"Can you possibly conceive it? The unendurable oppression of the lungs, the stifling fumes of the earth, the rigid embrace of the coffin, the blackness of absolute night and the silence, like an overwhelming sea..."

The Chills -- that sensation you feel is merely your skin trying to crawl off your body and get to safety!

THE PREMATURE BURIAL, scripted by Charles "Twilight Zone" Beaumont, loosely inspired by Edgar Allan Poe's short story, directed by Roger Corman. The muted palette of Daniel Haller's design and Floyd Crosby's photography create cheap poetry in a little studio -- it more than stands up to the big-budget homages of Tim Burton.

The nice thing about Roger is you can generally tell what he's been looking at. BLACK NARCISSUS and THE RED SHOES lurked somewhere in his thoughts as he helmed HOUSE OF USHER and MASQUE OF THE RED DEATH -- the late Hazel Court even runs en pointe during her hallucination scene in the latter film, a closeup of feet mimicking a specific shot from Powell & Pressburger's balletomane melodrama.

Here, Dreyer's VAMPYR plays a big part, the drooping damp fogginess of the sets, and the little window in Ray Milland's coffin tipping Corman's hand. But a surprisingly big influence is Murnau's SUNRISE. What's great about the Poe adaptations is how they aim at entertaining drive-in audiences but they're defiantly literary and cinephile in their approach.

In scene one, quoted above, Murnau's DOUBLE MOON appears. Every surviving Murnau film features the moon, as Bill Krohn and David Ehrenstein point out in their FAUST audio commentary, and one striking scene in SUNRISE features two moons in one shot -- as our hero advances into the swamp, a little moon illuminates his way from up ahead, but when he arrives at his destination, after several complicated turns, a bigger moon awaits him. The power of studio stylisation and the long take.

Faint outline of moon around Ray's face -- trust me, it's there!

Now you see it!

Corman's modest equivalent is in scene one, where Ray stands before a low moon that skims the horizon, and glances up at his father-in-law, Alfred the butler from Batman, who stands before ANOTHER, higher moon. And why the hell shouldn't he?

Later in PREMATURE B, the camera follows Ray Milland through the drizzling, grey, dry-icy woods that surround his home, and the effect is reminiscent of that same SUNRISE shot, only Corman can't sustain such a prolonged movement, lacking a ceiling track to pull it off with, and probably having only a few trees to track past -- one gets the sensation that the illimitable black forest of the film is probably very small and endlessly rearranged between shots. But it's no less beautiful for that.

The clincher comes during the inevitable TINTED HALLUCINATION. These sequences occur in virtually every Corman Poe (I seem to recall they play a big part in THE TRIP too). Corman goes mental with the optical printer and smears poor Ray Milland with green and purple mist, as he blunders about trying to escape from his coffin -- and each time Ray screams, the music takes the place of his voice, a desolate horn sounding in synch with the aging matinee idol's lip movements. In SUNRISE I think it's an oboe, as the hero calls out to his missing wife from a boat... one of those unforgettable chills-making moments, actually. One I should feature here.

PREMATURE BURIAL deserves its mention not only because Hazel Court is terrific in it, and bravely submits to being completely covered with earth at one point, but because it achieves maybe the best atmospherics of any Corman film. The inspired choice of Molly Malone, whistled by the sinister grave-robbers Sweeney and Mole (the latter played by perennial favourite Dick Miller, competing with his partner for History's Worst Irish Accent) creates a real frisson -- Fiona reports lying abed in terror after viewing this in childhood, the tune echoing around the recesses of her barely-formed infant head.

"Infant? I was twelve!"

"Well, I had to put a word in there or it would sound like I was saying your head IS barely formed."

Edgar Rice Burroughs'

America

by R.E. Prindle

Part IV

The Red Triumph

How long, how long,

Has that leetle old evenin' train

Been gone?

How long, how long,

Oh baby,

How long?

Trad.

     A pall fell over the world when the Communists assumed power.  Joy left the planet in favor of the sour envy of that ilk.  There were no happy Communists.  They knew no contentment.  They were as disaffected, dissatisfied with life, civilization and themselves, especially themselves as psychologically possible.  Misfits, envious with no prospects in life they were.  They were incapable of generating wealth; they could only appropriate and waste what others had created.  The spirit of vengeance which had been their dominant characteristic in the French Revolution would remain their goal throughout their existence.  There has been no Red government from the France of 1793 to the present that hasn't believed in wholesale massacres of 'enemies' at the the least, genocide at the worst.  Quite frankly they can only think in terms of crime no matter how they rationalize it and they can rationalize like nobody's business.

     Murder is part of their psychotic nature.  I do not exclude Hitler  and the Nazis as Red organizations.  Placed in the context of Redism Hitler and the Nazis are perfectly understandable.  The Nazis were National Socialists.  One can't be socialist without being Red; one can't be Red without believing in mass exterminations.  History speaks the for the truth about Reds; I merely repeat history.

     No one Red faction can be held  less accountable than others.  All participated equally and as joyously as their sour temperaments allowed.  Mild mannered college professors and sanctimonious ministers of the social gospel wholeheartedly supported the murders and atrocities of Communist regimes just as today they raise no outcry against the genocide and crimes against Whites taking place in Africa because they think the 'right side' has the upper hand.  Reds never did and never will have a disinterested concept of morality.  The Red idea of law and morality is merely a projection of their subconscious desire.

page 1.

     In the giddiness of the Russian success the Revolutionaries believed that the world revolution had arrived so that it was a matter of a few months before they assumed control of the world.

     Post-war success in Hungary encouraged them on.  Revolutionaries flowed back into Germany from Russia intent on bringing to fruition the 'German' revolution.  Success in Germany eluded them.  There the world revolution stalled.  It was going to a tougher job than anticipated.  The United States especially was not as ripe for their plans as they had projected.

     Resistance was prompt if somewhat flaccid.  Wilson's program, while Red was opposed to that of Bolshevism.  Some have said that Wilson was merely envious of Lenin as the leader.  His Attorney General, A. Mitchell Palmer, to whom we all owe a debt of gratitude, cracked down hard on the Red cadres deporting a very few while putting the rest in disarray as a law was passed that outlawed the Communist Party temporarily.

     But all the Parlor Pinks, Fellow Travelers and Liberals interested in their form of 'social justice' and the 'true American Way' had the ban repealed.  As usual they misrepresented their motives.  The task now became one of subverting the ideals the country held sacred.

2.

Heroes And Villains

     We must now delineate the sides in the American struggle for supremacy as it stood in the aftermath of the Bolshevik Revolution.

     The Liberal Coalition had gained the power of the Presidency in 1913 when Woodrow Wilson was inaugurated.  Although not appreciated as such this was an occurrance for the both the Jewish and World Revolution as significant for America as that of the 1917 Bolshevik Revolution in Russia.  The Wilson administration began the 'partnership' between America and the Jews as celebrated by Irving Berlin in his song, God Bless America, while this year of 1913 was the inaugurating year of the Jewish Revolution.  Off on the right foot.  At this point in 1913 for the first time the Jews became influential in the US government.  In 1916 Wilson created the 'Jewish seat' on the Supreme Court when he appointed the confirmed Zionist, Louis D. Brandeis, to the bench.

