My People

This first appeared on Splice Today.
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All through my childhood, my family told me I mumbled. And, as kids will, I believed them — and went on believing them well after I had left home. In fact, I don’t think I fully realized how I had been deceived until well into adulthood. I must have been 28, I think; my parents had come into Chicago to visit and we were having dinner in a restaurant with my cousin and my wife-to-be. My cousin showed up late, bearing a relatively spectacular bit of news —my grandmother had caught her eye on a car door and was in the hospital. My mom sat up straighter in her chair, lifted her chin, and, with that east-coast Jewish nasal edge that sounds like a jackhammer pulled across a blackboard, bellowed out, “Holy Fuck!”

As the restaurant plunged into shocked silence and my eardrums reverberated, I experienced a kind of epiphany. It wasn’t that I mumbled, I suddenly realized. It was that my parents were, officially, the Loudest People on Earth.

They’re not really, of course. Or, rather, it’s not just them, but rather the Ashkenazi in general. I had ample opportunity to realize this in the run-up to a recent concert at Chicago’s Old Town School of Folk Music . While eating dinner, my wife and I learned, oh, just heaps, thanks, about the two lovely couples at the next table: married for forty years and with relatives in Florida and at odds over whether it was really fair to say that Maury had had nothing to do with his kids, or whether that statement just couldn’t be allowed to stand. And all the while I knew as sure as my boy’s my bubeleh that they were going to the same damn concert we were.

And what was that concert, you ask? Klezmer, perhaps? In John Zorn’s wet dreams, maybe. I’m talking about performers like Odetta, Pete Seeger, Arlo Guthrie — collectors of songs, purveyors of social justice, and bearers of banjo-fulls of mitzvahs all around.

So, yeah, we were going to the Old Town School of Folk Music for an evening of folk revival nostalgia — and, at least for me, the nostalgia was almost crippling. The nervous, semi-professional opening announcement; the raffle; the jovial, inevitably bewhiskered volunteers with nametags; it was like I had wandered through a hole in my head into some sort of archetypal JCC. Or back to my Jewish summer camp, where the cantors (that’s “song leaders” for you gentiles) played the songs of Joni Mitchell and all knew Harry Chapin personally.

At the Old Town School, opening act Caroline Herring explained that she hailed from Mississippi; nor did she appear to have a particularly large nose. But I bet she knew Harry Chapin too, and that he recognized her as a Semite-sister of the soul. My wife — whose family is from Appalachia and whose patience for precious, breathy folk tunes is, shall we say, spotty — watched Ms. Herring with a mounting horror that exploded quietly but magnificently during an earnestly pedantic desecration of “Long Black Veil.” And, yes, I do know where my wife’s coming from. But how — I ask you, how? — could I turn up the nose of my forefathers at a woman who name-dropped the Kingston Trio and (with a proud little giggle) Nirvana, before launching into a slow, heartfelt version of Cyndi Lauper’s “True Colors”. Or who talked at length about a book titled Black Culture and Black Consciousness by a Jew from Brooklyn named Larry Levine? Or who declaimed “I’m a white girl from a segregated town/and I’m looking for some answers” to a crowd entirely hushed except for that one person walking by behind us talking about their grandson’s Bar Mitzvah? Yes, yes, yes, and also oy, it was amateurish and self-involved and yes, again, it is in truly, truly poor taste to mention your yearning desire to be black for the fifth time in the set. But…it’s my amateurishness, isn’t it? It’s my self-involvement and, God help me, my desire to be black. Is it really so wrong?

My wife assures me that it is.

In any case, Herring finally left and the main act came on — Chris Smither. Smither is not Jewish either, I don’t think, but his dad is a university professor, which is pretty much the next best thing. Also, he sang a cutesy, blasphemous rag about evolution — red meat for this crowd, obviously.

The thing about Chris Smither, though, is that, while he is a 100% bona fide, folk revival fossil down to his witty self-deprecating patter (“I love this place. I feel like I’m such an artist”) and the easy liberal jeremiads (“the trickle down will float you up…surprise, surprise, it ain’t so”) he’s also, actually — well, good. His blues-derived guitar playing is a wonder, whether swinging through a dirty Lightning Hopkins rave-up like “Surprise, Surprise” or using a lighter, Mississippi John Hurt-style flow as on “Time Stood Still.” His voice is hoarse, and his mumbled phrasing is remarkably evocative, like Tom Waits with half the booze and twice the brains. Everything, down to the incidental aspects of his set — the way he uses both feet to create barely audible (though mic’ed) percussive rhythms, or the effortless speed with which he downtunes between songs —is done so professionally, and with such unpretentious nonchalance, that it attains soulfulness almost by default. His performance of “Sittin’ on Top of the World,” which closed the night, was near definitive — a slow, almost-dirge where every drawn-out, supposedly carefree line dripped with bittersweet longing. Even my wife liked him. In fact, she bristled a bit when I informed her that he was, indisputably, and despite his many good qualities, clearly of the folk revival. (“I guess I did hear about him on NPR,” she finally admitted reluctantly.)

