Waggish

David Auerbach on literature, tech, film, etc.

Tag: america (page 14 of 19)

Will Eisner, RIP

Will Eisner, beloved author of The Spirit, had one of the longest careers, stretching from the 30’s to the present-day. Along with George Herriman, he was one of the early masters of the topology of the page (this Spirit splash page is the best example I could find on the web), and as Jules Feiffer has pointed out, his were some of the most Jewish superhero comics of the time.

Two good pieces on Eisner’s work and its importance are Michael Barrier’s Will Eisner: Moved by the Spirit, which only begins to describe Eisner’s incredible graphic and narrative sensibility, and Jules Feiffer’s The Great Comic Book Heroes. I can’t find it on the web, so here’s an excerpt:

Eventually Eisner developed story lines that are perhaps best described as documentary fables–seemingly authentic when one reads them, but impossible after the fact. There was the one about Hitler walking around in a Willy Lomanish middle world: subways rolling, Bronx girls chattering, street bums kicking him around. His purpose in coming to America: to explain himself, to be accepted as a nice guy, to be liked. Silly when you thought of it, but for eight pages, grimly convincing.

Or the man who was a million years old–whose exploits are being read about by two young archeologists of the future who discover, in mountain ruins, the tattered remains of an old Spirit pamphlet, which details his story: the story of hte oldest man in the world, cursed to live forever for being evil, until on the top of a mountain, in combat with the Spirit, he plunges into the ocean and drowns. “Ridiculous story,” say those archeologists of the future as they finish the last page; these being their final words, for coming up behind them is that very old man, his staff raised high to crush their skulls, to toss them over the mountain edge into the ocean, and then to dance away, singing.

I collected Eisners and studied them fastidiously. And I wasn’t the only one. Alone among comic book men, Eisner was a cartoonist other cartoonists swiped from.

And he still is. Whenever I pick up a modern semi-alternative adventure/mystery/noir/etc. comic, Feiffer’s panel layouts are everywhere. And so are his fables, which lived on in everything from EC Comics to The Sandman.

Three Versions of Politics

In the aftermath of the Southeast Asia tsunamis, the Bush administration pathetically found itself spending more money on its second inauguration than it initially committed to disaster relief. Even now, its contributions are not especially impressive. I donated to relief organizations, and then, left to my own thoughts, I went through three responses: anger, despair, and detachment.

I was infuriated when I read Slavoj Zizek’s The Liberal Waterloo. Zizek proposes that it is for the better that Bush won the 2004 election, since it will

dispel the illusions about the solidarity of interests among the developed Western countries. It will give a new impetus to the painful but necessary process of strengthening new alliances like the European Union or Mercosur in Latin America. … Within these coordinates, every progressive who thinks should be glad for Bush&#x92s victory. It is good for the entire world because the contours of the confrontations to come will now be drawn in a much starker way. A Kerry victory would have been a kind of historical anomaly, blurring the true lines of division. After all, Kerry did not have a global vision that would present a feasible alternative to Bush&#x92s politics.

Zizek spends a good deal of space lambasting liberals for their faulty faith in Kerry and his empty vision, instead proclaiming the ascent of a new counterweight that will not seek unity with the United States. I disagree (except on the empty vision part), but it is not this that bothers me. Nor is it throwaway lines like this, which make me fear that his grasp of economics is quite weak:

Further, Bush&#x92s victory is paradoxically better for both the European and Latin American economies: In order to get trade union backing, Kerry promised to support protectionist measures.

No, it was the words “painful but necessary” that were maddening. I pictured Zizek sitting in his safe European home, gently telling his dialectic-minded followers that it is all for the best, that the nightmares that await are part of a cleansing clarity of darkness through which the new sun will rise. I thought it displays a faith not so different than that which informs the Left Behind books that he mentions. I exaggerate, but I was upset.

From Edmund Burke, a philosopher I despised for a long time before coming to a tenuous rapprochement, I learned not that revolution was wrong, but that it is absurd to believe that a ideology, revolutionary or otherwise, can be faithfully transmuted into a working polity. Zizek does not offer statecraft, but inflated theory with which he cheers the coming crash. I have no doubt that life will get far more unpleasant, but I will not allow myself to believe that the decreased education, increased poverty, and burgeoning intolerance will yield a better world or revivified political debate through anything except pure accident. I will not applaud the clarity gained when the U.S. refuses to ante up more than a pittance for the damage wrought by tsunamis in Southeast Asia.

