenetration of reality and fantasy are just as prevalent as the mixture of life and death or presence and absence. One thing is for certain: this bus ride represents to Vera a journey into the unknown and a place where all reference points of familiarity recede. But then again, nothing in the novel, from the start, can ever be known with certainty.

By this point, it becomes clear that this Herclitean dichotomy, this clash and harmony between opposites are a defining element of Young’s writing. Norman Mailer uses this dichotomy to a different effect, but with similar results in terms of expansive prose. Once you latch onto this theme, the ideas become easier to follow. The writing remains dense and heavy until the end though. It moves slowly like a Stanley Kubrick film, say Barry Lyndon, and reading it slowly but steadily helps to move it along with consistency. If compared to music, you could say it moves, possibly at the pace of a glacier or tectonic plate, not with the verse-chorus-verse structure of a rock song, but like the movements of a symphony. It is an exercise in variations on a theme, and the theme is repeated rhythmically like calm waves on a gentle shore.

So as the bus driver pulls into the destined town, Young takes us back to the New England mansion where Vera lives with her mother and Miss MacIntosh. Vera’s mother is bedridden and addicted to opium so that she floats in and out of hallucinations so freely that it is impossible for her to tell what is real and what isn’t. The porous boundary between the real and illusory allowed for visitations of guests from ancient times and the presence of the dead. Through her we get introduced to a whole constellation of objects that may or may not be symbols depending on the context in which they appear. Doorknobs, apples, moths, stars, fireflies, starfish, seashells, and all kinds of other things appear in conjunction in ways that sometimes make sense and sometimes confuse you. It is possible that a state of confusion is what the author is sometimes trying to achieve, especially in some passages relating to her friend Mr. Spizter. Otherwise, the presence of horses is another constant in the text as is the presence of water in all its forms, especially in the form of fog as an element of concealment and confusion, and also the ocean which sometimes acts as an element of consciousness. In any case, water in its varied forms is closely related to revealing and concealing hidden aspects of the writing.

While Vera’s mother lives in the flux of her fantasies and realities, her friend Mr. Spizter lives a life of restraint, rarely ever venturing outside his self-imposed limitations. He hunts butterflies, capturing them and then enclosing them in glass cases for his own private collection, symbolically killing the free spirited creatures of flight to be permanently imprisoned, like Mr. Spitzer is inside his own head. Mr. Spitzer also composes music in his head that no one will ever hear because he never plays it for anybody. Instead he writes it on scraps of paper and cloth in hopes that when he dies, someone will piece them all together to form complete works of music. Is that an indication of the author’s intention? She feeds us loads of information and leaves us to our own devices to piece it together to make a coherent whole. As readers we may never be certain if we put the pieces together in the right way or not. Mr. Spitzer is also a lawyer and executor of last wills; his job is to hunt down lost relatives who, without knowing so, are heirs to abandoned estates. He never succeeds though, so the man who hunts and captures butterflies is never able to track missing ancestors of the deceased. It probably doesn’t matter anyways because the deceased, being dead, can’t know that their relatives are absent. And Mr. Spitzer’s mind is saturated with silent music.

The most distinctive thing about Mr. Spitzer is that his twin brother died. His brother’s first name is Peron and his first name is Joachim. Peron is the opposite of Joachim who lives his life though the avoidance of taking chances while Peron lived by doing nothing but taking chances. He earned a living by being a professional gambler. There is a catch to all this because Vera’s mother was in love with Peron even though Joachim is in love with her. She doesn’t love Joachim though and his presence in her life represents the absence of Peron because Peron, allegedly, committed suicide. The suicide is alleged because we never find out if it really happened or not. It is possible that Joachim and Peron are actually the same person, a point driven home by the complete absence of any references to Joachim’s life before Peron’s death. The way that life and death and presence and absence dance around each other in this book takes on a dizzying pace at times.

Through Mr. Spitzer, we also learn about Cousin Hannah, a suffragette and union leader who traveled all around the world at a time when women rarely left their homes. Mr. Spitzer is the only person present as Hannah lies on her deathbed, a strange paradox considering her supposed fame and distinguished life. Hannah was once a woman who appeared in the newspapers and now she is dying forgotten and alone. Like Vera’s mother, she is in opposition to Mr. Spizter who stays within his own boundaries. While Vera’s mother goes outside her boundaries mentally in opium induced hallucinations, Cousin Hannah went outside her boundaries through travel and activism.

Hannah’s romantic relationships are a prevailing thought at the time of her death. She was once on the verge of getting married and then disappeared from the public on the day of her wedding. There are overt hints that she is a lesbian. She once fell in love with another woman. They were climbing a mountain together during the winter. After ascending to the peak and starting down the other side, Cousin Hannah lost her skirt. Her lover was waiting for her return and when Hannah came back over the peak without her skirt, her romantic interest insisted on going up and over to get it and bring it back, only she never returned, presumably dying in an avalanche or from something else like hypothermia. Here we are again with love-death-marriage-life-presence-absence and the ubiquitous water in the form of snow, ice, fog, and tears.

