The Launderer's Hand

Continuing the discussion:

As has been pointed out many times before, "genre" is not a simple compound, or even a clear formula, and its assorted aspects of publishing, writing, and reading are only loosely interdependent. Some writing, it's true, affirms generic coherency, snug and compact in a neatly labeled bundle. But much of what I'm drawn to seems badly wrapped, corners rubbing against frays and duct tape.

It always comes marked, however. No matter how much writer or reader idealizes invention from whole cloth, there'll be some natural discoloring, someone to see a pattern, and someone to apply a dye. Even the launderer's hand grows red with wringing.

To drop the metaphors:

1. My favorite writing is sui generis.
2. It was (and is) all published (more or less antagonistically) within a generic context.
3. Assuming that one particular genre has special access to the sui generis greatly reduces the chance of actually finding it.

Which is why, as I wrote earlier, plowing cover-to-cover through some 19th century volumes of Blackwood's or Harper's, or High-Modernist-era New York Times book reviews or High-Hollywood-era movie reviews, would be salutary for most English and creative writing majors. Someone who refused to look at smut would have missed Lolita (fittingly, Nabokov himself first received Ulysses as an exemplar of smuttiness); someone who refused to look at sea stories (or flop gothics) would have missed Melville; someone who refused to look at cornpone humor would have missed Twain; and so on. And someone who refused to read academically canonized writing would miss all the same books now. For we who love to be astonished, it's worth attempting to read Hammett's and Thompson's (or Fitzgerald's and Faulkner's) prose the same way whether behind pulp covers or a Library of America dustjacket.

To take a limit case, there are (and have been) an astonishing number of readers who treat everything written by women as its own genre, resulting in a comedy of re-interpretation when misattributions are corrected and as the purported "genre" is denigrated or celebrated.

All this from publishers and readers. For a writer, genre may considered a conversational context, with one's social circle not necessarily restricted to one's neighbors, or even to the living. Since the literary mainstream's "discovery" of Patricia Highsmith began, I've seen a number of bemused references to the influence of Henry James, but this isn't an unusual phenomenon. The work itself is always more (or less, if truly "generic" work) than whatever genre it's in.

Carol Emshwiller, John Crowley, Karen Joy Fowler, Jack Womack, and Kelly Link write the sui generis they write and publish in whatever genre welcomes (or allows) them. But a contemporary may find it useful to learn that they all began publishing within the context of the science fiction genre, whether they themselves started as genre readers or not. And although I seek out Dalkey Archive and Sun & Moon Press spines in the bookstores, I enjoy knowing that the past decade of The Magazine of Fantasy & Science Fiction has shown more lively variety than any university-sponsored or trust-funded fiction journal.

The Sport Parade (1932)

Leonard Maltin mentions the lame story, the flashy direction, and Robert Benchley's brilliant screen debut, not looking as puffy-fishlike-thing-on-the-beach as he would a few years later but already blatantly inserted, as America's worst color commentator ("And it should be a great Yale, Harvard, Princeton, Dartmouth game today at Yale Stadium, here in Cambridge, Massachusetts...").

True, true, all true. But it says something probably not worth saying about heterosexual hegemony and the all-male capsule review business that unmentioned goes the most eyeboggling aspect of the movie, young pre-Code Joel McCrea. I always accepted on faith that this sullen, stubborn, humorless, not-too-bright character was sexually attractive, but I never really understood why till I saw him with no clothes on.

OK, he's not completely nude on screen. But I gotta say if Jean Harlow or Myrna Loy had spent a sizable portion of a movie greased up and wearing only tighty-whities, Leonard Maltin sure as hell would've found it fit to mention.

Plus: "Skeets" Gallagher!

Reference Work, 1

Two artists in dudgeons, one low, one high:

And every single person in the real world looks at this, and that's why we make our films the way we do. Because you don't have the freedom, you don't have the integrity, you have to remake everything we've done anyway. I go to see Martin Scorsese, and I say, Don't you think I should tell you about the lenses? And he says, What do you mean? And I said, Well, you're remaking my film, which is Infernal Affairs. Infernal Affairs was probably written in one week, we shot it in a month and you're going to remake it! Ha ha, good luck! What the fuck is this about? I mean, come on. In other words, if you read The Rise and Fall of the Roman Empire, then you'd actually have a very clear idea [laughs] about what's really happening in the U.S. right now. So what do we do? You tell me. [...] If Martin Scorsese can make a piece of shit called The Aviator and then go on to remake a Hong Kong film, don't you think he's lost the plot? Think it through. "I need my Oscar, I need my fucking Oscar!" Are you crazy? There's not a single person in the Oscar voting department who's under 65 years old. They don't even know how to get online. They have no idea what the real world is about. They have no visual experience anymore. They have preoccupations. So why the fuck would a great filmmaker need to suck the dick of the Academy with a piece of shit called The Aviator? And now he has to remake our film? I mean this is bullshit. This is total bullshit. I love Marty, I think he's a great person. And the other one is Tarantino. Oh yeah, let's appropriate everything. Are you lost? Yes, you are lost.

- Chris Doyle

Let's see, if we chide the writer who makes reference to low-brow material, who appropriates cultural material — because appropriations are a bit like sampling in rap, really borderline plagiarism, everyone knows this — we'll have to roll back to T.S. Eliot. Oops, we have to throw Eliot on the scrap heap, too — apparently he risked some high-low mixing, and some appropriations. Forget Joyce, of course. We'd better go even further back. Once you begin looking at the underlying premise — a blanket attack on the methods that modernism uncovered — the kind of bogus nostalgia for a pure, as opposed to an impure, literature, what you really discover is a discomfort with literature itself. [...] It's not about reading. That's the problem. It really is about — I'm repeating myself — class anxiety. Once you have an eye for this you spot it in odd places. I read a review in Book Forum where a critic, quite incidentally, in attacking Michel Houellebecq, said in an aside, "But then again, the French regard Hitchcock as art." Well, now, wait a minute! These battles were fought and won. These victories were decisive ones, fifty years ago. There's no rolling that back. Hitchcock is art. So if you pin Hitchcock's scalp to your belt: "Not only have I seen through Michel Houellebecq, the charlatan, but in fact I'm going to tell you that the auturists were wrong and Hitchcock is low-brow and unsavory," you've discredited yourself so absolutely that you deserve to read nothing but Trollope for the rest of your life.

- Jonathan Lethem

OK, first, Trollope worked a day job for the fucking post office, so let's leave Trollope out of this fight.

Otherwise, it's a fight I felt like starting myself when I read this shallow attack on shallowness two years ago. (Why didn't I? Well, I work a day job, see....) For John Leonard, the difference between profundity and immaturity comes down to name-dropping:

Is it so unreasonable to want to know more of what he thinks about Julio Cortázar and less of how he feels about Obi-Wan Kenobi? [...] Superpowers are not what magic realism was about in Bulgakov, Kobo Abe, Salman Rushdie, or the Latin American flying carpets. That Michael Chabon and Paul Auster have gone graphic, that one Jonathan, Lethem, writes on and on about John Ford, while another Jonathan, Franzen, writes on and on about "Peanuts," even as Rick Moody confides to the Times Book Review that "comics are currently better at the sociology of the intimate gesture than literary fiction is," may just mean that the slick magazines with the scratch and sniff ads for vodka and opium [sic] are willing to pay a bundle for bombast about ephemera.