     During the War the Jews played an ambiguous or perhaps duplicitous role.  So long as Czarist Russia was in the War they refused to support the Allies.  This refusal led the British to attempt to buy their cooperation with the Balfour Declaration involving Palestine.  This was unnecessary as  after the Spring Revolution the Mensheviks dethroned the Czar effectually taking Russia out of the War.  At the time of the October Revolution of the Bolsheviks the Jews threw their support to the Allies against Germany.  As they had no troops to offer one wonders what this support was worth.  Perhaps a cessation of sabotage?

     In the US the Socialistic Wilson administration used its window of opportunity to attempt to impose it version of 'equality' on the American people.  The key agency was the WIB- War Industries Board- headed by the Jewish financier- the bear of Wall Street- Bernard Baruch.

     I'm not sure that the ultimate or secret plans of Wilson have ever been revealed but Baruch in his autobiography drops a few helpful hints.  The plan depended on the continuance of the War so that when that ended prematurely in 1918 the plan was aborted.

     At that time Wilson, through the WIB had orders ready for execution that would have limited the styles of shoes and clothing to just three or four styles within a definite price so that everyone would be dressed alike without distinction.  Wilson deemed inequality to be based on differences in dress.  Obvious, hey.

     If you think the Liberals discarded the plan just because the war ended all you have to do to look around you today and observe everyone in jeans or sports outfits of one kind or another.  The plan is about seventy per cent or so implemented.  It was done through infiltration of the fashion industry.

     Most troublesome for the leaders of industry was that the WIB required all businesses to submit financial and other data to the WIB for their evaluation.  Most significantly a center of resistance came from the auto industry of Detroit.  Noting all the Jews on the board who essentially had the industrial base of the US in their hands the auto makers demurred.  Of course the Masters of Denial deny that Jews were that involved but if the matter was noted who are you going to believe the Jews or the auto makers?  One of the other must have it wrong.  I'm betting on the auto makers against the Masters of Denial.

     The resistance of Detroit would have consequences.  The Jews never forget.  Significantly Henry Ford was not in thrall to the Eastern bankers thus being independent.  Now, Henry Ford and the Dodge Brothers, accurately noting the number of Jews on the WIB correctly divined their purpose.  Remember, if the War had gone on for another year or two Wilson would have been able to complete the revolution in toto changing the American character in one stroke while Jews would have assumed the role of Commissars or the role they had enjoyed in pre-expulsion Spain, that of middlemen under the crown administering to the general populace.  This is the ultimate cultural dream.

page 2.

     Objecting vociferously to the Wilson plan some intemperate remarks concerning the nature of Jews were made by the Dodge Brothers allowing the administration to play the race card with AS for anti-Semite up there in the corners.  Both the Dodges subsequently died in mysterious circumstance in 1920 while a strenuous effort was made to destroy Ford by bringing his company under the control of the New York bankers, that is to say, the Jews.  Thus there was very little cranky about any of Ford's supposedly eccentric beliefs.  Such a characterization is mere defamation by his enemies.  Failing to break Ford the anti-Semitic race card was played against him that resulted in his excommunication from society.  They haven't been able to flush him out of history yet but that may be just a matter of time.  I wouldn't be suprised to see the marque changed to something other than Ford.

     The Jewish culture shifted the onus from themselves to the 'anti-Semites' in a clever damage control move to exonerate themselves.  Internationally the damage controllers also shifted the onus from themselves to 'anti-Semites.'

     The Liberals, continuing the Reconstruction policy, now set the Jews, Negroes and immigrants over what we may call the Conservatives precisely as they had set the Negroes over the Southern Whites during the Reconstruction after the Civil War.  This was extended to the international field where the Liberals self-righteously adopted an anti-colonial policy.  As European colonialism was equated with Southern slaveholding in Liberal minds they took the side of the colonials, that is to say the colored Third World peoples against the Europeans.  Thus as Charles De Gaulle despairingly noted that America while a White country behaved as though they were a colored or Third World country.  Europeans then were classed with the Southern Whites and Conservatives of the United States.

     The Jewish Culture continued the ultra self-righteousness based on their projection that they were an exceptional people chosen by god to administer the affairs of the people of the world.  Although patently absurd and scientifically impossible the Jews were able to impose this notion on both the Liberal and conservative religious cultures of the US.  Thus although the Anti-Defamation League of B'nai B'rith was organized in 1913 as a terrorist organization and the NAACP came into prominence as a terrorist organization as members of the Coalition these patently racist outfits were considered virtuous.

     On the other hand Nativist organizations in reaction such as the APA- American Protective Association- or the the KKK- Ku Klux Klan- were considered kranky or actually terrorist.  In reality there was no difference in intent between any of these organizations.  You may call them protective or terrorist as you wish but they all functioned with the same goal in mind but for different sides.  That intent was to intimidate all others into submission.

     These were cultural wars, in other words, Cold Wars, not shooting wars so the battles were for the control of the dissemination of information, opinion and institutions.  In this the Jews were particularly effective having a clear idea of their objectives effectively seizing control of the key publishing units, the film industry and the emerging radio-television industries.

     Thus the Jews in the US were uniquely positioned to implement Freud's program of cultural domination.  Now, all of this was done in the light of day so that it was impossible for the program to pass unperceived.  A firestorm of indignation against the Jewish culture ensued after the Russian Revolution.  It might be noted here that culturalism is merely latter day nationalism.  Its defense is patriotism.  So let's keep the meanings of the terms straight.  The damage controllmen went to work successfully silencing all opposition while censoring the entire media over the next few years except in Germany.

      I will here examine a few literary voices that saw the nature of things but in different ways.  One novel, three movies and one short story that was turned into a TV show.

page 3.

     The short story was by Charles Beaumont published in 1959 then made into a TV script for Rod Serling's Twilight Zone.  In the TV script the time is set just after the Great War.  A traveler while staying at a monastery unintentionally releases Satan whom some monks were holding captive.  Among various possible interpretations one is that the Bolsheviks represented Satan.  An allegory was necessary as a more direct representation would never have been published as Edgar Rice Burroughs found to his chagrin in 1919.

     The horrors of Communism immediately presented themselves to that writer's mind who quickly composed an anti-Communist polemic.  Politics was nothing new to Burroughs who sniped at various political affairs from the time he began writing.  About the time he took up his pen in 1912, the Socialist convention of that year took umbrage at the nascent IWW- Industrial Workers Of The World- booting them out of the congress.  The Socialists were led by Jews while the IWW, also known as Wobblies, were Americans of the true working class, the people the Socialists were supposed to represent.  Must have been a culture clash when American workers met European style Jewish intellectuals.

     Now, the Wobblies were the Real Thing compared to the Socialist 'labor fakers.'  Under the leadership of Big Bill Haywood  the Wobblies took direct action in an attempt to shut down industry and bring the government to heel as the United States was entering the Great War.  These guys meant business.  Their role in this period as well as the whole period has been misrepresented and distorted by Liberal control of the media.

     Burroughs whose anti-Left attitude can be traced back to his boyhood cast the IWW as villains in several of his novels from 1915 to 1924.  Nothing was more natural than Burroughs pillorying the Bolsheviks.  As publishing was controlld by the Reds his effort came to nothing in 1919.  He rewrote the theme in his dystopian novel, The Moon Maid, that was published in 1926.

      The third and most interesting examination of the Red assault on civilization was made by the Jewish-German film maker, Fritz Lang.  While the notion of conspiracy is derided by the conspirators nothing can be more obvious than that events from 1913 through this period were not merely spontaneous.  I doubt if there ever has been a period of history that has not been directed by a cabal or any number of cabals and conspiracies.  Check out your own neighborhood.  You just don't call them conspiracies, that's all.  Even the Trojan war was a conspiracy headed by Agamemnon.  You don't think Ulysses wasn't coerced by the cabal do you?