None of which is to say that Smither escapes the problems endemic to his brethren, necessarily. His humor is witty, but doesn’t have much real bite, and — despite the occasional “Sittin’ On Top of the World” — he rarely tries for emotions much more complicated than self-mockery or diffuse melancholy. When he sings a come on, he sounds amused rather than dangerous; when he ruefully declares that many “perfectly good songwriters become parents and then spend the rest of their lives churning out maudlin crap about their children,” it’s as a prelude to a maudlin and fairly crappy song about his daughter.

But, you know, not all art has to be about being edgy and shocking the bourgeoisie. Sometimes, as Carl Wilson has noted, it can be about community, even if that community is kind of, well, bourgeois. My parents would love Chris Smither : his easy liberalism, his easy humor, his deft mastery of someone else’s quintessentially American folk idiom. And they’d be right to love him, because he’s great. The concert was easy and welcoming and gentle. Great children’s music, in other words, much like the first tapes of Arlo and Johnny Cash and the Kingston Trio I ever listened to on an old cassette deck in the back seat of our station wagon, the songs sometimes drowned out by my mom and dad bickering loudly in front.

What’s the Big Deal About Sailor Moon?

More than 15 years after its initial debut in Japan, and just about 10 years since its debut in America, the Bishoujo Senshi Sailor Moon manga is making a comeback, with a brand new edition in English from Kodansha, Pretty Guardian Sailor Moon.

Of course there are many fans that are thrilled by this – I count myself among them. For those of us who love this series, no explanation, no reasons, no critical analysis need be applied to the series. We love it, full stop.

However, the refrain I’m hearing over and over from those people who did not catch the wave the first time around, is “I don’t “get” it. What’s the big deal?”

First of all, let me disabuse you of the notion that there is a Big DealTM about Sailor Moon. There isn’t. If you don’t like it, don’t “get” it, can’t understand what we’re seeing, you’re not missing anything critical. Let’s be honest here – if you think Usagi is annoying, and don’t like the premise, the clothes, the romance…there’s nothing I can say to change your opinion. You don’t like Sailor Moon. Own it. I don’t like Dragonball Z and nothing any one of the zillions of fans is ever going to say will change my opinion.

So…what is the big deal about Sailor Moon? Let me tell you my story.

I used to collect American comics. I still have long boxes full of Avengers, Defenders and Invaders. But honestly, by the late 80s my interest was waning. Janet hadn’t killed her asshole husband Hank yet and the Valkyrie still wasn’t lesbian, even though she obviously was. There were fewer and fewer good female characters. When Storm joined the Avengers, and the Legion of Superheroes couldn’t tell that Quisling was the traitor among them, I knew I was done. Although I stopped collecting, I didn’t get all anti-comics. I just left comics and stopped filling the longboxes. I kind of missed the stories, but not enough to go back. Indie comics were too full of themselves (and had no women either) so I just…stopped.

In the late 1990s, anime and manga were starting to become popular here in the US. Cartoon Network used power anime series Dragonball Z and Sailor Moon to spearhead an afternoon anime block. It broke all records for animation in America.

I knew of it, of course. By then I was already making tentative steps into derivative fan work, with some fanfic of Xena: Warrior Princess and, for the first time in many years, found my interest in comics returning…only this time, it was all about manga. Friends came to the house with anime; we watched popular series like Ranma 1/2 and Tenchi Muyo and it was all laughs and fun and games.

So when my wife was home unemployed, and she started watching this series on TV called Sailor Moon, I wasn’t all that surprised that we liked it. I’ve told this story many times, that the first episode I watched was titled in English “Cruise Blues” and when Amy asked Ray if she noticed that they were the only ones on the ship without boyfriends and Ray replied that they didn’t need boys to have fun, I turned to my wife and said, “We are watching two different cartoons. You are watching the pre-pubescent little girl cartoon and I am watching the one with tremendous lesbian subtext.” And so, we were both hooked.