This approaches J. Jonah Jameson levels of wrong-headedness. As if Ulysses would've been improved by more of Lohengrin and less of "The Low-Backed Car". As if John Leonard ever actually took time to honor Alfred Bester for referencing Joyce or Patricia Highsmith for referencing James and Camus.

He asks me, "Do you care how many times I have seen The Umbrellas of Cherbourg, or what's going on in my head while I watch Sara Evans sing 'Suds in the Bucket' on the country music cable channel?" And I answer: "No more than I care what's going on in your head while you watch Carol Burnett. I don't even care what you think about books. Moreover, if you were a movie critic or a music critic, I still wouldn't care about your renting a Demy video or your pseudo-ironic celebrations of Evans — but you'd tell me all the same. What matters in our relationship isn't whether I care; all that matters is what the NYRB and New York Magazine will publish."

In Leonard's horror at public lapses of taste, this professional book-and-televison critic failed to notice that his subject is not a professional critic of anything and The Disappointment Artist is not a collection of criticism: it's a linked collection of autobiographical essays whose hooks happen to be American cultural artifacts. Lethem could hardly have been more explicit about it. In his long tribute to the The Searchers, the "critical" argument is confined to two paragraphs terminated by the sentence "Snore."

Sure, some generic ambiguity exists: there's that strain of criticism-as-New-Journalism which was domesticated down from mutants like Meltzer and Bangs into the cage-raised free weekly strains. But those conventions presume a like-minded community, whereas Lethem peddles his wares to a middlebrow camp unlikely to have any interest in his ostensible topics. Therefore the focus stays on Lethem-as-character.

So let's imagine our successful young novelist writing a similar autobiographical essay about reading Kafka or Cortázar:

"And suddenly I realized: I write fiction too. Just like him."

Yeah, there's news.

Equally newsworthy:

"Professional pundit publishes asinine remarks; bloggers rant."

But god damn it, I can't seem to let it rest at that. What irks me is the feeling that I share some aspect of some response with Leonard — and, in a different way, or a different aspect, with Lethem, too. And again, Lethem's admirably blatant about it: he put Disappointment right there in the title for us.

"Thea's main objective in life seemed to be to make her contemporaries feel awful."

Since I'm a long-time champion of Patricia Highsmith, my friends have naturally asked me what I thought of the new biography. Well, when I gave up the idle fantasy of writing a critical biography I also seemed to lose interest in reading one, and so I haven't read it. But of the opinions formulated by people who have, I commend with pleasure Jonathan Lethem's, and would only add to his suggestions two novels of particular import to biography readers: the alternate-history life-of-Highsmith Edith's Diary, dedicated to the unlikely proposition that Things Could Be Worse, and Those Who Walk Away, which narrates the healing powers and jarringly hard limits of empathy in a way and in settings that Henry James might recognize without quite endorsing.

Wanna be a member? Wanna be a member?

Obama's crack economic team never seriously considered breaking up too-big-to-fail financial institutions, or otherwise slowing redistribution of wealth to their gambling joints, because (I quote from memory) that would've interfered with the only truly successful business America still boasted. Which, besides being a fine adaptation of "What drinking problem? I have plenty to drink," made me seriously consider a recent statement of my own.

The delusions of a Tom Ripley, a David Brent, a [NAME REDACTED], or a [NAME REDACTED] sometimes seem dismayingly familiar to me and my neurotic loved ones. But our grasp of them loosens in a tinnitus of second thoughts; we coil and recoil, we drop them, or anyway we try to drop them. We aren't highly motivated goal-driven visionaries. Highsmith's good at showing the difference between throwing oneself in and being pushed: Therese Belivet isn't a sociopath; she's just in love. Clarence Duhamell isn't a sociopath; he just chose the wrong career.

In a way, then, it's true that success depends on desire: not success at a job, but in a career. You can only gain entry to a community of sociopaths by wanting it bad enough. Instilling that desire is what basic training and analyst training programs and graduate school and Bimbo's initiation and Philip Carter's incarceration are all about. And within that community theater, you face notoriously little chance of "failure" no matter how poorly we outside the ranks might judge your performance. Your performance is not directed at us.

Why do you make me hit you?

But if Pat's affinity for Jewish dentists was yet another example of the subversive Miss Highsmith turning an ordinary exchange upside down — i.e., the "German-identified" Pat being "gassed" by "Jewish dentists" (an idea so offensive that it might actually have appealed to Pat) — she never said so.

- Joan Schenkar,
The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith

Gee, how clever you are to know about things that never happened.

- Joanna Russ, The Female Man

Against my better judgment, I read Schenkar's long dreadful book for the same reason I read Juliet Barker's similarly vindictive The Brontës: its compilation of primary sources. But Barker is a more controlled writer (or maybe benefited from a harder-working editor), and her intolerance closely resembles that of her chosen villain, lending the affair a certain meta-piquancy.

Schenkar, on the other hand, only resembles her own telling. She calls Highsmith's prose awkward and flat-footed, and she ladles out an Irish stew of purple clunkers. She snickers at Highsmith's pretensions, and she routinely overreaches:

By 1977, when Edith's Diary was published, rye had not been produced in the United States for at least twenty years.

She descries Highsmith's compulsive disruptions, and she's so full of redundant snark that she can't wait till a quote is finished before telling us what to think:

But she was "quite unable to do any creative work, though in my house there is always quite enough else to do. The mental fear needs a thousand words to describe. [But Pat did not provide them. [And neither does Joan.]] It as though death is right there — suddenly — and yet one feels no pain, one is talking in a calm voice to friends & doctors."

Schenkar's starting position may not be far from uncannily unmoved and unmoving witnesses like Found in the Street's Natalia or Inez from Those Who Walk Away. Here, though, their silent treatment bursts into a grossly extended middle-school poison-pen letter: "We just thought you should know: we don't like you." The best I can say is it gives Highsmith's paranoia, misogyny, and resentment a more flattering context than I could've conjured on my own.

Josh Lukin, August 18 1968 - July 25 2019

... a man of infinite patience and compassion, awesome learning, immense honesty, and almost grating humility, he represents to me the peak of what a scholar can be.

- from "Acknowledgments" in "A Literature of Suspicion: Critiques of 1950s Ideals in the American Roman Noir," a dissertation by Joshua Benjamin Lukin, 2003

Dick Macksey was the role model Josh mentioned most often to me, with H. Bruce Franklin a close second. I suppose what makes us think of someone as a "role model" or a "mentor" rather than simply "admirable" is validation-by-example of an ethos we would like to share once we've been assured that it's possible. And for those who succeed, descriptions of one's role model can conveniently be repurposed by others as a self-portrait.

