. . . with two bonus clowns included free — all you pay is shipping and handling.
[Thanks to The Gunslinger for the image.]
Author Archives: Lloydville
A THOUSAND GUYS IN LOWELL
There are 1000 guys in Lowell who know more about heaven than I do.
— Jack Kerouac
Jack Kerouac left an amazing portrait of America in the second half of the 20th century — paying attention to the everyday warp and woof of things and their mythic role in the unconscious epic of the nation. To find anything comparable in the art of our time you have to look to the photographs of Walker Evans and William Eggleston, especially Eggleston.
Kerouac celebrated and eviscerated American places in long, impressionistic passages in his writing and in brief epithets tossed off in passing. These epithets, taken together, have something of the quality of the Catalog Of the Ships in The Iliad.
Paul Zahl, a regular contributor here, discusses Kerouac's geographical epithets, about America and other places, with some choice examples:
A JACK KEROUAC GEOGRAPHICAL GLOSSARY
by Paul Zahl
Kerouac had a wonderful way with vivid adjectival phrases.
In his letters especially, and wherever he could write free of
stricture or zealous editor, he would use jammed-together phrases to
describe the places he visited, the people he met, and the phenomena he
observed.
I have made a little study of Kerouac's descriptive phrases for the
cities and towns, and even foreign countries, in which he spent time.
For example he described Morocco as the place where one could see “the
true glory of religion once and for all; in these humble, often
mean-to-animals people”.
If you have spent time in a Middle-Eastern country, this phrase
instantly connects. How many people I know who have left their
inherited religion in the West and are impressed by exactly the phenomenon
Kerouac observes, right down to the flogging of the camels.
Here is a little 'Beat' geographical glossary, from the man who saw,
and wrote what he saw.
Oh, and some of them may offend you if you actually live in the place
he is describing. When Kerouac refers to “rainytown Pittsburgh”, he
captures the essence of that particular city. But Pittsburghers don't
see it this way at all!
So hold on to your hats. And get ready to smile, and maybe wince a
little.
(All these phrases come from the letters of Jack Kerouac composed
between 1957 and 1969, which are collected in the 1999 Viking Press publication edited by Ann Charters.)
Rock n Roll Hooligan England
sick old Buddhaless Europe
California TOO MANY COPS AND TOO MANY LAWS and general killjoy culture
Total Police Control America
Doom Mexico
(Kerouac survived an earthquake in Mexico City, and was
also fascinated by the interest in death which he saw in the culture
there.)
“Orlando Florida”
(Kerouac complained that you could not buy On the
Road at any newsstand in Orlando, where he and his mother lived for two
fairly long periods, so that city for him would always be in quotes.)
nightmare New Orleans
thank God for Spain! All living creatures are Don Quixote
San Francisco, that town of poetry and hate
unholy Frisco
Muckland Central Florida in Febiary (sic)
midtown New York sillies world
this New York world of telephones and appointments
peaceful Florida, winter Florida, Florida peace
Massachusetts boy-dreams of Harvard
the South where everybody is DEAD
And thinking globally . . .
so goes the Dostoyevskyan world
And from Visions of Gerard . . .
That hat, with its strange Dostoyevskyan slant, belongs to the West,
this side of this hairball, earth
the world, the uncooperative and unmannerly divisionists, the bloody
Godless forever
Home again . . .
overcommunicating America
You could probably write an essay on every pungent phrase that Kerouac
comes up with. You may also be offended by his incautious descriptions. Furthermore, they were mostly written down under the influence of
alcohol, by the author's own admission.
Yet they are evocative and at times (to me) inspired. They are also
very funny. After just a few days in London, thirty years before the rise of the
“soccer yob”, Kerouac spoke of “Rock n Roll Hooligan England”. What prescient voice is this?
If this starter glossary re-connects you with Kerouac's
voice, the voice of a man Allen Ginsberg described as “heaven's recording angel',
and sends you back to his work, try writing down more of these phrases as they catch your eye. As your Catalog grows you'll wonder, “Where did this man receive his wisdom?” and “Did
he not grow up right here in Nazareth, and do we not know his mother
and his brothers and his sisters?”