I started to research this Sailor Moon and instantly encountered the fact that two of the Sailor Senshi were a lesbian couple (and this outside of the not subtle lesbian subtext between Usagi and Rei, Minako and Makoto, later Ami and Makoto, and in the manga Minako and Usagi and Rei and Minako. It was actually kind of hard to avoid it, unless you worked hard at it.) And then there was the obvious, incestuous triangle of Usagi, Mamoru and Chibi-Usa. And that was only in the first two series!

Once I learned about the third season, the appearance of the “Outer Senshi” and the fact that they had what was as close to an out lesbian couple as I’d ever see in anime (this was back in the late 90s, remember,) I dug around until I found fansubs of the series. Fansubs weren’t easy back then. You mailed a blank VHS plus postage to some guy somewhere and he sent you back a VHS with a nth generation copy with subtitles manually entered and timed. If you were lucky, the guy was making copies from an LCD.

That’s how I discovered Sailor Moon Super or Sailor Moon S, as most people call it. And how I discovered Sailors Uranus and Neptune, who are indeed a fabulous lesbian couple.

As my wife and I watched Sailor Moon S in Japanese, I realized I could parse some of the linguistic patterns and since I really, really wanted to read the manga for this series (it was still years before Tokyopop would consider putting it out) I started to learn Japanese…just to be able to read Sailor Moon.

The manga was pretty sketchily drawn. Takeuchi’s feet and hands are not worthy of praise. But her characters are beautiful. Yes, they all have the same face…there’s darn few manga artists that don’t do a find and replace face. That’s exactly why hair styles and colors are so strange in shoujo and shounen manga – because otherwise all the characters have the same features. And yet, those lines are lovely, feminine and appealing. Takeuchi wasn’t afraid to dress her characters up, or play a little with their personalities.

The plot is…childish. A slightly-below average middle schooler is the leader of a group of “Guardians” from an ancient Moon Kingdom? Well, gosh that makes tons of sense, doesn’t it? I have two words for you – Dragonball Z. The plot doesn’t have to be sensible, any more than Cinderella’s fairy godmother giving her a glass slipper does. Sailor Moon is childish because it’s written for children. For girl children who want to be Princesses who fight for love and justice and who get the guy, but get to rule the Queendom, rather than adorn the King’s arm. Not for nothing is Queen Serenity accompanied by Prince Endymion. But all the characters were, at heart, girls that any girl might identify with. Girls who are a little – or a lot – different. Each Senshi reflects an archetype, a zodiac. Each Senshi reflects us.

So what is the big deal?

It was a series for girls, when little to no series took girls seriously. Like Xena, Usagi fought for good. Like Xena, Usagi gathered around her allies and enemies. Like Xena, Usagi’s allies become more than just friends. Unlike Xena, Usagi was just a regular girl. Perhaps it was the zeitgeist but for me, having Xena and Gabriel on TV paved the way for me to love cool, attractive Junior Racer Haruka and genius violinist Michiru. The anime fed into the manga, which fed back into the anime. Character qualities and experiences spilling from one into the other and back created a body of canon, fed by the deep well of fanon in the form of fan art and fanfic (many dozens of which I wrote and still ocassionally write) that created the spring with which our fandom was irrigated.

I don’t know if anyone coming to Sailor Moon now can feel that, but I do know it’s been on the New York Times Best Seller list since Volume 1 was released. I’m not surprised at all. Usagi is still annoying yet lovable, Ami is still admirable and sweet. Makoto is strong, yet feminine. Minako, when she arrives will be goofy, but a staunch leader. Setsuna will be mature and mysterious, Chibi-Usa will be 10x annoying, but sympathetic, Haruka and Michiru will be talented, cool, and deeply, obviously in love. And last, but almost never least, Hotaru will be pitiable and amazing.

What’s the big deal about Sailor Moon?

You tell me.

Jaime and His Readers

In their essays on the recent appreciation of Jaime Hernandez at the TCJ website, both Noah and Caro ask, What makes JH’s work a masterpiece, and if you can’t tell me that, then why should I, as a potential reader, care? These are good questions. And I’m going to provide an answer that, in the spirit of HU, should piss-off just about everybody. Ready?

The TCJ appreciation is not about Love and Rockets but its readership. This is necessary and also unfortunate.