Josh successfully lived as if the greatest of scholarly virtues, the primary impetus and guide which could not be sacrificed to convenience or time, was generosity. I'm told there are few higher-education jobs more draining than repeated first-year composition classes in an un-Ivied urban university, but year after year he gave his all to students. Almost half the longer pieces in his publications CV consist of interviews with non-canonical authors (and Josh Lukin was the Ernest Haller of interviewers). One of his two book credits comes from editing a collection of next-to-forgotten work from a writer better known as a mathematician; for the other, he edited a collection of essays about undercelebrated writings from an undercelebrated age. If he'd only labored over some first-time-into-English translations, he would have bullseyed every bullet point on the "Valuable Scholarly Work Which Will Not Advance Your Career" slide.

The virtue of "generosity" covers a wide and sometimes conflicting range, and its expressions are shaped by opportunity and need. (To put it more bluntly, Josh Lukin could not have reached into his shelves and handed anyone a first edition copy of Tristram Shandy — although he could and did provide a year's worth of very welcome Donald Westlake recommendations.) In Josh's scholarly home turf of American studies (most often non-mainstream fiction, most often mid-20th-century), his characteristic expression turned away from both a Hermeneutics of Suspicion directed at naive-yet-safely-canonical Literature and the quietist or martial celebration of received wisdom, to demonstrate a Hermeneutics of Recovery and Acknowledgment which let suspicious Literature handle the Suspicion.

More broadly, he worked (and played) to break through the gated solipsism of those who conform to the hegemony du jour and the solitary confinement of those whose experiences or very existence have been denied:

But the taking of sides is not always the point: some of [Chandler] Davis's stories and essays rely on poetic force to evoke the understanding that — to put it in propositional form — “This state of feeling, or sequence of feelings, is possible and even common.’ A criterion for artistry and for radicalism in such a tactic is whether the statement is necessary and unusual: the pedagogy of feeling to which we are subjected every day by the clichéd and conservative discourse around us does not need more literature to reinforce it. Andrea Hairston has written, “Repetition is meaning. What we hear endlessly, goes without saying—is learned.” We need the tools to unlearn it, or to find affirmation of what we rarely hear validated; but we aren’t blessed with authoritative guides or methods for determining where poetic truth appears, or what manifestations of poetically shared feeling “further our understanding of ourselves and our society.” We must fall back upon our own rational faculties and our own moral imagination, with curiosity and compassion fueling our drive to connect with others.

- "Afterword: Alternatives to Reverence" from It Walks in Beautry

What artists, educators, performers, and historians can do for such movements is establish connections and continuities. If the hegemonic discourse reproduces itself by telling people with dissenting ideas that they are ridiculous, unhip, criminal, isolated, or mad, then any indication that they might be reasonable, aware, just, sane, and possessed of views that are shared by other people or were validated in other eras can help to build courage and conviction. Documenting what happens when shame is used as a mode of social control, when men are limited to a small repertoire of stereotypical roles, and when class is conflated with personal worth, the Literature of Suspicion can tell a receptive reader that a life such as his has been noticed or that her own suspicions that the dominant order's claims are false have been shared.

- "A Literature of Suspicion: Critiques of 1950s Ideals in the American Roman Noir"

Although I will in the remainder of this essay speak of having recognized familiar experiences in literature, I actually tend to feel that the text has recognized me rather than the reverse. And in being so recognized, I get, paradoxically, assured that responding, or having responded, with shame (or indeed with other intense affects) to past or ongoing experiences may not in fact be shameful.

- "Science Fiction, Affect, and Crip Self-Invention — Or, How Philip K. Dick Made Me Disabled"

To my suggestion that Josh go public with his particularly acute critique of a then-trendy bit of poisonous rhetoric:

But right now, getting X *more* talked-about seems to me to be as desirable as a fistula (Asking Delany for his thoughts on the guy was a strategy for getting more Delanyan thinking into the world, not more reflections on X per se). You know me --I wunna call attention to as-yet insufficiently celebrated scholarship (among which I count Hoberek's book) or promote the creation of critical work that circumnavigates the Usual Cliches. Or, you know, get more sleep.

- correspondence, 2005

What's at stake here for me is that I would kind of like to say "These authors I have interviewed provide us with tools to rebut, or see through, or assert our dignity in the face of, or ignore, the toxic fantasies of X, Y, and Z" 'cause one is supposed to have a theory as to what theme holds one's work together. I hope my argument ends up having advantages beyond the fact that I know about irony. I'll have to engage Landy's "Nation of Bovarys," I guess; but surely we all see our own insufficiencies and plunge into bovarysm in order to escape the condemnation which, deep in our consciousness, we are the first and perhaps the only ones to make.

- correspondence, 2011

* * *

Present-day curators of American higher education in America set high value on "generosity" among the donor class but otherwise maybe not so much, and the freshly doctorated Josh Lukin duly became a contingent employee with a teaching load which discouraged extended research, writing, or publisher stalking. Chronically short on time, and showing caution appropriate to the academic precariat (as well as caution appropriate to the reader of Patricia Highsmith), Josh reduced his weblog to un-Waybackable ash long ago, and kept his Facebook account on lockdown more often than not. His latter-day academic publications include book reviews, reference-book entries, and a few historically-informed pedagogically-slanted close readings. All of them excellent jobs; all of them informative, convincing, and true to his own values. At least one of the reference entries has won an impressive citation list in its own right.

But such material requires some fading-into-the-background, and few hold much of Lukin's distinctive voice.

Most obviously (and understandably) missing are the puns. Josh perceived a world of whirling nimbuses of potential pun, where a quiver of displacement might at any moment discharge a cackling flash too loud and bright to ignore.

Then there was his affection for a mostly-vanished mode of mid-century secular American Jewishness; in one phone conversation with Josh, I would hear more Yiddish than from my year in Brooklyn. Like other drops from approved diction into "down home" idioms, it played a tutoyer role, and as such sometimes made a guest appearance in his interviews.

Most crucially, his academic publications muted the unique virtue of his wit, which somehow contrived to be engagingly genial even when furious or despairing. When he stung, he left a sting worth attending. You might gather some notion from his Chandler Davis afterword, and "Science Fiction, Affect, and Crip Self-Invention," and, less formally, from his Aqueduct Press self-bio. Although his dissertation is officially unpublished and (like virtually all contemporary literary-studies dissertations) modularized for easy cannibalization, and has in fact been partly cannibalized, it also coheres and builds, which makes me suspect that extended Lukin may be the best Lukin.

For that reason, I've kept close and frustrated track of the book-length projects he's mentioned over the years: a collection of his "interviews with feminist authors"; "Noir Recognitions, a study of identity in the 1950s novels of Jim Thompson, Patricia Highsmith, Shirley Jackson, and Philip Dick"; and, most intriguingly, "an unpublished draft of a memoir (Urgency: Growing Up with Crohn’s Disease)." Maybe someday, someday... well, a fan-boy can dream, can't he?