[Editor's Note: “Overcommunicating America” — we live there now, all right. And even a man who could write, decades ago, “California TOO MANY COPS AND TOO MANY LAWS and general killjoy culture” might be surprised at the way The Wellness State has calcified into his most extreme vision of the place. Jack apparently never visited my hometown, Las Vegas, but he would have nailed it, too, I imagine, in a way that would make me wince . . . and laugh. Paul Zahl just moved away from a suburb of Washington, D. C., where Kerouac and Gregory Corso once dropped in unannounced on the poet Randall Jarrell and found him “hobnobbing in Chevy Chase”, a world center of hobnobbing. Kerouac will find you wherever you are, America — you can run but you can't hide from heaven's recording angel.]
The map above is from one of Kerouac's diaries. The portraits are by Tom Palumbo. You can find more of Paul's articles in The Zahl File here.
AN AL MOORE PIN-UP FOR TODAY
. . . change you can believe in.
MIRAGE
We were driving through a landscape reminiscent of ones you see in images beamed back to Earth from the Mars Rover (above) — severe, rocky, dry, empty, with no visible signs of life. It was a part of the Mojave Desert near Spring Mountain, just past the outskirts of Las Vegas, in the Lake Mead National Recreation Area.
We were myself, my sister and her two kids Harry and Nora, just arrived for their annual Dream Vacation in Las Vegas. Harry and Nora's dad, a film editor, sometimes known as the hardest working man in show business, is almost always on a job during their summer vacation, so my sister brings them here for an escape.
Rounding a bend on the twisting desert road we saw what we were looking for — a kind of mirage in the midst of the desert, Lake Las Vegas, an artificial lake at the edge of Henderson, Nevada, a Las Vegas suburb. It is surrounded by green swards, most of which are golf courses, and by what look like cookie-cutter versions of Italian villas, most of which are condos.
We parked near a little “village” at the edge of the lake, near the MonteLago Resort. This has shops and restaurants in a facsimile Italian lakeside town, next to a marina. It was violently hot and we headed more or less directly to a restaurant by the water called Bernard's Bistro. It was a genuinely charming place, somewhat upscale, and we had an exceptionally good lunch there.
This was the start of Harry and Nora's fifth summer visit to Las Vegas, and we'd wanted to see something we'd never seen before, something très Vegas, which means très weird but also weirdly amusing.
We saw it and were content.
[Photos courtesy of the Mars Rover, the Vegas Rover (Harry Rossi) and Lloydville.]
THE SEA, THE SEA
Marilyn at the beach.
What is it about that girl?
AMERICA, AMERICA
Keep your eye on the ball, baby.
[Post cover by Dick Sargent]
LA VIÈRGE AUX ANGES
This painting by Bouguereau, from 1881, is owned by the Forest Lawn Cemetery in Glendale, California, just over the hill from Hollywood. In 2005 it went up to the Getty Museum in Santa Monica on an extended loan in return for restoration, which primarily involved removing a coat of varnish that had yellowed, muting the original colors. The scan above records the restored work and comes by way of the always amazing Art Renewal Center.
I'm not sure whether or not the painting has gone back to Forest Lawn, but if you live in the Los Angeles area you're within striking distance of it, either way. If I lived in the Los Angeles area, I go see it immediately.
It's said that you either worship Bouguereau or you despise him — folks on either end of the spectrum tend to be a bit dogmatic on the subject. Anti-Modernists are inclined to place him in the Pantheon of the old masters, which seems extreme. I think Bouguereau is a great painter of the second or third rank, assuming, for example, that Jan Van Eyck is a painter of the first rank. Anti-Victorians are inclined to dismiss him out of hand as the embodiment of kitsch, which I think is even sillier.
The important thing is that his works are wonderful, in a very odd and original way. You can enjoy them immensely without worshiping them and you can recognize their limitations without despising them.
REPORT FROM NEW YORK: THE HIGH LINE
Folks who don't live in the New York City area might not know about the High Line — a stretch of elevated railroad tracks in lower Manhattan. It used to carry freight trains into Manhattan terminals but stood abandoned for years and attained a kind of mythical status, because it became overgrown with vegetation and constituted a bit of wilderness in the middle of the city. It was officially inaccessible but became familiar through photographs taken of it and the stories of people who sneaked up to have a look at it themselves.