     One can call anyone who disagrees with you, bigots or anti-Semites as Liberals do but that doesn't change the facts.  There is no one group of people more sensitive to subterranean movements than artists.  Paranoia rightly channeled is a gift of the gods not a curse as Freud himself discovered.  He thought he succeeded where paranoiacs failed.  Does that say something?  Lang being himself a Jew from Austria might be expected to be a little more aware of what Freud was up to.  It might be interesting to check to see  if Lang was a member of B'nai B'rith.  Hitler himself was an Austrian who had lived in Vienna at the time Freudianism was being formulated while he was highly critical of  'Jewish psychology.'  Hitler was at least as intelligent and aware as either Freud or Lang.

     Lang first tried to land the directorship of the 1919 movie titled The Cabinet Of Dr. Caligari.  Although silent this is a great film and great art.  As great art the movie must be allegorical.  As with Lang's films there is a war being directed against civilization from a mysterious source.  Civilization is represented here as a fair or carnival, a common device of the artist.

     Dr. Caligari is some sort of showman who doubles as an agent of the conspiracy or is the 'unknown superior.'  He is obviously intended to be Jewish as he has a Golem, a sort of Frankenstein's monster, to carry out his dirty work.

     When he would be exposed by the injured party it turns out that Dr. Caligari is also the director of an insane asylum, in other words a psychoanalist not unlike Herr Doktor Freud.  In the denouement rather than he being exposed his accuser is committed to the insane asylum.  Obviously an 'anti-Semite.'  An unexplained crime wave directed at civilization continues.  One believes that Dr. Caligari is responsible.

page 4

    Lang didn't get to direct this picture but having fought for it he was familiar with the story line which had on influence on him if he, indeed, wasn't part of this particular cabal.  He converted Dr. Caligari into Dr. Mabuse.  Dr. Mabuse was based on a novel by Norbert Jacques.  I haven't read the novel so I can't compare how Lang adapted the character for his uses. 

     While depicting a gambler, which in a way I suppose Freud was, Mabuse is nevertheless a psychologist and master hypnotizer not unlike Freud.  Like Caligari and Freud he is at war with civilization doing everything he can to undermine it.  In this case that favorite dodge of counterfeiting money is used.  He is able under cover of a gambler (one of many guises) to direct several people to destruction by his use of hypnotism.  It will be remembered that Freud was a master hypnotist.  In a stunning scene Mabuse, presenting his act on stage, mass hypnotizes the audience into believing they are seeing a parade not unlike the episode of the Lotharians in Burroughs' Thuvia, Maid Of Mars.  In the end Mabuse is captured, but his ravings are such that unlike Caligari he himself is committed to an insane asylum.

     He, one imagines, pined there until 1932 when Lang chose to make his masterpiece and the first Mabuse sequel, The Testament Of Dr. Mabuse.  During the intervening several years Mabuse has been catatonic sitting up in his pajamas in bed saying and doing nothing.  And then one day he takes up his imaginary pen simulating writing on an imaginary pad.  The astute head of the asylum, one Dr. Baum, realizes what he is doing giving him a real pen and paper.

     The master criminal Mabuse/Freud then writes out his manifesto or testament for the destruction of civilization non-stop.  As a master hypnotist he is able through his writing to hypnotize and take control of Dr. Baum's mind who then sets in motion an incredible series of crimes including the counterfeiting of money meant, naturally, to undermine civilization.

     Mabuse having delivered his testament dies.  His ghost then merges with Dr. Baum who becomes in effect Dr. Mabuse executing his Testament.  In the end Baum certifiably insane is incarcerated in Mabuse's room with all his papers taking his place as head of the conspiracy.  One assumes that another will eventually replace Baum and once set in motion the plot will continue of its own accord, so to speak.

     So, we have a neat allegory of Freud's goal of destroying civilization.   That Lang chose 1932 to revive the character would correspond neatly with the direction of Freud's writing at the time which included his attack on Christianity 'The Future Of An Illusion' and Civilization And Its Discontents.  While Lang would later say that Mabuse was an attack on the National Socialists when the same character with the same goals was introduced in 1922 there was no National Socialist Movement of consequence to pin the crimes on.

     No.  Both films of Dr. Mabuse were about someone and something else.  The use of psychology points more directly to Freud than it does to Hitler.  How involved Lang was in the conspiracy I leave to your conjecture.  That he made a copy in French and that that French copy was smuggled into the US in 1943 when the Nazi defeat became not only apparent but certain would imply that he too was one so discontented with civilization that he wanted his blueprint for destruction brought to the attention of the American Communist cadres.  By 1943 Lang had been in the United States for about ten years.

     As a footnote Dr. Mabuse became a franchise with many sequels including one by Lang, The 1000 Faces Of Dr. Mabuse.  There is a Mabuse/Tarzan  connection.  The former Tarzan, Lex Barker, who spent the rest of his career making movies in Europe was involved in Mabuse sequels himself.  So, in that way Mabuse and Tarzan are connected.

     Freud's intent then was divined by many people including Fritz Lang.

     The question then was how to go about undermining European Civilization.  Ostensibly the most 'pacifistic' culture in the world while having neither numbers, territory or means for a frontal attack, just in case the disaster of the Great War didn't present an object lesson, Freud and his culture would have to use surreptitious or clandestine means, in other words, an international conspiracy.

page 5.

     Even on a cultural level Freud was shrewd enough to understand that a mere frontal attack on the cultural traditions would be met with stern resistance so that first the effort must be made to deconstruct the culture according to the desires and needs of the minority culture.  Freud was a master of reduction.

     One doesn't know whether the signal failure of the Anglians in the South when they merely tried to impose their will on the Southern Whites influenced Freud or his culture but the failure was certainly an object lesson before them of what not to do.

     As I say the Coalition was already in possession of the publishing and news apparatus of the United States.  Through the Jews it controlled the movies and would control Radio.  Thus they controlled access to the media.  Only those writers who met their apporval stood a chance of being published.  As the Red slogan had it:  All things are permissible to Revolutionaries, all others are to be denied.  This while they availed themselves of the freedoms of the Constitution which they claimed to respect.

     While the older authors posed a problem the editorial function can be wielded in such a way that content can be substantially altered while publication of a novel might no longer be able to be taken for granted.

     Overnight, almost miraculously, the nature of the authorial community changed.  While the percentage of Jews and homosexuals was relatively small prewar, after the War non-Jews and heterosexuals seem to have lost the talent to write while Jews and homosexuals miraculously acquired it.  As the editors explained it:  All the best new writers seem to be of the Left.  Thus what people were allowed to read tended to shift their opinions from Right to Left.

     The Social Gospel was preached from the pulpit while college professors subtly rewarded Left thinking students while punishing those of the Right.  Of course it would take time to turn the universities into the Red seminaries they are today but from 1917 to the present is only ninety years.  Once can judge the indredients from the pudding so there is no reason for the Left to deny the results as they did the process for at least seventy of those ninety years.