* * *

The Josh Lukin I knew was deeper, wider, and funnier than the academically-published Dr. Joshua B. Lukin, but still not quite Josh complet. I know from hearsay that he, like me, loved to eat, loved face-to-face conversation, and exhibited a disconcerting tendency to burst into song (myself in chants which echo Michael Hordern's, Josh [I imagine] in a Melchiorisch heldentenor accompanied by Segovian guitar). But residing 2800 miles apart and on very different career tracks, we (and Ann Keefer, his partner in all things) met only once in the flesh (being flesh, we of course immediately dined), and the late hours of our phone calls discouraged outbursts which might startle sleepy cats.

Still, it was Josh Lukin enough to fill a satisfying portion of my life. Long after the bulk of free-and-direct discourse retreated from the spooky public sphere into Mark'n'Jack's ClickLike Clubhouse, he continued to engage with an uncredentialed unknown non-academic who (true to form) could not conceivably advance anyone's career a whit. For sixteen years, through mutually inflicted bafflements, bruisings, and boosts, he was my most reliable correspondent, and for sixteen years he instigated my most extended and educational phone calls, punctuated by his signature placeholder, "What, can, I, say...," intoned with the delighted perplexity of a sated gourmet faced by another platter of amuse-bouches. Despite being given the advantage of a four-hour time difference, I'm such an early-rising geezer I sometimes found myself unable to even take notes during the last part of these calls, and wished I'd asked permission to record them for later listening.

(Timmi Duchamp maintained an even longer and closer epistolary/telephonic friendship. I wonder how many more of us are out there?)

Josh always suffered from greater or even-greater health problems, and they worsened this year, interfering not only with his work but with his and Ann's preparations to relocate. In mid-July he phoned to tell me that diagnostic progress had finally been made and a biopsy had been scheduled, and he figured I might be able to say something more than "We will keep you in our thoughts and prayers." I did so; he did so; we enjoyed ourselves but grew fatigued, as a sleepy old guy and a mortally ill guy will. Before we hung up I asked him to phone me again next week with the results of his biopsy, then thoughtlessly added, "We'll be thinking of you." I quickly apologized for violating our contract, at which he just as quickly chortled, "Like Oscar Wilde said, heh, the only thing worse than being thought about is not being thought about."

I didn't hear back from him the next week but wasn't surprised — no matter what course of treatment he was prescribed, he and Ann would also be busy with their move.

Early on Sunday morning, July 28, I saw an obituary for Richard Macksey in the Washington Post, and sent a short email to Josh expressing condolences and asking about the biopsy. Late on Sunday night, I realized it had been a while since I checked on Facebook inhabitants, briefly logged in, and found that Josh had died two nights before.

He would've mocked my sentimentality with relish (with mustard, even), but Josh meant the world to me — I know he did because the ground beneath me vanished when I read the news — and free-fall makes me clingy. I hope this Sondheim number is sardonic enough to pass muster (and the mustard) with his memory.

Contraction : 1973 – 1976

Thus further constraints need to be applied to attempt to separate useful information (to be retained) from noise (to be discarded). This will naturally translate to non-zero reconstruction error.

- "Stacked Denoising Autoencoders" by Pascal Vincent, Hugo Larochelle, Isabelle Lajoie, Yoshua Bengio, Pierre-Antoine Manzagol

Braymer C-4 High School offered no advanced placement classes and no foreign language instruction. (Although librarian Mary Margaret McAllister could've taught French, doing so would have forced the school to raise her salary.) The irresistibly caricaturable math teacher, Russell Clodfelter (affectionately called "Felter" after he forbade us to affectionately call him "Clod"), only rehashed what I'd already learned, but that was enough to fetch us yearly trophies from the state mathematics championship. (Yes, there was such a thing.) The English teacher's favorite works of literature were Mandingo and Gone with the Wind; most of the other teachers were far worse. Aside from one touch-typing course, formal education had come to an end and I was left to my own devices.

Devices were thin on the ground. The bulk of the school library was assembled at the turn of the century, as close to a heyday as Braymer ever got — Artemus Ward and William Dean Howells; Thomson, Cowper, Whittier, and Longfellow — although somehow one paperback of Leonard Cohen's pre-crooner verse had slunk in; I read the sauciest bits aloud to prove that Poetry Is Cool.

The nearest public library was in Chillicothe, population 9500, about forty minutes away, and I relied on my parents' occasional shopping trips to get there. They were usually willing to drop me off for an hour or more, though, the collection was surprisingly ambitious,1 and the person responsible, Ms. DesMarias, became a supportive friend, gifting me with castoffs and lending Finnegans Wake unstamped from a locked cabinet. (Because local book-burners relied on a list last updated in the 1930s, filth-monger James Joyce needed to be kept off shelves where Berger, Pynchon, and Updike were safe.)

My own collection lacked funding. The queue for a grocery store job was years long, and the only farm chore I could handle was slapstick comedy: set the hook in the bale and get yanked off the flatbed; set the hook in the bale and get yanked off the flatbed.... The year before it closed for good, I picked up some cash as a substitute projectionist at my uncle's and aunt's movie theater. (A kid with a tremor maintaining a carbon-arc projector was probably more suspenseful than anything on the screen.) Then I pitched a local history column to the Braymer Bee.2 None of these ventures brought in much.

Walks or cycling offered little escape, since the town was empty of scenery but rife with untrained, unleashed, unfenced dogs. If I wasn't in the back yard with our own unleashed and unfenced dogs, I could sit with Grandma next door while she read her stories (True Confessions) or watched her stories (General Hospital, Beverly Hillbillies, All My Children). On a weekend, I might play chess with a friend at his family farm. Or, and mostly, I could pace my basement bedroom.

In short (ha!) I'd been sentenced to four years in a minimum security prison. And as a prisoner I now had two duties:

1. To survive until I could get out.
2. To resist authority to the furthest extent compatible with my primary duty.

For the first time, then, my ambitions coincided with those of my classmates. Bullying dwindled from a minute-by-minute concern to an occasional issue in gym.

---

I'd tried to keep my musical tastes on the can't-wait-to-grow-up straight-and-narrow — classical, lounge, and show tunes — but Braymer wasn't reached by the necessary radio stations. No matter how I studied Conrad L. Osborne in Chillicothe discards, I couldn't listen to what I couldn't hear, and I needed to hear something other than my chorus of inner hecklers.

The early-1970s rock market welcomed cynicism, petulance, and gossip. Since satire was a traditionally mixed genre with wide allowances for crudity and sketchiness, I wisely advised myself that satirical top-of-the-pops entries made aesthetic sense even if the rest of it was philistine garbage.

After a few months, having already directed my geek gaze away from artifacts as pure virtuosic-thingies-in-a-vacuum and towards a shared outside, I widened it to include more of their implied worlds: jealous songs ethnographically sampled the alien workings and sales of jealousy, boastful songs demonstrated the alien workings of confidence, and so on.

As for having a good beat and being able (or at least eager) to dance to it, I'd always bobbed like a parrot to Gould's Bach and Toscanini's Beethoven, so no issues there.