The basic structure has remained sound and a campaign was launched to turn it into a park — a very odd park. The park opened this month and my friend Jae Song, a resident of Brooklyn, went to see it. He sends the following report of his initial impressions, illustrated with photos he took, mostly using the panorama mode on his cell-phone camera:
Went to visit the High Line.
For crowd control on opening day they set up a rule — you could only enter from one end and exit at the other. Even
though it wasn't opening day when I visited, and there was hardly anyone there, when I tried to go up the “exit” stairs there was some fascist
telling me I had to walk down to the entrance at the other end. (Why
can't people just think on their own? Why do they have to follow strict
rules without knowing what the rules are for?)
This should have tipped me off as to what I was about to experience . . .
At first — it was exciting to be able to go up to those old tracks that have been closed off for so long.
And it was really . . . nice.
A very well designed place.
There are benches that rise up from the ground in sleek fashion. There are big lounge chairs made of dark wood. There's a space with auditorium seating that looks out over 10th Avenue.
The palette is modern grey and dark brown
. . . with weeds carefully placed growing in patches here and there.
Everything is very well thought out and all . . . perfect.
I walked all the way to the far end and then went back to the middle and took a seat on one of the lounge chairs.
And as I sat there . . . I became incredibly sad.
The High Line is like one of those beautiful old historic factories that is converted into a clean modern luxury loft.
The modern sleekness has cleaned all emotion from the place. No mystery — no possibilities.
It's all too perfectly designed, too purposefully placed . . . everything —
every “haphazard” weed, every loose pebble. Even the concrete slabs on
the ground have perfectly placed irregularities. All of it makes it
impossible for me to make the space . . . my space. I can't connect with
it personally.
I can't do anything in the space that the architects and designers haven't already prepared for.
I feel controlled by whatever corporation it was that took it
over. The planners obviously wanted to keep the feel of the old High Line — but the old High Line was an iron
industrial structure that nature took over, in unpredictable ways. There's nothing unpredictable about it now.
It's like watching an M. Night Shyamalan movie. It is very well crafted — I
can't fault him for not making a very well-constructed movie — but most
of the time I don't really feel anything, and the movie has very little
life. It's not that I don't like the movie, it's that I feel I'm supposed to like it, I'm supposed to feel a certain way, but I don't, and I want to feel something but I don't . . . and that pisses me
off.
Unlike watching a Godard film. It's sloppy as hell but so exciting, and it makes me giggle, and sometimes I'm glued to the screen and I
don't even know why . . . I don't know what the hell's going on.
Why is there this need to make beautiful old things into clean
sterile piles of nothing? Do they make yuppies feel safe? Because they
don't have to think — they go, they know what they are suppose to do,
they do it, they post pics online, they check it off on their
experience list.
Why can't something just be, age and become whatever it is it is
becoming? What's with face lifts and boob jobs? What's with “luxury”
condos? What's with the High Line! Another place for people to make
money now I suppose. (There are bars and restaurants opening up all
over the neighborhoods near the High Line, and up on the High Line, too.) Personally I like a really nicely aged
steak rather than a fresh cut.
It is so sad to me . . . yet another thing in New York that has come to ruin . . .
Jae has made subsequent visits to the High Line and modified his opinion of it somewhat. New Yorkers are appropriating it and making it their own. That's what New Yorkers always do. When Central Park opened in 1873 one of its designers, Frederick Law Olmstead, wanted visitors to use it exactly as he imagined it being used — strolling its paths in a civilized manner, serenely admiring his vision of nature. He didn't want bars or bandstands or ball fields — anything that might attract or appeal to the baser natures of the great unwashed.
That didn't last long.
So there's hope for the High Line, too. Perhaps Jae will write a follow-up report on the progress of its re-incorporation . . . as a people's park.
[All photos © 2009 Jae Song]
A PHOTOGRAPH OF PARIS FOR TODAY
From the 1950s, I think. Very cool. Paris swings, but old lady Seine . . . she just keeps rolling along.