     Make no mistake the Cold War began with the October Revolution of 1917.   It broke out into a shooting war only because the National Socialists refused to accept the Judaeo-Communist yoke.  It matters not what anyone else says, the reason for WWII was the German volkist refusal to accept Jewish volkism under the religious guise of Communism.  That the leaders of the resistance turned out to be Hitler and the National Socialists may be only coincidental.  They understood the problem and had the will to resist.  It was inevitable that there should be casualties but the extent of destruction was truly phenomenal.

     Only after WWII when the American Right had regrouped under cover of the War essentially exercizing a hegemony over Western Europe did the West acknowledge the Cold War.  The American resistance only solidified after the death of FDR when his less ideological successor Harry Truman took the helm.  What took place before FDR's death was maneuvering in the Culture Wars.

     The maneuvering took many forms, all of which tended to undermine or destroy the existing culture.  While Jews and Liberals were the key elements in the Coalition each was in competition with the others to impose its culture as supreme.  You can read culture as nationalism by another name.  The contest was both temporal and spiritual.  While I am primarily concerned with the spiritual or culture aspect one may look at the temporal event of the Crash of '29 and its resultant Depression as the work of the Liberal Coalition.

     While I'm sure there were many reasons for the Crash there were also many ways to make it worse than it need have been.  The restraints that were thrown off the Stock Market are worth investigating.  For instance it was at this time the Jews invented the Holding Company.  Now, I will not tolerate charges of anti-Semitism.  I attempt a scientific analysis of a religious culture, one of only a great many in the US, and refuse to kowtow to any cultural projection.  If Christianity which is a Semitic religion is thought to be ridiculous then how much more ridiculous must the other two Semitic religions, Judaism and Moslemism, be?  One must have at least a modicum of consistency.  So, as I say, the Jews, as an instrument of their particular cultural revolution invented the Holding Company.  A holding company owns a number of producing companies.  Therefore the value of the stock of a holding company is dependent on the dividends it receives from the producing companies.  If there are no dividends  the holding company has no source of income.  then the Jews invented Holding Companies of Holding Companies whose stock was based on value at all.  But these stocks were traded and purchased with bonafide capital.

     Now, when the market crashed if you owned your stock outright you may have taken big paper losses but you weren't wiped out.  Your stocks still had considerable value.  If you bought on margin that is to say if you put a small amount down when your margin call came you couldn't meet it and you were wiped out.  The Holding and Holding Holding companies were a total loss as it was all phony money.  And the bankers called Henry Ford a fool!

     I don't know if a study has ever been done on winners and losers but a survey of those left standing might provide some interesting insights.

     But to return to culture.  The Freudian attack was primarily centered on sex, that is, the destruction of Euroamerican morality.  It is important to bear in mind that Freud was a despicable person, a master hypocrite.  He was a homosexual, Libertine and dope addict.  It should hardly come as a surprise that the 'morality' he wished to impose on civilization was precisely the morality of homosexuals, Libertines and drug addicts.

     The key to such morality is sex.  Western morality from the time of Homer was based on the control of sexual apetites or, at the very least, channeling sexual energy into productive habits.  The sexual story of Homer's Odyssey is Odysseus' conquest of his sexual nature.  First he resisted the wantonness of Circe, then the allure of the Sirens.  He stayed for some time with Calypso who was the most complaisant of females but who demanded his full attention and finally a vision of the peacful home before his return to Penelope.  Even then he immediately left his wife after taking twenty years to get back to continue his wanderings or his search for salvation, meaning or whatever.  The Roman Catholic Church reinforced these sexual attitudes.

     The ruling attitude then was what Freud wanted to overturn.  In the destruction of the goyim's culture to be reconstructed on the Semitic cultural model was the most important step.  First the 'prudish' 'Puritan' attitude toward sex had to be dismantled.  Censorship of explicit sexual material had to be removed.  Hence a campaign ensued to impugn anyone who 'didn't appreciate the beauty of the nude human body.'  Sounds reasonable doesn't it?  But what does it mean?  It means the legitimization of pornography.  'There shouldn't be any shame connected with sex.'  The Freudians said.  Well, that's an opinion not a fact.

     The first effort was to legitimize literary works of questionable morality or, at least, which contradicted the prevailing morality.  So, books such as Madame Bovary, Lady Chatterly's Lover and James Joyce's Ulysses were promoted as the highest form of literary attainment, whatever exactly that might be, rather than as salacious novels.  Literary,  well there's a thought to be considered.  Eventually they were all legalized.  'They started out on Burgundy but soon hit the harder stuff.'  The standards of society had been breached.   Then came the Marquis de Sade whose 'literary' value was said to override his sadistic psychosexual content.  Literary, hmm?  From thence we passed through Esquire Magazine to Hugh Heffner's Playboy.  The latter magazine opened the floodgates of pornography which of course legitimized homosexuality; but, Playboy published stories of the highest literary quality.  Literature, yup, but everyone looked at the dirty pictures.

     So that, as of today we have this peculiar, need I say disgusting, homosexual and Libertine sexual morality.  One judges the tree by its fruits.  What the Satan Freud cut loose which has come to fruition today must have been his intent.

     The driving wheel for this transformation was the film industry of Hollwood.  The very essence of the film is hypnotic suggestion.  While it is true that poetry and novels also serve as suggestion there is a great quantitative and qualitative difference.  One's intellectual distance and guard are always present while reading while with movies the opposite is always true.  Since one could maintain distance in the silent era being always able to discuss the movies with others while viewing them without disturbing people the suggestive power of any film required the same degree of consent as 'literature.'

page 7.

     This was not true with sound movies.  Talking was not tolerated as it disturbed concentration.  Thus the mind was left open in a hypnoid state to visual and audio stimulation.  What goes in the mind stays in the mind.  Nothing is forgotten.  During the thirties and forties suggestion was employed but without the effectiveness of the technical changes that began in the fifties.  Huge wrap around screens began to fill the entire visual field enveloping the viewer in the suggestion.  Huge, powerful surround sound speakers filled any void left by the screen.  The volume was overpowering, virtually blocking out critical attention, actually placing the viewer very deep into the hypnoid state, almost the same as the feeling of terror wherein the suggestion becomes implanted in the subconscious somewhat on the order of a fixation.  Then the movie going audience was being hypnotized without being aware of it.

     Realizing that young minds were somewhat more malleable than older ones movies were directed at the 'critical audience of from twelve to twenty-five.'  this age group also has the most leisure for movies.  Yeah, I know there were good reasons to direct movies at the age group but I'm interested in the real reasons.

     As the Jewish culture had a near hammerlock on the making of movies it could control the content.  Thus while having to 'pander' to the dominant culture, especially in the thirties and forties, the Jewish culture could subtly condition the viewers to their own cultural goals.

     Naturally this had to be done openly if not obviously  so that there was always a sizable minority who understood what was being attempted; voices were raised in objection.  Once again the Jews and the Coalition denied this was so deriding any objections as anti-Semitism or in violation of the Constitutional guarantee of freedom of speech and conscience.  The dissidents allowed themselves to be silenced too easily although the charge of anti-Semite was and is indefensible.  Unless you just dismiss it as a joke like I do.

     Thus by the process of gradualism control was established so that no movie not passing a very strict Jewish censorship could be shown.  Christian movies depicting Jesus were absolutely forbidden hence the huge flap over the Mel Gibson movie led by the Jewish culture who, that's right, denounced Gibson as an anti-Semite.   The key word here is culture, not individual Jews but the entire culture denounced Gibson.  That's why they call them culture wars.    