Aside from any immediate and intermediate gains, the autodidactic approach I'd used — search for an unlocked window or easily jimmied door; enter; make yourself at home; start dropping in on the neighbors — was applicable to other new territories, even if, for political reasons or out of pure cussedness, I didn't always apply it.

And a few months later still, I found discursive models in the Meltzered/Bangsian school of rock-crit, which acknowledged — celebrated, even, in its morose or desperate way — the triune of historical context, tenacious artifact, and fleshly encounter: indissoluble in itself; remixable as fresh context.

---

While pacing through my third year of exile, I had what might be described as an original thought, the first of my life and the most rewarding:3

The time capsule of my high school library established that America's nineteenth-century canon as currently defined differed in almost every respect from the canon chosen by the nineteenth century itself.

And in my limited wandering through the realms of what I'll call for convenience "Modernism" and "1970s New York Times Book Review recommendations," I repeatedly felt a deflation of energy, of risk, of interest in the latter, a diagnosis that even its practitioners sometimes admitted.

Rather than contemporary literature having attained a unique and history-ending exhaustion, what if it was merely the latest in a long sequence of self-inflicted delusions of exhaustion? In the twentieth century, the nineteenth century canon had been sweetened by sources distrusted or inaccessible in their own time: failed or trivial genre exercises; self-published, barely published, or manuscript-only oddities. What would I find if I looked for their contemporary equivalents — not in search of "lively junk" or "mind candy," not with the condescension of Leslie Fiedler's nod to science fiction or Gilbert Seldes's nod to jazz, but instead by granting ambitious practitioners their self-awareness?

Would-be-vocational pride 4 suggested poetry as a starting point, but gathering a critical mass of publications smaller-pressed than APR was impossible from central Missouri. (In fact, I didn't find an opportunity until life placed me and disposable income within walking distance of the Grolier Poetry Book Shop.) Westerns, romances, spy thrillers, and porn were almost as daunting. It seemed more efficient to survey one of the genres I'd read in prepubescence — mysteries and science fiction — since I already had some idea (even if inadequate) of the lay of their lands, both were well represented in the Chillicothe library, and both were widely available in relatively affordable paperbacks.

From mysteries, I remembered a noticeable mid-career shift in my childhood favorite, Ellery Queen, towards — to overstate the case in the way of latter-day superhero comics — maturity, realism, complexity, and relevance.5 That didn't give much to go on, though, and it would be another year before I bought a battered copy of The Long Goodbye (from the same garage sale as a battered copy of The Golden Hits of Leslie Gore; that garage had good taste), and another decade before I first read Patricia Highsmith.

On the other hand, my junior-high transition from science fiction had carried over more than one intriguing oddity — Dangerous Visions and Fun With Your New Head, for example — and its anthologies were easy to find and easy to track leads from.

As it happened, the world science fiction convention was being held in Kansas City later that year. If I could arrange transport, that might make a nice follow-up to the summer session classes I'd gotten permission to take at Mizzou.

Timing was good in another way as well: for sf as well as film, broad distribution of experimental work crested in the mid-1970s, and both New Waves would soon meet breakwaters engineered, in part, by some other MidAmeriCon attendees.

Expansion : 1976 – 1977

When I and another dorm resident pilgrimaged to the Columbia Anarchist League that summer, we found it sharing quarters with a naked woman who avoided conversation and with a member (or possibly the entirety) of the local Communist Party, who jovially assured me that Come the Revolution my sort would be first in front of the firing squad.

I saw both their points, and still do.

---

This is intended to be the origin story of an "image," not a Pooteriad, a Real-Life Top Ten-Zillion, an Apologia Pro Vita Mea, or My Life & Loves. It concerns the development of a survival tactic rather than what I did while surviving. Accordingly I'll knapp the wantons down.

Even if I don't inappropriately-touch on sexual practices, though, I at least need to skirt them. As lawyers and reviewers used to say, they are "essential to the storyline."

When my first lover launched herself at me in reassuringly unambiguous (if inexplicable)1 fashion, I anticipated some sort of relief. But solo training hadn't prepared me for the immersive expanse of that relief: a hitherto unknown knowledge of acceptance, affection, and communication, both verbal and not; an anything-fits-anywhere! security as incontestably Real as a low-hanging ceiling or an unexpected step, and yet not painful. Love served as shelter and shield even from a distance: my final oral surgeries were far less nerve-wracking than earlier installments.

Most unexpectedly, love brought silence. Throughout my life, my skull's been occupied by a 24-hour-theater unspooling and respooling an ever-extended can't-stop-won't-stop shuffle play of blooper reels with commentary — every private or public shame, every slight whether deservedly received by me or unjustly given by me, every mild embarrassment or grievous crime or grevious mispronunciation — sometimes deafening, sometimes subsiding to tinnitus, but always, always ready to intrude. And for the first time, rather than drowning it out or yelling over it, I could walk away.

---

In my senior year, Braymer C-4 dropped even the pretense of education. Mr. Clodfelter tried to prepare me and a few other students for calculus, an effort which proved about as effective as Charlie Chaplin's pre-fight warm-up. Otherwise it was gym and four study halls. I read, or I chatted with Mary Margaret McAllister, or we mocked the white-supremacist propaganda sheet someone had subscribed the library to, or I wrote letters to my lover or to zines, or I searched for a college.

---

My slot for a grocery job had finally come up, providing some financial relief. Even so I could only afford two final-application fees for out-of-state schools. I winnowed the target list to Haverford (as a twofer with Bryn Mawr) and Vassar.

Vassar's alumna decided on a group interview and hosted an afternoon garden party of applicants, most of whom dressed in some indefinably alien fashion, kept their hands steady near the glassware, and (I later came to understand) attended private schools. I suppose she meant to learn which of us would be "a good match," who would best "fit in" at Vassar, and I suppose she did so.

The Haverford alumnus met me at a diner, and then drove us around the neighborhood to extend the conversation. Topics ranged widely, but included a compare-and-contrast between modes of feminist satire in Russ's Female Man and Delany's Triton.

In his congratulatory letter after acceptance, the alum hoped I'd be able to sustain my idealism. In turn I hope that good-hearted man never found out.

---

The summer of '77 was glorious: I'd escaped high school, I'd finalized financial aid for Haverford, and I attended summer sessions in my lover's home city, just a bike ride away from Planned Parenthood. A survey class which included Chekhov and Ibsen was particularly enjoyable, even when its teacher tried to guilt-trip me about intellectuals who deserted their homeland in its hour (or centuries) of need.

In contrast, I don't remember I and my lover worrying much about it. Her parents were academics, mine were military, and so the thought of extended separations was maybe less alien than it would've been to our neighbors. I hadn't yet read enough Burroughs to predict what symptoms might accompany abrupt cessation of a universal anodyne. And neither of us could have imagined the grotesque mash-up of Goodbye Columbus and The Rocky Horror Show at our relationship's terminus. We were far too clever to risk anything so humiliating.