I can't remember where I found this or who took it. If anybody out there knows, I'll be happy to give credit where credit is due.
BLAKE'S GRAVE
In 1972, when I was 22 years-old, I crossed the Atlantic for the first time, to London, where my sister was living at the time. I went with the rest of my family, including my grandmother, and my friend Cotty Chubb. We stayed in a rented house near Hampstead Heath.
We arrived at night and first thing the next morning Cotty and I headed straight to Bunhill Fields by the Underground. We would have taken the Edgeware-Morden line from Hampstead to the Old Street station, which is just a short walk from Bunhill Fields. At one end of the journey or the other we found a florist and bought three yellow roses to lay on the grave of William Blake, who is buried in Bunhill Fields with other dissenters from the Church Of England orthodoxy.
In 1965 many of the grave markers in Bunhill Fields (whose name is derived from Bonehill Fields) had been removed to create a small park with a lawn — the “fields” of old have become a very small bit of enclosed space. Blake's grave had been unmarked until 1927, when a small stone was erected over it. In 1965 the stone, which lay within the area of the planned park, was moved to a location near the intersection of two paved pathways, which is where we found it and where it remains today, about 20 yards from Blake's actual resting place, in a once-again unmarked spot on the present lawn. (Recently the actual gravesite was re-discovered and there are plans afoot to put a new marker there.)
We laid the roses on the pathway in front of the marker we found. “One for me,” I said, “one for thee, and one for you know who.” I wasn't quite sure what this meant, but it allows me to say today that I laid a rose on Blake's grave for you, whoever you are.
Cotty and I visited several other Blake sites in London, and took a train down to Felpham, on the south coast of England, to see the cottage where Blake lived for a few years and where he wrote Jerusalem.
From the train station in Felpham we took an enclosed double-decker bus to the cottage. It was just before Christmas. In the front seat of the second deck of the bus was a little girl of about 5 years of age, sitting with her mother. The little girl was singing, in a sweet, piping voice, “Hark, the Herald Angels Sing!”
I'm quite sure that Mr. Blake arranged this — perhaps to thank us for the flowers.
MICHAEL BEATS IT
Demons drove him hence. He was a beautiful young man who somehow got the notion that he was meant to look like Lena Horne. He paid doctors to hack away at his face until it bore a grotesque resemblance to his dream. It was reported that in recent years the surgery had caused his nose to collapse, requiring the use of a prosthetic device to hide the horror of it. Poe alone could have dealt with the American Gothic tragedy of Michael Jackson's life — the life of a man who made and wore his own death mask.
The root of it was probably all too simple — the usual dad thing. It's been related that Michael's dad, when Michael was a kid about to go on stage, used to tell him there were men with guns in the audience who would shoot him if he didn't dance fast enough. He's been dancing fast ever since. From childhood he was surround by crowds of people who couldn't say no to him — all of which was nothing as against a father who couldn't say yes.
He really was the King Of Pop, though — even if that was a title he first bestowed on himself. Great pop music can unite generations and classes and races in its infectious magic. As the tributes pile up on the cable news shows, Michael's music plays them in and out. Almost all of it makes you want to dance — and makes you sad that Michael was dancing to a different beat in his head when he made it . . . the beat of a death march that has finally reached the burying ground.
All that wonderful music we heard in its place was perhaps another illustration of The Nazareth Principle.
“HIKING THE APPALACHIAN TRAIL”
In my last post I goofed on all the conflicting stories surrounding the mystery of Governor Mark Sanford's whereabouts. Little did I know that the truth behind the incident would prove more surreal than I could possibly have imagined. The guy was “hiking the Appalachian Trail” down in Argentina, of all places, and having himself a good cry in the bargain.
I don't mean to be too flip about it, though. If you watched the poor fellow's press conference you basically saw someone having a nervous breakdown on national television. Sanford strikes me as a different sort of man from John Ensign, whose adultery and contrition over same seemed purely cynical, and which I parodied in an earlier post. Ensign doubled his mistress's salary while they were sleeping together, then fired her when the affair was over. His “backstreet romance” was more like transactional sex — like prostitution.