Nor do I believe that the “lessons” learned from these horrible experiences by the vast majority of Americans (or others) will be anything other than instinctive reactions towards some new random vector. Even the ultimately optimistic economist Joseph Schumpeter was sober and cautious when considering the failure of capitalism and the successful rise of socialism, offering only an equivocal endorsement of what he believed would come to pass.

Zizek portrays an America of uniquely extreme religious fanatics. But the United States’ problem is that through an unlucky confluence of events, a group of crazies have taken over, people who do not act, in general, in line with the beliefs of those who voted for them. This is not because Americans are particularly close-minded or bloodthirsty, but because most people everywhere are irrational and ignorant.

After the election, I felt an alienation from huge chunks of my country far greater than anything I’d previously experienced. I could not find words for it, but Steven Shaviro sharply articulated the paralyzing despair: Nothing.

I think, rather, that 59 million people voted for Bush in full consciousness of what they were doing. They were aware of the harms that they would suffer from this action, but they were willing to put personal advantage aside in order to serve a higher duty. In other words, the reelection of George W. Bush was an ethical decision, a moral choice.

I believed this too in darker moments, but then I asked myself: what duty? I remind myself that this President hardly articulates policy, especially given how often it reverses. His steady, agonizingly simple personality is the foundation for any policy; (I don’t think Tom DeLay could have gotten elected with the same rhetoric, and so far, he agrees with me.) With any luck, this version of politics too will fall away after Bush leaves public office (whenever that may be), and there is no longer a cowboy hat on which to hang the current policies.

Looking to the future, I think that India has it right. The Road to Surfdom has a piece on India’s attitude towards America that gives probably the best-case long-term scenario. Dunlop paraphrases the Indian government’s attitudes as such:

[The Congressional delegation] spoke to a lot of Indian government people and the message from them was very clear, and in a nutshell it was this: We don’t much care about America. He said they were very polite but almost indifferent. Maybe matter-of-fact is a better description. The conversation went something like this:

We consider ourselves as in competition with China for leadership in the new century. That’s our focus and frankly, you have made it very difficult for us to deal with you. We find your approach to international affairs ridiculous. The invasion of Iraq was insane. You’ve encouraged the very things you say you were trying to fix – terrorism and instability. Your attitude to Iran is ridiculous. You need to engage with Iran. We are. We are bemused by your hypocrisy. You lecture the world about dealing with dictators and you deal with Pakistan. We are very sorry for your losses from the 9/11 terror attacks. Welcome to our world. You threaten us with sanctions for not signing the non-proliferation treaty, but you continue to be nuclear armed and to investigate new weapons. You expect us to neglect our own security because you want us to. We don’t care about sanctions.

That seems about right. The resistance of so many people to embrace a non-Western-centric view of the next half-century years (and I include Zizek here) is as much a product of parochialism as it is of short-sightedness. The view of a battle between European progressivism and American fundamentalism (Zizek calls it fundamentalism; I, who can’t see a competent hand at the wheel, would just term it insanity) seems obsolete, an artifact of half a millennium of Eurocentrism.

Given the damage wrought to it by the tsunamis, India certainly regrets the United States’ lack of assistance, but is probably not surprised by it. The United States’ total inability to lead in aiding South Asia, or even to feign appropriate sympathy (pace Burke), is ironically appropriate. I still wish that the richest country in the world would shell out a few billion, and I do believe Kerry would have wrangled a bit more, though not as much as I would like. But either way, change is coming through economic realignment, not through Zizek’s advocacy of the repoliticization of the economy (which itself seems to be synonymous with a re-Europeanization of the world).

Likewise, the damaging acts of the United States, assuming they don’t wipe us all out, will be self-marginalizing, rendering the decline of liberalism and the increased polarization of Europeans and Americans irrelevant. So when I am set upon by the black mood of despair that Steven Shaviro described, I regretfully welcome the decline of the United States’ influence, so as to minimize the impact and scope of what Zizek ominously describes as “the confrontations to come.”

Ominous to me, at least.

Thomas M. Disch: On Wings of Song

Thomas M. Disch was born in Iowa and raised there and in Minneapolis. On Wings of Song is his first extended treatment of the Midwest, and it is infused with the visceral, unmasked fury of a refugee. Disch is an angry writer, and large portions of his work are directed without mercy at his chosen enemies: the Catholic church, conservatives, middle America. Disch does not have any interest in humanizing the individuals of these targets; his natural inclination is towards unmitigated horror, and he is always willing to portray it in the form of average Americans.

On Wings of Song, written in the late 1970s, predicts a mid-21st century America that has split in half, into a Midwest that functions as a set of police states of wholesome values, and decadent cities like New York, which is presented as an extension of the pre-90’s city. I will concentrate on the Midwest.