The Philosopher's Calculus, or Stone : 1977 – 1980

Fear of the irrational undoubtedly feeds on our lack of knowledge, but above all on those points of omission, on a certain impatience that keeps us from penetrating to the heart of the operative by confusing learning with the talent for rapidly consuming an "informational content." But to learn is to prepare oneself to learn what one in some way already knows. and to put oneself into such a state where the connection between things reverberates in the connection of the mind. The operation is not at first given as an arrow that links a source to a target, but rather emerges in the places where variables become merged and get tangled up without being policed by parentheses.

- Figuring Space (Les enjeux du mobile) by Gilles Châtelet

Have I no weapon-word for thee — some message brief and fierce?
(Have I fought out and done indeed the battle?) Is there no shot left,
For all thy affectations, lisps, scorns, manifold silliness?
Nor for myself — my own rebellious self in thee?

- "To the Pending Year" by Walt Whitman

The next few years were the most intellectually transformative, emotionally mercurial, and socially toxic of my existence, which I suppose is only to be expected when an eighteen-year-old autodidact is removed from years of rural seclusion (but not the gentlemanly sort) and deposited in two of America's finest colleges and near one of America's largest cities.

In that despised and now inconceivable final phase of public support for education, financial aid flowed but first-gen student advising did not. Ten years after I graduated, I discovered that my fellow students considered collaborative reverse-engineering of textbook-and-chalkboard proofs as essential for mathematics as language drills were for French or German classes. If I'd known, maybe I wouldn't have squandered so many opportunities.

On the other hand, who am I kidding? I was a stubborn cuss, and my introduction to the mores of prep-schooled young men — the differences money made and the differences it didn't — had started me on the cynical foot, a stance reinforced when Haverford's presidency passed from two-fisted activist Jack Coleman to dispiriting English toad Robert Bocking Stevens. Told what could be gained from a study group, I'd have said, "Who wants to hang out with math majors? It's bad enough I have to hang out with myself."

As was, I envisioned "college" as that phase of life in which massive blunders incur relatively minor penalties, and I behaved accordingly.

The result was the Great Work advertised by my self-assigned Yeats-and-Joyce-centered curriculum (pursued alongside a full externally-assigned course load): mortared and pestled; flamed and boiled in shit; buried to ferment; seasoned to taste. The most practiced of my little loves once confided on our way out of bed that she'd described me to her mother, a research psychologist, as "probably psychotic," and what shocked me about that was the idea of anyone disclosing their own life to their own parents.

If only to warn young people against the dangers of unsupervised reading, I suppose I should mention the precipitant of my greatest tumble, after which I saw only a choice of downhill slides: an all-out unrequited amour fou, an experience never to be repeated and best avoided in the first place. It's not that the Tudor poets and Baudelaire and Dowson and Yeats and the Confessionals and so on made the idea sound exactly desirable; more, I think, that there are only so many times you can rehearse a part before you put on the show.

Let's keep the rest on ice; there's way too much here for one meal. As a placeholder, though, and because COVID-19 isolation's got me nervy, and because I'm sick to death of writing without any identifiable human beings other than "I" and "me," and most people skip Acknowledgments anyway so no harm done, I'd like to cite some names. Bless this bed that I lie on.

• The initial name's a bit misleading, since Hilda Rooney was 100% Cuban (Wagnerian parents; an Irish-American ex-husband). Her freshman seminar, on African-Christian syncretism in Latin American fiction, appealed to me as a sequel to my Missouri summer-session class on West African empires. In turn, she was intrigued by my and my father's long-ago daytrip to Haiti from Guantanamo. Sharing a tendency to get high on the fumes of X-treme negative capability, we quickly hit it off, and she became my closest friend among the faculty, hosting dinner (a heavenly goat stew) or inviting me to parties several times a year.

  After college, I disappointed her by ignoring the possibility of graduate school — she'd somehow imagined my monolingual sunstroked carcass conducting anthropological field studies — and we lost touch.

  A dozen years later, when web search engines began to appear, hers was the first name I entered. I've tried again every year since then and never found results outside one digitization of an old Haverford course catalog.

• After deciding (to my own surprise) not to accompany mathematics with orthodox analytic philosophy (a breakfast of Spam and watered-down Spam), I barreled to the opposite extreme: Historical Introduction to Philosophy as taught by Paul Desjardins, a Platonist Catholic pert near busting with eudaimonia, and so exemplary of Haverford's approach as to approach caricature. (This overview of the Philosophy department in 1976 includes a photo of Paul in rumpled action, and this comment at J. E. H. Smith's site describes his and Rosemarie's home, proof-by-existence of the Good Life.)

  I found his go-to examples of basic human impulses — rape; shitting in public — a bit alienating, and he didn't fuss much with inclusiveness: in the midst of a dithyramb honoring athletics, he took care to except weightlifting because "it makes the mind slower," while a blush raised on the one weightlifter in our class. (I felt sorry for the guy until later that year I heard him trying to take offense at a WASP joke.) And I believed Desjardins when he (and Gangadean afterwards) said it would've been helpful for me to meet the department's representative pessimist-skeptic, Tink Thompson.

  Still, yes, he did sort of change my life.

• M'sieu' Gérard Defaux gave the only grade, good or bad, I ever enjoyed receiving:

  A+ pour la beauté de tes idées
  C- pour la grammaire et le vocabulaire
  = B

  And his was the only class whose final exam led me to request a meeting. When I entered his office he seemed atypically grim, but brightened up considerable when I explained that I was there to request the source of the anti-poetical yet completely gorgeous prose translation exercise. (Answer: the opening of Madame Bovary.) He seemed sincere in regretting that I didn't continue French studies — « Gérard a toujours gardé pour les « gens curieux » — ces Ulysse inquiets et touche-à-tout condamnés par une certaine tradition chrétienne et par les livres de Rabelais lui-même — une sympathie profonde » — but one of my scholarships had a GPA requirement and mathematics represented risk enough.

• Across the long, noisy bottoming out of my sophomore year, my most reliably stable supports were Denbigh Hall neighbors Connie Coontz, Roz Cummins, and Sally Seggerman: all of them witty, sane, and generous to a fault. (I was the fault.)

  And I should add, I wasn't their main project, or even a special focal point! That's just how darn nice they all were.

  (My closest male friendship came to too gruesome an end to risk reconnection. Perhaps a shared ambition to mutter "Usurper" wasn't an ideal foundation on which to build.)

• Like Desjardins, logician-Aristotelian-Buddhist Ashok Gangadean was a legendarily inspiring teacher. Unlike Desjardins, Gangadean eventually (fifteen years after I was his student) began publishing, but he proved such a dreadful writer that I can't bear to give a link. Testimonials assure me he's still bringing enlightenment incarnate.

  This interview from 2000 may convey some of his charm and intelligence, and some of what he confirmed or encouraged in me, and where I was unable to follow.

• After sludging through the purgatorial semi-set concrete of calculus, I was rewarded with a series of classes taught by Dale Husemoller. Invariably arriving a variable number of minutes after official start time, Mr. Husemoller, more rumpled even than Desjardins, would stride directly from hallway to top-far-left blackboard and begin chalking a proof with the confidence of a quick-sketch artist gazing at a sitter, simultaneously translating into human speech with frequent exclamations of suspense or astonishment: "But look!" "Oh no!" "But that means!"