Before I go on, let me clarify two things. First, I’m using the term masterpiece in its colloquial sense, as in a superlative work. I’m not going to worry over canon formation here, nor am I going to suggest the need for criteria for determining worth relative other works. Second, by arguing that that TCJ roundtable is about the readership and not the comic, I don’t mean we should disregard it. As will become clear, I think Love & Rockets is, and always has been, part of a conversation about what comics can be. To read Love & Rockets without reading the conversations about it would be to read only part of Love & Rockets. Basically, I’m arguing that the quality of the comic book Love & Rockets is less important than its role in creating a reading public of a certain character, bound together by their shared attention to the comic.

This argument derives from the work of Michael Warner, whose book Publics and Counterpublics argues that publics are the outcome of texts that address them as such. So, I’m going to offer a quick and dirty account of Warner’s theory of publics, explain why it is important to understand contemporary North American comics not simply as works of art, but as loci for the formation of publics, and finally, why assessing the quality of Love & Rockets is, in many ways, beside the point of the TCJ Roundtable. I’ll also argue that this is OK.

Warner makes the case that a public is created by shared attention to text. Texts, he argues, “clamor at us” for attention, and our willingness to pay attention to certain text and not others determines the publics we belong to” (89). By giving our attention to a text we recognize ourselves as part of a virtual community bound by that shared attention, and as part of an ongoing conversation unfolding in time. The classic example would be the local newspaper, which in addressing its readership constitutes each reader as a member of a locality. The daily paper does this because it encourages readers to imagine themselves as part of a virtual community, defined by a common civic-mindedness and a commitment to that text as a way to make sense of the multiple texts affecting their lives. They do this not only through reading but also through letter writing, impromptu conversation, and so forth. The daily newspaper metaphor points to another aspect of the relationship between texts and publics; namely, the publics constituted by texts “act according to the temporality of their circulation” (96). The daily rhythm of the paper is a daily reminder of one’s status as part of a public, a status that is part-and-parcel of one’s identity.

The flipside of this is that if the text ceases to receive a level of attention necessary to sustaining it, not only does it go away, but so too does its public, and with that public, a part of each member’s identity. Understood as such, it is easy to see why the cancellation of a TV show, magazine, or comic book creates a level of anxiety seemingly disproportionate to its quality as an artifact. Publics exist by virtue of attention, something that in today’s world, has been stretched incredibly thin. We’ve got many, many texts vying for our attention. Moreover, traditional rhythms of circulation have been thrown out of whack by innovations in comic book publishing, and, as Warner himself notes, the Internet. But I’ll get back to these points in my discussion of the TCJ roundtable. Now, I’m going to explain why this theory of publics is crucial to understanding North American comics.

Here’s a bold statement that is likely as false as it is true: North American comic books have, until very recently, been a means to public formation first, and a art form second (if at all). And this includes Love & Rockets. I’m not an authority on comics history, but my understanding is that superhero comics took off in part because they were created and edited by members of the science fiction community—a public constituted by fanzines—who understood itself as defined by its devotion to a textual form that many in society treated with contempt. This sense of community was fostered in letter columns, fanzines, and eventually conventions. It’s even easier to see public formation in Marvel superhero comics… Stan Lee addresses the readers as friends, in on the joke, but also serious about what the text they’re reading means to them relative other publics (true believers vs. everybody else). He directs their attention to the history of his comics’ circulation, he answers letters, and he asks readers to find mistakes in continuity. In exchange for their attention to the minutiae of circulation the careful reader receives a “No Prize,” as if to say that attention is a reward in itself. After all, its what makes you part of a public, which is what makes you who you are.

Love & Rockets emerged at a decidedly different moment in comics’ history. This is important because, as you will recall, publics act according to the temporality of their circulation. The public L&R addressed was the public bound together by the ruminations of The Comics Journal, and of other comics aspiring to a level of artistic sophistication that had yet to be realized in a significant way. It was, in short, a text that in its initial incarnation constituted an audience in a manner consistent with its aspirations for the medium. It was part of the medium, inasmuch as it came out regularly, ran letters, and so on. But unlike the superhero comics that surrounded it on the racks, Love & Rockets did not assume a new readership every five years. Nor did it require a status quo be maintained in order to insure the brisk sales of toothpaste and hastily cobbled together cartoons. In short, it promised comics readers a text that would reward sustained attention, and honor their identity as part of a community of readers over the long term. (This suggests that Dave Sim’s commitment to 300 issues was crucial to constituting the incredibly robust public constituted by Cerebus. But that’s a whole different post.)