     In the thirties and forties the studio heads abjured movies with Jewish themes even in some cases refusing to employ actors because they looked too Jewish.  That's the legend anyway.  Gentlemen's Agreement broke that taboo although the lead characters were all goys playing goys but posing as Jews.  Interesting ploy.  Elia Kazan directed.  During the fifties movies that Jews considered purely reflected Jewish culture although the goy audiences were too oblivious of the fact were successful.  Two big films of this genre were A Funny Thing Happened On The Way To The Forum and Cabaret.

     Gradually what Jews called 'Christians' were made the butt of the jokes while Jewish characters became heroes.  Then as in the Adam Sandler movies he as a Jew although it was never made clear he was acting as a Jew put down 'Crhistian' characters, treating them as buffoons and fools while abusing goy women who were portrayed as sex crazed sluts and bimbos.

     Of course criminal behavior and sleazy approaches were used to condition the viewers mind in the direction of Freudian criminal and sex crazed morality.  The 'Christian' family was always attacked, fidelity, honor and uprightness demeaned.

     This attack was paralleled by a similar attack made on TV and also significantly in recorded popular entertainment.  First Vinyl records and then more openly on CDs.  Thus the public mind was constantly bombarded by propaganda reflecting the desires and needs of the Jewish culture. 

     So that, if in 1918 you had stood up and said that it was the intent of Freud and the Jewish culture to hypnotize the entire American population they wouldn't even have had to call you an anti-Semite to discredit you, you would have been laughed to scorn.  Yet here it is.  You are all hypnotized. Except for a small disregarded and vilified minority, a small body not unlike the excommunicated heretics of the Middle Ages, everyone has been conditioned to accept the value system of the Jewish culture.  Of course when you abandon control of your culture to another you can't expect anything else.

     As a side excursion let us consider the field of pornography.

page 8.

3.

     Let me say that while I deplore the Jewish culture's methods I vastly admire their chutzpah.  it is the same as the admiration I have for the great Midwestern bandits like Jesse James, the Youngers, the Daltons or Pretty Boy Floyd The Outlaw.  Well, let's exclude Pretty Boy, he has a special place in my affections.  While their careers were based on a false premise yet there was a dauntless courage and actual justification for the Outlaws' choice of means to redress their grievances.  While I am aware that it was necessary for society to terminate their careers in one way or another, still I have that secret admiration for their attempt.  So it is with the Jewish culture.  While I can't endorse their ideals and feel their methods will always doom them to failure, much as those of the Outlaws did,  like the Western train and bank robbers there is something thrilling in the attempt.

     But the return to the question.  Freud in his essay 'The Aitiology Of Hysteria' which is certainly approriate here, said:  Collected Papers Vol. I, p. 194:

     Quote:

     (I) am prepared to let my belief outrun the evidential force of my discoveries for the present time.  Besides, I am influenced by another motive, which for the moment is merely subjective value.

     Unquote.

     I am not quite so ready to allow my beliefs to outrun my evidence nor am I willing to abandon objectivity as was the good Herr Doktor Professor Sigmund Freud.  No. No.  We must adhere more closely to our science than that.  While Freud doesn't tell us what his subjective motives were I think I can guess.

     As a Libertine and homosexual Freud would have been a proponent of the distribution of pornography.  We have seen that Freud made advanced studies into the nature of emasculation.  Well, pornography is what emasculation is all about.  It seems certain that Freud misinterpreted the nature of the Anima following rather the lead of his friend Fliess, of nose fame, that there was an inherent bisexuality.  In other words in keeping with his homosexuality he believed that a man desired sexual relations with either men or women.  Any port in a storm, or even fair weather.

     In fact an affect of emasculation is the estrangement of the Animus from the Anima.  In the process of emasculation the Animus apparently has the understanding that the Anima failed in its duty therefore wishing to punish it.  Indulging his or her hatred then the homosexual is attracted to pornography with is attendant sadomasochism.  Indeed the mainstay of the pornography business is the homosexual by which I include Lesbians.

     In use then terms from individual psychology to group psychology the same Freudian rules apply.  Freud realized his own emasculation, probably that of the Jewish culture, and therefore sought to emasculate the Euroamerican culture in return.  We have seen through the media of movies, TV, radio and recordings how successful he was.    There is a French film entitled Dr. Petiot.  Dr. Petiot was a real person who realized his full potential under the Nazi occupation of France.  A bonafide psychotic as well as a physician Petiot lured those seeking to escape France to his home under the pretense that he would smuggle them out of France.  Instead he murdered them but before he did he mocked and ridiculed them deriving full enjoyment from their humiliation.

     Now, in the Winter 2004 edition of the European magazine The Jewish Quarterly an essay was published by a lecturer of American History at the University of Aberdeen, Scotland by the name of Nathan Abrams.  His bit is entitled Jews In The American Porn Industry.  What this essay shows is the divorcement of the cultural or group Animus from the Anima of the Jews.  This should come as no surprise because Semites in general suppress the role of women, or the Anima in favor of the Male Animus which is an expression of the Culture's unhealthy Anima-Animus relationship.  Here Mr. Abrams mocks and ridicules Euroamerican civilization.

page 9.

     Mr. Abrams begins his essay thus:

     Quote:

     A story little told is that of Jews in Hollywood's seedier cousin, the adult film  industry.  Perhaps we'd prefer to pretend that the 'triple exthnics' didn't exist, but there's no getting away from the fact that secular Jews have played (and still continue to play) a disproportiate role throughout the adult film industry in America.

     Jewish involvement in pornography has a long history in the United States as Jews have helped transform a fringe subculture into what has become a primary constituent of Americana.  These are the 'true blue Jews.'

     Unquote.

     The most virulent anti-Semite couldn't have expressed it more succinctly.  At the same time we have a cultural confession of emasculation.  I haven't been able to discover the exact meaning of 'triple-exthnic' but the term is probably just another obfuscation  in terminology.

     While everyone has known of the Jewish role in the 'sex industry', where they are as over represented as they are in Hollywood itself, for a hundred years, only Jews have been permitted to write about it.  The goys have been so thoroughly emasculated in their turn that they would rather leave it alone than be denounced as anti-Semites thereby being excommunicated or thrust out of society so Mr. Abrams has the field to himself.  However one is free to criticize the content of the essay.

     When Mr. Abrams identifies pornography as the seedier cousin of the Hollywood film industry he tacitly admits that Hollywood itself is seedy to which conclusion I heartily assent.  All, or nearly all films, are pornographic in intent.  The only area in the world in which the production of pornography is legal is right here in these United States Of America and that place is within a twenty mile radius of Hollywood where you know who is over heavily represented.  Not American but Israeli, Jewish.  Hollywood is an Israeli colony in the United States.

     Mr. Abrams says that Jews have helped transform a 'fringe subculture'- read criminal- into what has become a primary constituent of Americana.  Further he says that this legitmization of crime has been the work of the Jewish culture.  Mr. Abrams is projecting badly when he believes that pornography has anything to do with Americana, rather by his own admission he should say Judaica.  He further states that these pornographers are 'true blue Jews.'  In other words, the best that Judaism has to offer.  If so, then the Jewish culture must be analyzed with this notion in mind.

     Pornography is essentially an extension of prostitution.  That is to say, the degradation and exploitation of the Anima, let alone women.  To keep the business running there must therefore be procurers and procuresses.  Men may volunteer but women by and large have to be dragooned.

     As an expression of emasculation one finds a disproportionate number of homosexual also involved which means sadomasochism and drugs.  Sadomasochism is an affect of emasculation.