  Husemoller was far too distanced a personality (or I was far too mathematically unambitious) to support any illusion of friendship, but he so blatantly resided in mathematics, roaming a lushly self-sufficient world of comforts and novelties, that his willingness to exhibit material presence was in itself inspiring.

  It was my misfortune to take a leave of absence one year before Husemoller left for his own sabbatical, landing me with far too much of the worse-than-nothing Mr. T in my final years. But I understand: he had somewhere else to be.

Over away from Dane Axe Edge sends down the Dove, gathers the Manifold and lets it slip through complexity; the hills in their turns tantalise and instruct, then the learning dissolves. There's no holding it all. - A Furnace, by Roy Fisher

Graduation : 1980 – 1982

No more education was possible for either man. Such as they were, they had got to stand the chances of the world they lived in; and when Adams started back to Cambridge to take up again the humble tasks of schoolmaster and editor he was harnessed to his cart. Education, systematic or accidental, had done its worst. Henceforth, he went on, submissive.

The Education of Henry Adams: a Study of Twentieth-Century Multiplicity

As my dropout year drew to its close, I took inventory:

• I'd been assaulted, home-invaded, threatened, and catcalled, but never raped, shot, stabbed, concussed, or fractured.
• I'd gone hungry for weeks and done some lasting damage to my innards, but never approached actual starvation.
• I'd taken too much of anything free and blacked out numerous times (it's hard to keep count when you're unconscious), but never stopped breathing or entered an extended coma, although I gather a "Street Hassle" discussion took place over my body after it met cocaine.
• I'd proffered my unprofitables widely and on too little pretext, but I hadn't contracted any (diagnosable) diseases or instigated any pregnancies, and I'd lost surprisingly few friends, considering.
• I'd lived with roaches, fleas, mice, freezing cold, steaming heat, and constant noise, but was never bitten by bedbugs or rats, and never lost access to water and power.
• I'd been hassled by cops — in Rizzo's Philadelphia, everyone was hassled but Rizzo — but never clubbed or jailed.
• I'd dressed unbecomingly, covered my arms with scratches, hammered my sconce, walked barefoot in the snow (so refreshing after the dog-shit-and-vomit stank of the locust tree fruits and the vinegar-and-smoldering-tire rot of my shoes), and generally made a spectacle of myself, but (forewarned by a tall stack of autobiographical poetry and prose) always fast-talked my way out of "seeking professional help."

This was as soft as a hardscrabble bohemian life was ever going to get. And I had not found the experience productive; it was not conducive to inspiration. All I'd achieved was that list of unpleasantries.

There was no way around it. Insofar as I had anything to offer existence (and we'll set that question aside for the nonce), I'd need a steady income.

---

Entry to the allegedly non-capitalist sanctuary of tenured Academe was barred by its Customs department: I considered grades and required classes cruel mockeries of education, and had resolved never to become a perpetrator.

Thanks to my tremor and lack of sustain, physical labor was out, as were (due to different uncorrectable flaws) most of the worthwhile jobs open to mouthy intellectuals. (Nowadays I guess I might find hire as the concern troll equivalent of an agent provocateur, but that sounds even less attractive than grifting throwaway money from a venture capitalist.)

I was rarely picked for retail positions, and when I won one, I'd be fired within the month. Having been cursed with a rubber, stage-ready face that exaggerates any fleeting emotion, I couldn't hide contempt and hostility well enough to keep any other sort of service job, either.

It would have to be some sort of clerical position, then, and I'd need a degree to paper over my too-evident defects. Petite bourgeoisie or bust!

And to obtain that degree, I'd need to clean up my act for the sake of the kiddies, stop flinging my Sad-Harpo-Marx seduction technique at all and sundry, buckle down more and under less.

But before and beyond all that, I needed then — as I needed later, as I need now — to invent some — "justification" is too presumptuous a word — some motivation which could be reconciled with my life as stubbornly lived: one which has always compulsively extracted, deformed, misapplied, modified, inverted, ripped, and generally not-left-the-fuck-alone abstract verbal models which then, in their own right, tend to go all Frankenstein's monster on my sorry ass.

---

Before the fiction grew threadbare, announcing myself as poet was meant to signal harmless redundancy. If asked to elaborate, I'd declare an ambition to be a minor poet — not a prophet, not a School-of-Me founder — with a job at the Post Office 1 and an apartment which could host friends. A downscale Eddie FitzGerald rather than a shitkickin' Al Tennyson.

Later, stripped of laurel and intimates, I sought guidance in others from that narrow intersection of people I admired and people I felt akin to: the exceptionists, the easily ignored; those who pursued eccentric interests or contributed to essential goals in oddly irrelevant ways; amusements or annoyances to more important names.

But I anticipate. Returning to 1980:

I'm only of use as a persuasively dissenting voice, but I must never be so persuasive as to dominate.2 If I couldn't talk I had nothing to contribute, but left unmuzzled I was a menace to the community. Well! A short leash, then, and a fenced yard for exercise. Try to avoid battlegrounds which might incur meaningful casualties. Reserve untrammeled discourse for nearest-and-dearests, preferably — as I decided not long afterward, post facto, based on new evidence, per SOP — preferably within the safe all-accepting bounds of a monogamous sexual relationship, where static build-ups and short circuits could be grounded by bed.

I didn't necessarily want to be worthless, but if that was the price of pointlessness, so be it.

---

The advent of this story's shaggy "Rosebud" dogsled, the "image", wasn't memorable. As previously admitted, it's been a cheap sturdy utilitarian thing for daily use, like my father's CPO mug, not a major purchase or knock-me-down Damascan reveal.

I know for certain that by the fall of 1980 I was keeping it within reach: an easily graspable and transportable geometric reminder of the insufficiency of logical discourse, and geometric hint as to how that insufficiency might be addressed and deployed, and then subjected to reminder. A surveying tool for local maxima.

---

I re-entered college and lightened my course load.

With fewer sins to confess, there was less impetus to poeticize, and I diverted attention to my role as lyricist and lead vocalist in my friends' rock band. (I was lead vocalist because I had the least semblance of talent and the most brazen disregard for public humiliation. It was a very traditional rock band.)

Early in 1981 I wrote a song paying homage to my new lover. In honor of those of her friends and family who quite reasonably doubted my worth as boyfriend material, I also drew imagery from those exemplars of disappointing promise, Orson Welles and John Barth. That referential weave kept the lyrics memorable, and on long walks the happy yowl of its third verse still sometimes sets my pace:

After she hits the end of the funhouse or gets lost in the road,
The mirrors will be dusted and the ditches will be mowed.
Oh, but anything worthwhile must be empty, base, and vain!
Extremities are foolish. Even fools get paid.