I see Ensign as one of those politicians who enjoy using the law to force their morality on others but feel no corresponding obligation to live up to that morality themselves. This is less about hypocrisy or ordinary human frailty than about pathological arrogance. Eliot Spitzer, on the other side of the political spectrum, seemed to suffer from the same syndrome — relentlessly prosecuting prostitution in courts of law while employing the “services” of a prostitute in private.
John Edwards, by contrast, didn't pontificate about other people's morality — his adultery seemed to proceed from narcissism of an extremely advanced variety.
Sanford's case feels more complex, and interesting. He's clearly still in love with his Argentinian bombshell, if by love we mean the pussy-fever associated with a new and transgressive sexual relationship. Some failing in the right-wing Christian culture he inhabits seems to have left him unprepared to deal with the power of that fever — you get a sense he was blindsided by it, and is still reeling from the blow.
Perhaps there is something about the rhetoric of his culture that minimizes the exaltation of sexual love, relating it too exclusively to law and duty, downplaying its delirious joy, leaving the members of that culture defenseless when the real thing emerges or re-emerges in their lives.
When it comes to adultery, I'm agin' it — I don't see it as a “pecadillo” but as a profound, existentially crippling moral failing . . . yet at the same time less about the sex involved than about a violation of trust that can almost literally rip the heart out of a partner. No amount of personal pleasure or fulfillment can justify it, but you need to have a healthy appreciation of just how much personal pleasure and fulfillment it can deliver to know what you're up against when it presents itself.
I don't think Mark Sanford had a clue. In his e-mails to his mistress he sounds like a lovesick and somewhat bewildered teenager. How did he get to the age of 49 in that condition of emotional immaturity?
BREATHING ROOM
I'd like to apologize to the readers of this blog for my unexplained absence between the 16th and 18th of this month, when nothing was posted here. The truth is that I went off hiking by myself in the Red Rock National Conservation Area, just outside Las Vegas — because I needed some space to clear my head.
While in Mexico, I was able to put things back into focus, reorder my priorities and set ambitious new goals for the future.
There's just something about the pure air of the Canadian Rockies that sharpens a fellow's perspective. Up in that high country, far above the worries of the world, I was lucky enough to run into my old friend Mark Sanford, Governor of South Carolina, who was having a little “time out” of his own. We fished for trout in a sparkling brook, cooked up our catch over a crackling fire under the stars and commiserated about our crushing responsibilities.
It helped, I can tell you. As we brought our little boat about in a brisk gale in the Bay Of Biscay and headed towards the shelter of the harbor at Santander, we felt ready to resume our burdens.
I know people were worried about me while I was gone — the Gobi Desert isn't a place you want to wander in for too long on your own — but I'm back, I'm fine, and I feel renewed. When Mark gets home, I'm sure he'll have a very similar tale to tell.
DISHONORED
What's happening in Iran right now makes me ashamed that I didn't take to the streets in 2000, along with hundreds of thousands of other Americans, when the Supreme Court appointed George Bush President, in lieu of counting all the votes actually cast in the election — the most disgraceful act committed by that august body since the Dred Scott decision of 1857.
All Americans should have been willing to die rather than accept the selection of its leader by a small group of “wise elders” rather than the election of that leader by the votes of the people. We lost an incalculable measure of our honor as citizens of a great republic when we failed to respond to the Supreme Court's grotesque violation of the Constitution.
The people of Iran, especially its courageous young women, put us all to shame, and make us realize that we richly deserved our Ahmadinejad — “the mullahs's choice”.
NEDA
My sister Neda — and yours. Murdered by the Iranian state on the streets of Tehran this past Saturday.
Folks who use Twitter are encouraged to set their Twitter time zone to Tehran time — in the Settings menu — to help disguise Tweets originating in Iran from the Iranian government.
The coverage of the events in Iran by the cable news networks has been disgraceful. They basically just report online news several hours after it appears on the Internet, jazzed up with meaningless bloviation.
The deluge of Tweets on the subject is confusing, however. Here's a site which filters them intelligently (something the official news organizations seem incapable of doing):
Super-filtered #IranElection info for the easily overwhelmed (like CNN).