Thus the seedier cousins of seedy Hollywood itself are governed by a psychotic state of mind.  In fact Hollywood movies are psychotic visions of a psychotic sadomasochistic projection on the world as examples of American culture or as Mr. Abrams would have it, Americana; quite falsely so.

     How far they represent other cultures than the Jewish is open to question.

page 10.

     Pornography was taken mainstream by the goy, Hugh Heffner, who developed this affect of a mental disease in the guise of Hedonism rather than Libertinism which is its true guise.  He was joined by the major 'players' Larry Flynt of Hustler Magazine and Bob Guccione of Penthouse Magazine.

     Although Jews had been instrumental in kicking down the doors of sexual censorship, most notably with the legitimization of Joyce's Ulysses, it was Heffner beginning in 1953 who paved the way for the porn film industry which arose in the sixties.  In competition with Heffner, Flynt and Guccione constantly stretched the limits from Heffner's Hedonism to outright pornography.  The three magazines above were sold openly across the counter which meant high grosses.  It should be noted that while tremendous effort was made in lifting censorship of obscene material at the same time the same effort was made to censor political and social thought by the same parties.

    The smut industry of peep shows and whatnot Mr. Abrams quite correctly identifies as being primarily Jewish.  Mr. Abrams then gets involved with the motivations of the smut peddlers.  As is consistent throughout Jewish writing he distinguishes between 'secular' Jews and 'religious' Jews as though they were two separate entities.  The distinction will undoubtedly confuse those who haven't scientifically studied the culture.  In point of fact crime and prostitution had a significant hand in financing Jewish political activities from the beginning of the Revolution from 1913 and before to the present.

     The Revolution didn't come free and it didn't come cheap; there's a price tag on everything and a very high price tag on this one.  On the financial and banking level it was fairly easy, the bankers just used other people's money.  Loans are loans and expenditures are expenditures; loans have to be repaid while expenditures are cash out of hand.  So for expenditures the money came largely from vice.  One usually thinks of organized crime as Italian or Sicilian while in actuality the organizers were Jewish.  Enormous sums were raised by crime especially under the kingpins Arnold Rothstein and Lepke Buchalter.  But, lo and behold, when these men died the vast sums that passed through their hands which they could not possibly have spent were nowhere to be found.  To all intents and purposes these men died penniless.

     On the other hand men like Julius Rosenwald who became a principal of Sears, Roebuck contributed millions upon millions of dollars to Jewish 'charities', read- political organizations.  While there is no reason Rosenwald couldn't have become rich from his position at Sears still the amounts of money he contributed seem well in excess of any possible earnings.  While Jewish criminals were donors to Jewish causes, and very welcome ones too, it seems probable that the money pouring into their coffers which, after all was a joint Jewish effort, may well have been funneled thrugh intermediaries like Rosenwald as a money laundering scheme.

     After all men like Rosenwald maintained magnificent establishments while making these contributions.

     The Liberal position from 1815 or so when Liberalism per se came into existence had always been that crime and prostitution were the result of the inequitable distribution of wealth.  Always on the qui vive for another utopia it was assumed that when the working class had its share crime and prostitution would disappear.

     For all practical purposes that particular utopia was realized in the United States.  Lo and behold, instead of crime and prostitution having disappeared they have prospered mightily.  Indeed, rather than being repulsed by this particular form of prostitution women have apparently embraced it.  Yes, as Mr. Abrams so quaintly puts it:  Once (women) had laid down, they could stand on their own two feet, particularly as female performers typically earn twice as much as their male counterparts.  Once they had laid down that is.  Good paying prostitution is still prostitution, but at least the girls were paid better than the boys.  I'd still rather be a boy in those circumstances.

     So, if not driven into prostitution by poverty it seems that women are lured into it by the pursuit of wealth or as Mr. Abrams insultingly puts it, in pursuit of the 'American Dream.'

      Nor are these entrepreneurs of porn from poverty backgrounds.  Mr. Abrams proudly claims that these porn pros come from 'upper class' and prosperous Jewish families.  What motivations does Mr. Abrams attribute  to these Libertine criminals other than the pursuit of the buck.

     Mr. Abrams:  Porn is just one expression of [the] rebellion against standards, against the disciplined life of obedience to the Torah that marks a Jew living in Judaism.

     So, their rebellion is really culturally internal and has nothing to do with the mainstream culture.  They find Judaism too restricting.  Indeed, 'America provided the freest society Jews had ever known.' Adds Mr. Abrams.  Including his own Judaic culture one assumes.  One might think the Promised Land had been realized.  But, read the sentence carefully and it is made evident that the Jews still consider themselves strangers in a strange land but now they have the freedom to rage at all, even themselves.

     Quote:

     Extending the subversion thesis, Jewish involvement in the X-rated industry can be seen as a proverbial two fingers to the entire WASP establishment in America.  Some porn stars viewed themselves as front-line fighters in the spiritual battle between Christian America and secular humanism.  (read- the Jews)  According to Ford (Luke Ford) Jewish X-rated actors brag about their 'joy in being anarchic sexual gadflies to the puritanical beast.'  Jewish involvement in porn by this argument is the result of an atavistic hatred of Christian authority:  They are trying to weaken the dominant culture in America by moral subversion.

     Unquote.

     Quite right.  While the revolution or 1913-28 has been extended that War still rages on.  Furthermore it is being waged on the terms laid down by Freud.  The Jewish culture permits even encourages these pornographers toward that goal.  One doesn't really believe that a bunch of scum criminal pornographers were able to get a law passed legalizing their criminal behavior does one?  Of course one doesn't.  Such a law could only be passed by very influential ostensibly respectable people of porn's less seedy cousin.

     This area of legal pornography is Hollywood.  Whether fronted by goys or not Jewish moguls passed this law.  Are they taking a rake-off as a reward for providing the pornographers a legal sanctuary of are they sleeping partners of the pornographers or has it made it possible to release such racist pornographic filth as Shadow Boxing as legitimate entertainment in mainstream theatres.  Gosh, let me think long and hard on that one.

     So , we have the results so far of Freud's psychological program for the conquest of Euroamerica.  Of course along the way his program would be reinforced.  Here's Mr. Abrams again:\

     Quote:

     Those at the forefront of the movement which forced America to adopt a more liberal view of sex were Jewish.  Jews were also at the vanguard of the sexual revolution of the 1960s.  Wilhelm Reich, Herbert Marcuse, and Paul Goodman replaced Marx, Trotsky and Lenin as required reading.  Reich's central preoccupations were work, love and sex, while Marcuse prophesied that a socialist utopia would free individuals to achieve sexual satisfaction.  Goodman wrote of the 'beautiful cultural consequence' that would follow on legalizing pornography.  It would 'ennoble all our art'; 'humanize sexuality.'

     Unquote.

     I'd put those statements in quotation marks too.  These writers might be considered the second wave after Freud to refreshen the program and keep it moving forward.  There is a particular reason why these writers should have been published and lauded over others and it isn't literary value.  As we will see in the next section, when a book was to be promoted a cadre of boomers ran through the universities and cities touting this stuff.

     Thus this very powerful organization was very effective.  The effectiveness was made total when any who objected could be isolated and harassed by teams of damage controlmen.  Not only could an individual be silenced and marginalized by a whispered imputation of 'anti-Semitism' but the entire population could be emasculated by the same charge.