Publishing the dissertation : 1989 – 2020

There must be no cessation Of motion, or of the noise of motion, The renewal of noise And manifold continuation; And, most, of the motion of thought And its restless iteration, In the place of the solitaires, Which is to be a place of perpetual undulation. - "The Place of the Solitaires" by Wallace Stevens

Eight years later the naysayers were proven right. In our last meeting, my newly-ex cheerfully remarked, "I feel like it's been years since I did my own thinking" (a hot roar flooded my ears) — that's not true! —
— how had I broken so much? —

Predictably enough, I fell apart — substance-abused, fecklessly self-harmed, shucked my duties, composed formal verse, rock-n-rolled all night (well, occasionally past midnight, anyway), re-entered social media (now including a new medium), made some friends, and received far more comfort than I gave.

But this new cycle of breakdown and crawl-from-the-wreckage didn't weaken my faith or smash the icon of my "image." It merely persuaded me to modify some expectations and some habits. (Massless sheets don't provide much warmth but they layer well.)

One of the latter modifications brought us together here today.

Hi. How are you?

The Expendable Man by Dorothy B. Hughes

For 240 pages I and the protagonist hurriedly search for some escape from (or some resignation to) all-surrounding ever-nearing disaster. And yet (unlike Highsmith or Thompson) Hughes has gifted her protagonist with a warmly supportive family, virtue, charm, capability, and not a hint of self-destruction, and then goes on throughout the book to drop new and more improbable gifts into his lap. The story's incidents seems delusionally optimistic; the story's mood is doom.

Partly it's our recognition that a stack of gifts is no reliable shield, that they'll merely make a louder tumble and leave a more imposing cautionary ruin.

Partly it's our recognition that if gifts stopped dropping the novel would have ended on page fifty, or page two.

Two Sincerities

Behind the Scenes: or, Thirty Years a Slave and Four Years in the White House
by Elizabeth Keckley

I woke up thinking about one of the saddest books I ever read.

Not that sadness was Keckley's goal. She allows only an eighth of her narrative for the arbitrary cruelties, frequent assaults, and occasional rape of slavery, and only to exhibit the triumph of innate dignity. Through hard work, intelligence, talent, charm, and uncompromising rectitude, Keckley earned both freedom and a successful career as modiste to what passed for an American élite. In the first years of Reconstruction, she even felt able to re-establish relations with the family who'd last owned her, whom she'd supported for many years, from whom she'd purchased her freedom for a sum equivalent to six years of salary for a judge, and "I trust that they will not object to the publicity that I give them."

It wasn't until that point, on page 259, that I realized this had not been a safely posthumous publication, or protected by distance or by political alliances. As the book dissolved into a stack of neurotically extortionate letters from Mary Todd Lincoln and a tally of ruinous "loans," my foreboding became more solid than the pages beneath, and when I finally turned to secondary-source material, it was like skipping to the end of a horror novel.

Because I knew that that Keckley's Virginian "family," headed by one of the lawyers who kept Dred Scott enslaved, who'd no more have considered her privacy than they would the privacy of a hunting dog, would not be flattered by violation of their own. I knew the Lincoln family would ignore Keckley's appeal to the tender hearts of the American people in favor of outrage at her impudence. I knew any hope for assistance would be sabotaged by her publisher's hope for scandal. What I'd read was neither a historical memoir nor a daring escape, but a quick march into a long plummet.

What I knew were sad things, and the fact of knowing them made me even sadder. I think there might be places whose readers lack that knowledge, who would be shocked by the sequel to Keckley's book. I wish she'd lived in one of them. I wish I did.

---

14A
by Laura Riding & George Ellidge

Somebody should've warned Laura Riding that fictional self-portraits must always be unflattering.

Some authors do cameos as a bumbler or a villain (Chaucer, Nabokov, Hammett). Some handicap their stand-ins by erasing their own talent, ambition, or luck (Flaubert, Highsmith). If for some reason they feel they must stay closer to Real (as recalled by the author) Life, at least the author's ineffable personal charms can be reduced without much damage to credibility (Joyce, Proust).

But if the writer instead insists on presenting an image as attractive, intelligent, and righteous as they know themselves to be, readers will provide a discount of their own.

And so from the boldly outlined negative space of 14A pops, with Will Elder vividness, the figure of a cluelessly meddlesome, eyewateringly tasteless Ichabodhisattva Crane. It's an unfair caricature, and I wish she'd never drawn it.

Movie Comment : Snapshots from a one month trial binge

"And here's George in front of the Taj Mahal. I think they said it was the Taj Mahal."

Glass Onion (2022)

Believe me, I understand that puzzles aren't reality and puzzleworld isn't realism: before age twelve my favorite authors were Isaac Asimov and Ellery Queen. Even in puzzleworld you're generally allowed at most one identical twin or one bullet stopped by the Bible mother gave you but, OK, to some extent I can coast on the backwash of good will from Knives Out.

And I understand that Rian Johnson wanted to end with a comforting lie; god knows I was eager to be led down the garden path. But a steaming chin-high acre of unadulterated horseshit is not a garden path, and expecting us to swallow what you've shoved us into is not comforting.

If justice exists, it exists somewhere outside the puzzleworld. In such predicaments hard-boiled mysteries provided more satisfaction by admitting defeat, but that might harm the franchise.

(In all fairness, however, if you're among the millions of people who became convinced of the justice of the Taliban's cause immediately upon removal of those nasty Bamiyan statues, who divested from petrochemical corporations the day after soup splattered the Louvre, and who each year celebrate the memory of Herostratus, your reaction will differ.)

The Power of the Dog (2021)

In which Jane Campion successfully adapts an unfilmable property (not for the first time) and Benedict Cumberbatch embodies an Anglo-American masculine ideal which is instantly recognizable despite having, so far as I can recall, never before been shown: the embittered omnicompetent noble savage misogynous classicist gay cowboy bully — sort of a Natty Bumppo / Viscount Greystoke / Ethan Edwards / Achilles / Sir Richard Francis Burton type.

With fine sleight of hand, just around the time his and Kirsten Dunst's knock-'er-down-again-pa act becomes tiresome, it fades into the story simmering beneath it all along — the ancient struggle, sung so often by Patricia Highsmith, of father and son, homosocial macho and heterosocial sissy, John Wayne and Jimmy Stewart — and "Phil" (supply your own completion) learns that he should've worried less about Metamorphoses IV and more about Metamorphoses IX.

It Follows (2014)

As connoisseurs of mysterious ailments, we know that any disease which always kills its host and infects only one host at any time will not last long. Diseases don't work that way — but curses do.

What kind of curse? Obviously a zero-sum rational homo-economicus possession curse!

Demonic possession? Possession of the title to a 1958 Plymouth Fury? No, those aren't quite right....

In a sleepless hour later that night it finally came to mind: the curse of AIDS, which (authorities tell us) can only be lifted by raping a virgin. David Robert Mitchell's account even explains the otherwise inexplicable way that men tend to go ahead and die of AIDS despite their cure!

Surprisingly, none of the enthusiastic reviews I've seen bother to congratulate Mitchell on this insight.

Passing (2021)

An even closer adaptation than Canine Power, which must've won (I'm so confident that I'm not even going to look it up) a special Academy Award for Most Effective Faithful Realization of a Problematic Ending.