Disch portrays the Midwest states as split themselves, going into fortress mode with vocal, fanatical contingents of fundamentalist jingoistic “undergoders.” (Think the Christian Coalition, Focus on the Family, and other such highly mobilized groups, extended into significant community organizations.) Minnesota becomes a hotbed of sin, allowing pornography by a small margin, while Iowa, by six percent, has made possession felonious. The undergoders fight against even the mildest Supreme Court decisions that protect freedom of speech. There is no resolution here, but Disch implies that the undergoders are growing, conservative policies are dominating, with the constant threat of new state-level initiatives, and no serious opposition exists, partly because the opposition keeps leaving for New York and other more hospitable places.

This is where our hero, Daniel Weinreb, grows up, and, after a stint in jail for possession of porn, he gets the hell out, only returning to Iowa at the end of the book, where he is shot and killed (maybe–it’s complicated) by his old undergoder high school teacher. That, at her trial, she defends herself with the Pledge of Allegiance is as good a summation as any.

The depiction of the heartland could come across as cartoonish and excessive, but Disch delivers the message with such a sober directness that it reads as a memoir: “Look, I have scoured for the depths of these people and found nothing, as you will see.” The novel repeatedly reinforces that these people are exactly who they appear to be, no better. Their baldly horrific characters eliminate any trace of humor or satire as well. In light of his concerted emphasis on the simplicity of these people, it makes sense that Disch, in his later fiction, moved towards the horror idiom, where broad portrayals do not require justification and are de rigeur. (John Crowley wrote an article on his later work a few years back, but I have yet to track it down.)

Yet it is here that it is most striking, because of the justification. The most fleshed-out conservative is a powerful upper-class government official, who pragmatically explains the use of the various draconian policies of Iowa to Daniel. It is not the logic of a Karl Rove, wrecking the nation to trick assorted constituencies (who in the White House is wholeheartedly aligned with Christianity, rather than with power for its own sake?), but of a man who truly believes that the good old repressive Christian state makes the best polity. This is the most “credit” Disch gives this sort of character; afterwards, he seems to have lost patience.

There is much else in the novel, including a heavily symbolic degradation in which Daniel has his skin dyed black, hair frizzed, made a gay sex slave, and forced to wear a chastity belt. (Disch also used the theme of whites being dyed black in the suspense novel he co-authored with John Sladek, Black Alice, and it merits further examination.) But now, unsurprisingly, it’s the political scenario that resonates. Reading On Wings of Song today, it seems much more of a warning than it did when I first read it, an allied message from enemy territory. I suspect Disch partly meant it as such. The message is, as all such things are, debatable, but the survivor’s stare with which it is delivered is not.

Update: Maud Newton presents the email of an estranged middle American who can no longer read her site due to filtering software at work. His attitude reminds me of Disch, but with frustration replacing anger.

It’s also a sign of how bad things have gotten that squeaky-clean Homestar Runner, with its strict avoidance of vulgarity beyond the word “crap,” was somehow blocked anyway. The thought of children growing up without Homestar Runner is really depressing.

Werfel, Zweig, Yesterday, Tomorrow

For Werfel, the decisive things were the emotional aspect, the romantic idea, the lyrical substance–the power of language. He did have a language of his own! Unlike Stefan Zweig, who is simply an intolerably poor writer. Zweig blows himself up, he inflates ideas that he doesn’t even have. Whereas Werfel is prodigal with his ideas but often doesn’t know how to make anything out of them. He was an infinitely greater natural talent than Musil, but Musil is the infinitely more interesting writer. I think I know what Werfel lacked: he hardly ever questioned himself. He could be a Marxist, he could be an anarchist or a conservative, he could be a Catholic–it was all interchangeable, it all depended on the moment’s whim, idea, emotion. That is where Karl Kraus’s evil eye did, after all, see the truth: while writing was a necessity for Werfel, while he had the urge to express, what he then wrote–the actual message–was totally interchangeable. Werfel pulled himself under, time and again. That was a talent of a great writer who destroyed himself.

Hans Mayer (from Peter Stephan Jungk’s Franz Werfel)

Where to begin? Hans Mayer is an interesting, obscure (at least to me) figure by himself: a quasi-Marxist critic in the line of Lukacs who broke with the orthodoxy before it turned inward on itself; a more plainspoken sort who is still dedicated to analyzing literature in a Marxist context.