     Freud then had devised the means to emasculate the hundreds of millions of Euroamericans and that purely by their own acquiescence.  Rather than be known as anti-Semites they willingly abandoned their sexuality.  This abandonment was conditioned and reinforced by the entire media of the land.  Most especially Hollywood.

page 12.

     Do not think I condemn the Jewish culture, or nationality in fact, for this fait accompli.  On the contrary I applaud it.  Imagine this atavistic religious consciousness projecting a state of ignorance over the most enlightened population on the planet.  Think about it.  It stuns one to silence.  This achievement is so amazing it leaves one standing with mouth gaping.  If the entire Euroamerican population is willing to voluntarily surrender not only their intelligence but their manly and womanly sexuality to another culture why should the receiving culture be blamed?  No force was used.  Only psychological manipulation that any fool could have seen and easily rejected.

     Further, just like Dr. Petiot with his victims, the Jewish culture humiliates its slaves via the media.  I have pointed out Adam Sandler movies where he plays a vacuous nerd who triumphs over athletic men and humiliates nubile women.  If the past is any guide to the future one can look forward to a gulag system where opponents are mass executed.

     I can say no more on the topic here.  Suffice it to say that on the sexual level Edgar Rice Burroughs' America hs been deconstructed per Sigmund Freud's plan and reconstructed to the complete advantage of the Jewish culture and to the complete disadvantage of the Euroamerican culture.  All it took, and this the most astonishing fact of all, was a little chutzpah.

     All credit belongs to the Jewish culture and I say that to the shame of my own.

Initially, I read to escape.

Found my way to the neverlands and never-will-bes as part of a protracted and determined effort to seek refuge from a real world in which I was vulnerable, helpless.

Books also helped assuage the loneliness, the sense of otherness that frequently assailed me. I’ve always had an earnestly held desire to isolate myself from an indifferent, possibly hostile universe lurking just outside my front door. It’s a type of agoraphobia, I suppose, a reluctance to leave an environment where I wield power and control and venture out into the Chaosium.

Ray Bradbury was an early companion, The Golden Apples of the Sun an important reading experience when I was ten or eleven. So was Arthur C. Clarke’s tale “A Walk in the Dark”. I went through many anthologies and short story collections (I have a love of short fiction that persists to this day). Candidly, I was an indiscriminate reader.  Popular fiction, history and, when I was particularly desperate, books plucked from my grandmother’s shelves: Daphne DuMaurier, Harlequin Romances, just about every offering in the Companion Library Series (I was bored by Hans Brinker but loved Baum’s Wizard of Oz and also, surprisingly, The Five Little Peppers).

Science fiction dominated my young adulthood: Lucifer’s Hammer (Niven & Pournelle), Childhood’s End (Clarke), Voyage of the Space Beagle (van Vogt) and every story by Robert Sheckley I could lay my hands on. Sheckley was a fortuitous discovery—I can reread his fiction today and still enjoy it. There’s something about the combination of SF and satire that definitely appeals to me. Some of Sheckley’s best stuff is in Citizen in Space, a volume that shouldn’t be too hard to find. Check it out.

By my mid-teens I was writing a fair bit (mainly bad poetry) and seeking out literary role models, authors whose sensibilities came closest to my own. I found I liked tales with a Twilight Zone-ish aspect to them, something not quite right with the world, fate lying in wait for our hapless hero just around the next bend. Enter Richard Matheson and Charles Beaumont; Philip K. Dick, Harlan Ellison and Jerome Bixby. They became big influences--I think it could be fairly said that their grim(m) worldviews and melancholy ambience still inform the work I produce today, twenty-five years later. That’s how strong an impact their books and tales had on me.

By the time I was eighteen, I’d given up on poetry and was turning my hand to short stories. Slowly, incrementally, I got better and that’s entirely due to the excellent tutelage of my literary heroes. I’ve never taken a writing class or workshop; my “education” is entirely the product of a lifelong addiction to the printed word. I’ve evolved into a better, more critical reader by seeking out authors and books that challenge me intellectually and aesthetically. In the process, I’ve also become a better writer, more demanding when it comes to evaluating and critiquing my own work.

My literary tastes are constantly progressing, expanding. For a time I was enamored with the surrealists and then Samuel Beckett, J.G. Ballard and William Burroughs, authors and movements bent on distorting or eliminating traditional narrative. I was also drawn to the intricate, cerebral mazes constructed by Jorge Luis Borges.

Over the past decade or so, other writers have instructed me, helped propel my work in interesting new directions: Paul Auster and Jonathan Carroll (his first novel, Land of Laughs is a magnificent effort). Don Delillo and Cormac McCarthy. James Crumley. Robert Stone. Jack O’Connell. Irvine Welsh.

Each passed along important lessons—I luxuriate in prose by good authors, immerse myself in it, dissect and analyze it to discover how a certain effect was achieved. My hyper-critical mind has little time for those who resort to “hackdom”, it recoils from the discordant, tuneless prose produced by such derivative or porous imaginations.

Lately, my reading has ranged all over the place—one day, Robert Fagles' translation of The Iliad, the next something lean and mean by Charles Willeford. Nonfiction in the morning to get my brain moving, fiction to wind me down at night. I may go two weeks without reading a book, then binge on them, blasting through six in the next six days. For the longest time I didn’t read science fiction; now, thanks to authors like Tony Daniel, John Barnes, Charles Stross, Peter Watts, Vernor Vinge, James Morrow, Iain M. Banks, Paul Di Filippo, Dennis Danvers and others, I’m back in the fold.

Can’t say the same for horror, unfortunately. The field is in a dreadful state. Do most of the guys and gals scribbling zombie stories these days even know who Matheson and Beaumont are? Do they understand that a well-told tale is a beautiful and enduring thing? Doubtful. They’re too busy ministering to their printers. All that blood and viscera keeps clogging up the works. Such “writers” have nothing to teach me.

Right now I’m really attracted to condensed narratives, brief and fierce and tight. Many books these days are afflicted by clutter and bloat…so I seek out authors who have pared down their prose to the bare minimum. Providing descriptions and back stories with a few well-chosen words. Those fat tomes by Proust, Tolstoy and Durrell will have to wait for another time.

I think it’s important for an indie writer these days to be aware of the DIYers and mavericks who preceded them. Independent spirits like Arthur Rimbaud, Alfred Jarry, Poe, Lovecraft, Kafka, Celine, Artaud, Dick and Ellison. Non-conformists and originals, determined to protect the integrity of their work, willing to risk rancor, exile, public indifference or disapprobation. While our themes and objectives may differ, the examples they set as individuals of great fortitude and perseverance have served to inspire me when I’ve questioned my talent, the direction my life and/or career is going in.

Each of the authors I just cited suffered mightily for their art, endured great privation and ignominy…but their books and stories are still read today. Their travails have been vindicated by slow posterity, their creations consigned to the ages. Art that ennobles the human experience, that faithfully reproduces the pleasures and pains of existence and depicts without flinching the true state of the soul will prevail over yesterday’s bestseller, today’s flavour-of-the-moment. Count on it.

We will always have cause to empathize with Lear’s rage and despair and have it within us to hate with the virulent malice of the Count of Monte Cristo. A thousand years from now the persecution of Jean Valjean will still move us to tears (virtual or otherwise). As a species, we’ve been imbued with the capacity to love and the capability to do enormous harm. Great art does not allow us to shrink from such notions nor concede responsibility to outside agencies. It is a mirror, the ultimate reflecting surface; it does not lie and when we balk, commands us not to look away.