Narratively, the stories of Mr. Spitzer and Cousin Hannah are told in the first person omniscient by Vera who probably isn’t even present in the room as Mr. Spitzer patiently waits for Hannah to die. This is a strange trick to pull off since the narrator presumably has no access to the inner workings of the others’ minds. The two of them do soliloquize parts of their story, but these passages are largely told from Vera’s point of view. This is strange also because, even though the two characters sometimes speak in monologues, neither of them actually interacts with each other. This is true throughout most of the book; characters mostly overlap while their actual interactions and conversations are minimal. What this does is highlight the individuality and solitude of each character, emphasizing the empty and impenetrable spaces between people despite how proximate to each other they might be physically. Each character is like a tightly sealed container with massive spaces, heavy with emptiness, between them.

The central passages about Mr. Spitzer and Cousin Hannah get to be redundant, excessive, and sometimes confusing. But we get a break from all that when Mr. Spizter goes to a funeral for a frog that once lived in a deaf mute’s mouth and did all his speaking for him. Presence and absence. After that, Mr. Spitzer has a transcendent experience, reminiscent of James Joyce, in which he finishes composing the silent music in his head and “hears” it in the form of hallucinations. It is like French Symbolist poetry where you need to interpret it according to how it feels rather than what it means.

And then the last 400 pages are the strongest, and weirdest, part of the novel. Vera reappears in her mother’s house and learns the darkest secret of Miss MacIntosh before she disappears into the ocean. The secret involves her inability to grow hair and the absence of one breast. In an earlier part of the book, Vera had a dream in which she learns this secret. Learning the truth in a dream is another plunge into uncertainty and also emblematic of how close fantasy and reality are in our consciousness. This secret acts as a broad framing device in this maximalist novel. After the disappearance of Miss MacIntosh, some odd characters enter into the narrative. One is an insane old woman who insists Vera’s mother hired her to be a new nursemaid even though Vera no longer lives there. And when I say this trollish woman is odd, I really mean she is odd.

Then with another broad framing device, we return to Vera on the bus as it pulls into a town at daybreak in front of a hotel. Vera checks in and encounters more weird people. One is a devout Christian farmer who claims to be making the world a better place by being a professional hangman. His wife committed suicide by hanging herself from a peach tree and his kids amuse themselves by hanging dolls, teddy bears, and a sick dog from the same branch. His moral dilemmas run between the same points of certainty and uncertainty that so much of the book is about. He resolves this moral contradiction by pegging it to the certainty of his religion.

Vera also encounters the senile doctor that the bus driver talks about obsessively at the start of the book. This ties in with a waitress Vera encounters in a diner named Esther Longtree. The waitress tells her life story and we learn she has a unique problem. She gets pregnant over and over again, but each term ends in a miscarriage. Now she is pregnant again, but the baby is long past its due date. Esther’s problems are deeper since as she tells her story it gets more and more contradictory. Her miscarriages may be self-induced, they may be abortions, or she may have committed infanticide, killing the babies after they were born. But she so desperately wants to have a baby even though she may have gotten pregnant while being raped. We never know if she was actually raped or not because she has always been eager to get pregnant even if that means sleeping with complete strangers. She repeatedly gets raped or willingly seduced, we can never know for sure, by different men although some of them might have been the same man wearing different disguises. Esther spends her life in the presence of absent babies, each one stillborn or dying at the time of birth. Death-life-absence-presence-confusion-clarity-fantasy-reality-sanity-insanity-certainty-uncertainty. It’s a whirlwind that never stops until the novel ends.

Overall, Young’s novel is an extended meditation on the previously mentioned themes. And by extended, I mean extended to the limits. This is a maximalist novel if there ever was one. By establishing separate points divided by vast open spaces, say stars and fireflies on the beach or starboard and larboard, a vacuum is created to be filled with an influx of semantics, signs, and symbols to be unpacked and analyzed, but then again, sometimes it is a novel to be experienced more than understood. The contemplative themes are basic enough, but if this novel says anything definite through the way it portrays people, it is that we live ghostly existences permeated by nothingness. We barely exist except in the traces we leave behind in the memories and impressions left in the consciousness of others. Notice how other people like Peron, the senile doctor, and Homer’s ex-girlfriend are all explained through the narratives of characters in the narrative of Vera Cartwheel. In a Hegelian sense they may be real people with imaginary stories, alter egos, or pure delusions. We can never be certain and we can never know what separate, incomprehensible lives we may be living in the minds of other people. And if we live in solitude, we may barely even exist at all. We are barely anything more than nothingness that passes away into death anyways, eventually to be forgotten as all the people we knew in our lives die too. And as Esther Longtree explains, we are largely defined by everything we’ve lost. Isn’t this what Derrida’s deconstruction is all about?

Miss MacIntosh, My Darling is an acquired taste. It is not easy to sink your teeth into and it is not easy to digest. Sometimes it is like eating a sandwich that is bigger than your head. Probably most people who attempt to read it will give up. But it’s not impossible to understand and it is rewarding if you make the effort.