While it removes him from the heavily theoretical line of Adorno to Jameson and onward, Mayer was still far more aggressively radical than someone like Irving Howe, a liberal who loved his milieu too much to question its precepts. I like Howe, but many of his essays seem as much relics as their time as Lionel Trilling’s, as compared to Gore Vidal’s literary essays of the same period (50’s and 60’s), which seek out extremes that Howe shunned. Perhaps the closest American analogue for Mayer is Morris Dickstein, a theorist who wants books to work and succeed, who is always subjugating his own essayistic practice to that of those who he prizes most highly: the great writers of fiction. But here, he treats two writers (Werfel and Zweig) whose lives bore them out more than their fiction did.

Yet Mayer damns Werfel and Zweig in this passage for entirely different reasons. Stefan Zweig is dismissed for being a weak thinker, while Werfel is criticized for thinking too much, in too many directions, such that it paralyzed his writing. Both writers met with a good deal more success than Musil, Zweig for a long series of popular biographies, Werfel for all sorts of things, particularly two long but well-written potboilers where, indeed, the lyricism takes over.

But I think he dismisses Zweig too quickly. Zweig was a frail mortal amongst the giants of his age: Broch, Mann, Kraus, Musil, Canetti. His autobiography, The World of Yesterday, differs from Elias Canetti’s memoirs of Vienna in the 20’s, in that Zweig lacks Canetti’s ego. Zweig’s book is suffused with the knowledge that he could not match the minds around him; while he could (and did) meet with popular success, there is never the hint of the visionary about him. His works dispatch small ideas efficiently; his novella The Royal Game is considerably more compact than Nabokov’s The Defense in dealing with the theme of chess-as-obsession. While Werfel throws himself at ideas and produces pages upon pages, Zweig approaches them tentatively and knows when to finish. (Accusations of inflated ideas seem inflated.)

Zweig and Werfel have similar places in my mind; neither of them is on a par with the best of their time, and the works of both have a small spark that keeps them vivid in my memory. Werfel may have been more heat than light, but the heat has not survived. Yet Zweig wrote a humble autobiography in which he looks backward quietly, and called it The World of Yesterday (DIE WELT VON GESTERN), which Werfel could never have done. Yesterday seems to have been all Zweig had at that point; having fled to Brazil from Europe, despondent over the war and unable to envision a new life for himself or for Europe, which he claimed had destroyed itself, he committed suicide.

Werfel, productive to the end, survived the war and two heart attacks. He was planning out several future projects and living the good life in Hollywood when he died in 1945. His endless ideas were at least as good to him as they were to his work.

Shohei Imamura, Pigs and Battleships

Shohei Imamura is one of my favorite directors, and it’s a recurring frustration that I haven’t been able to see more of his movies; many just aren’t available in the states, and his recent work is nowhere near as great as the amazing films he made from 1961 to the mid-80’s. The Ballad of Narayama is somewhere in my top five films ever, and wonderful flicks like Eijanaika and The Insect Woman are some of the most unsensationalistic, unblinkered views of brutality and poverty ever. And still I have yet to see the wonderfully named The History of Postwar Japan as Told by a Bar Hostess or The Profound Desire of the Gods.

But I did finally see Pigs and Battleships, and from the very start, the scope of the enveloping setting that he creates–in this case, post-war, occupied Yokohama–is stunning. The plot is discursive, difficult to follow, and eventually absurd: something about gangsters raising pigs for money. In the climactic scene, hundreds of pigs run loose in Yokohama’s red light district. Meanwhile, an inept, flunky gangster attempts to save his girlfriend from being sold off as a prostitute or as an American soldier’s wife. He dies, but the girlfriend defiantly escapes the hellhole to start a new life elsewhere.

(In Imamura’s words, “Self-sacrificing women like the heroines of Naruse’s Floating Clouds and Mizoguchi’s Life of Oharu don’t really exist.)

There are multiple layers of symbolism and allegory, mostly around the cultural impact of the loss of the war and the American occupation, but realism remains absolutely paramount. Even when pigs are running crazy, the characters themselves are driven by base motives that remain absolutely plausible because of their simplicity. After the film, I argued with a friend who said that the conflicts–young man trying to be successful for his girlfriend–were cliched, and the characters were not interesting in themselves.

I have no problem with this; it suits Imamura’s style, which needs a basis in the mundane to ground its panoramic grotesques. He does not dress up his characters in fancy psychological motives or extreme situations because it would detract from the sense of the world he is trying to create. I saw Closer the other night and got a kick out of it, but the characters were so artificially articulate and contrived that they bore no resemblance to the world that I know. Imamura presents a setting that I have never experienced, and makes the people and the cultural systems behind them seem as tangible as the people I see on the subway each morning.

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