Cliff’s Reading List:

A few years ago my nephew Jesse asked me to put together a reading list for him—this is a revised and updated version of that roster of faves. Books I commend without reservation for their intelligence, savagery, grace and wit:

Martin Amis DEAD BABIES (vicious/hilarious)

Paul Auster ORACLE NIGHT; THE COUNTRY OF LAST THINGS (magic realism)

J.G. Ballard RUNNING WILD (chilling short novel)

Wilton Barnhardt GOSPEL (brilliant!)

James Carlos Blake IN THE ROGUE BLOOD (terrific western)

Joseph Boyden THREE DAY ROAD (Sherron & I loved this book)

Anthony Burgess EARTHLY POWERS

Benjamin Cavell RUMBLE, YOUNG MAN, RUMBLE (brilliant, edgy stories)

L.F. Celine JOURNEY TO THE END OF THE NIGHT; DEATH ON THE INSTALLMENT PLAN

Michael Chabon AMAZING ADVENTURES OF KAVALIER & CLAY; YIDDISH POLICEMEN’S UNION

Nicholas Christopher VERONICA; A TRIP TO THE STARS

James Crumley: (anything by this author)

Don DeLillo UNDERWORLD

Philip K. Dick A SCANNER DARKLY

Katherine Dunn GEEK LOVE (shocking, bizarre…one of our faves)

Steve Erickson DAYS BETWEEN STATIONS (surreal, well-written)

Timothy Findley NOT WANTED ON THE VOYAGE (brilliant)

Ken Grimwood REPLAY (suppose you had your whole life to live over?)

Jim Harrison TRUE NORTH (great American novelist)

Ernest Hemingway FOR WHOM THE BELL TOLLS (his best book)

Nick Hornby HIGH FIDELITY (avoid Americanized movie)

John Irving HOTEL NEW HAMPSHIRE (still his best)

Denis Johnson JESUS’S SON (grim, powerful stories)

William Kotzwinkle THE FAN MAN (another big favorite)

Ira Levin A KISS BEFORE DYING (very suspenseful; terrible movie)

Lee Maynard CRUM

Cormac McCarthy BLOOD MERIDIAN; OUTER DARK

Ian McEwan BLACK DOGS; CEMENT GARDEN

Martin Millar LUX THE POET

Henry Miller TROPIC OF CANCER; BIG SUR & THE ORANGES OF HIERONYMUS BOSCH

David Mitchell CLOUD ATLAS; BLACK SWAN GREEN

Seth Morgan HOME BOY (staggeringly good; author died tragically young)

James Morrow TOWING JEHOVAH (blasphemous; hilarious)

Chuck Palahniuk LULLABY; CHOKE; FIGHT CLUB

Stephen Pressfield GATES OF FIRE

Mordecai Richler COCKSURE (very funny); BARNEY’S VERSION (what a swan song)

Tom Robbins ANOTHER ROADSIDE ATTRACTION; STILL LIFE WITH WOODPECKER

Bruce Robinson THE PECULIAR MEMORIES OF THOMAS PENMAN

Abraham Rodriguez SPIDERTOWN (amazing novel); THE BUDDHA BOOK

J.D. Salinger THE CATCHER IN THE RYE (legendary)

George Saunders (anything by Saunders; he’s one of the best)

Jim Shepard PROJECT X (he’s a great short story writer too)

Robert Stone OUTERBRIDGE REACH; DAMASCUS GATE

Donna Tartt THE SECRET HISTORY (excellent first novel)

Hunter S. Thompson FEAR & LOATHING IN LAS VEGAS (changed my life)

John Kennedy Toole CONFEDERACY OF DUNCES

Guy Vanderhaeghe MY PRESENT AGE (very funny & sweet)

Rich Wallace WRESTLING STURBRIDGE (great YA novel)

Evelyn Waugh DECLINE & FALL

Colson Whitehead THE INTUITIONIST

Non-fiction:

Karen Armstrong A HISTORY OF GOD

Thomas Cahill DESIRE OF THE EVERLASTING HILLS

Wade Davis ONE RIVER (travels in Amazonia & elsewhere)

Annie Dillard HOLY THE FIRM

Richard Ellmann JAMES JOYCE (biography); OSCAR WILDE (biography)

Jon Krakauer INTO THIN AIR

Bill McKibben ENOUGH (too much technology is gonna kill us)

Margaret McMillan 1919 (story behind Versailles negotiations)

Graham Robb RIMBAUD (biography)

Eric Schlosser FAST FOOD NATION; REEFER MADNESS

Andrew Smith MOON DUST

Anthony Storr SOLITUDE

Barbara Tuchman MARCH OF FOLLY

Elie Wiesel NIGHT

We'll start off the series with a pretty much unknown writer, Charles Beaumont. His credits include the 7 Faces of Dr. Lao and a ton of great Twilight Zone episodes.

I just saw his Twilight Zone episode, "Person or Persons Unknown," last night. It was among the best of the series. It has a unique "what if" start. Then the story progress and it ends with a cool (but kind of predictable) twist.

In addition to the episode I saw yesterday, Mr. Beaumont had written several episodes that struck me as good to great writing. Each time, I would see his name at the beginning and be a little disappointed that it wasn't a Rod Serling written episode. Then after the episode played, I'd realize that it was actually really good. His solid writing in the series turn me into a fan.

Today, I decided to see what else Mr. Beaumont had done. It turns out that in his short life (he only lived to 38 years old due to a brain disease), he wrote mostly for the Twilight Zone, but also did the underrated adaptation, 7 Faces of Dr. Lao.

If you get the chance, take a look at some of Beaumont's work. If you are at all interested in Spec-Fic, you will be greatly pleased with what you find.

We went to Ellison Wonderland last year to interview Harlan for our upcoming documentary about Charles Beaumont.

Harlan is intense, to say the least. But - so is Jason and that was quite the ride. When Jason when out to get another tape, Harlan exclaimed that I was married to someone as obnoxious as he is!

Of course, Harlan has his sweet side, too. He was full of pride as he told me all about the squirrels at his house that respond to his voice.

There are lot of great moments in the interview. Don't miss the documentary when it comes out.

Harlan Ellison discusses our Charles Beaumont film...
Current mood: amused
Category: Blogging

Here is the mighty Harlan Ellison writing about the film we are working on about Chuck Beaumont, one of his good friends... (It's in context; here's the link: http://harlanellison.com/heboard/archive/unca20060606.htm)

Thanks Harlan!

--JB

=====================================================

HARLAN ELLISON
- Tuesday, April 25 2006 12:59:12

ASSORTED THANKYOUS
...

(Yesterday, I sat for a long interview on camera with a clever young man named Jason Brock--and his wife, Sunni--who came down from Portland. They're doing a documentary on the late Charles Beaumont, and they'd already filmed Greg Bear, Geo. Clayton Johnson, Bill Nolan, Ray Bradbury, Richard Matheson, and others. Their production company is JaSunni Prods., and I have no idea if there's a website, nor when the completed Beaumont documentary will be available--I suspect it will be, fer shur, a substantial while--but I thought I'd mention it...just for you completists.)...

Anyway, feedback on the trailer has been great so far. Thanks everyone for your support, and we'll keep you posted as things progress.

Please check these links out and let us know your thoughts!

--Later!

--JB

P.S.-- Don't forget our MySpace pages and our Official Site: JaSunni.com...