What is remarkable about Love & Rockets is that it has made good on this promise for many years. Moreover, its publisher’s commitment to keeping the books in print has made it possible for the public to grow. And aside from the occasional detour, Jaime’s central storylines continue, which allow for the renewal of a reading community… a public that understands itself as defined by its ongoing attention to the text. This is no small thing in an age when publics from and dissolve according to the logic of direct-market orders and cross-media synergy.

That said, the rhythms of its circulation and appreciation have been disrupted by changes in the comics market, and in the forums for discussing it. When Love & Rockets began, it’s public entered into a relationship with the text fostered by the weekly trip to the comics shop, the letter column, and fan magazines like TCJ. As Frank Santoro pointed out in his “The Bridge is Over Essays,” Love & Rockets is no longer part of a larger community of comic readers. It comes out as a book now, and not in a monthly pamphlet. This isolates its public from the institutional frameworks that incubated it. Similarly, with the end of TCJ’s regular publication in print, and the balkanized world of online criticism, consensus about what comics are worth reading, what comics criticism should look like, etc. The public constituted by Love & Rockets is understandably nervous.

This talk of publics, and the disruptions to Love & Rockets rhythm of circulation leads me to why I think the appreciation is necessary, but also unfortunate. The roundtable in necessary because it does what public must periodically do to maintain itself in the face of threats to its existence. Hernandez just produced a work that by his own admission he will have trouble following up. Absent the imperative to monthly publication, and of a regular, print forum for praise and blame, the burden to compel the effort falls to the public that exists because of it. What we are seeing here is epideictic rhetoric, an effort to affirm a public’s taken for granted ideas in order to argue for why Love & Rockets should continue.

The appreciation is also unfortunate. It is unfortunate because is relies on shared and implicit assumptions to bring the community together, which in turn implies a certain “you had to be there” exclusionism. In this respect, I agree with others that more attention to the “why” of Love & Rocket’s value would have been salutary to the goals of the appreciation. In this respect, the appreciation was a missed opportunity to expand the public.

Ultimately, I think we have here a really interesting example of the intersection between artistic form and ritual performance. That it inspired the HU to go off on taken for granted values (Love & Rockets as soap-opera in particular) also suggests that whatever threat the Internet poses to this public, it also puts it into a larger conversation. So, while the bridge between publics is gone, its been replaced by a confusing, and to my mind much more interesting, network of bridges.
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This is part of an impromptu roundtable on Jaime and his critics.

Fecund Snails

This piece first ran on Comixology. I thought I’d reprint it here for Halloween.
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The most fertile source of horror is reproduction itself. From Alien to The Thing to Shivers to Invasion of the Body Snatchers, ominously splitting eggs and terrifyingly gravid wombs are constantly birthing nightmare, nausea, and unidentifiable glop.

Junji Ito’s Uzumaki uses preganancy as a theme in a number of its stories — most obviously in the two parter “Mosquitoes” and “Umbiliical Cord” where near-term women suck the blood of the living to satiate their unnatural fetuses. Still, the series’ most disturbing chapter is probably “The Snail” — a story which is equally, if more elliptically, obsessed with reproduction.

“The Snail” is the story of Katayama, a boy who oddly only shows up to school when it is raining, and even then only shows up late. Over time, Katayama moves slower and slower and gets damper and damper, and his fellow students notice that a spiral mark has formed on his back. Spirals are always really bad news in Uzumaki (which in English means “spiral”) and soon enough Katayama is crawing painfully and wetly down the evolutionary scale.

So…all of that is no doubt unpleasant, but where’s the sex-and-pregnancy I promised you? Well, here’s Katayama’s first entrance into the classroom:

His appearance here is certainly supposed to be repulsive…but part of why it’s unsettling is that it’s not-all-that-subtly sexual. Katayama’s most prominent feature is his large, full-lipped disturbingly suggestive mouth. And, of course, he’s covered in a nameless fluid, that seems significantly more viscous than rainwater. In addition, the way the scene is blocked, with the startled classroom faces slack in anticipation as Katayama comes through the narrow door, has the frozen claustrophobic intimacy of a primal scene.

Katayama, in short, is fetishized. And as is often the case in media, being fetishized is only a prelude to being violated:

Katayama is not literally raped — the other boys merely strip him of his clothes in public. But the imagery is clear enough — especially since Ito takes care to draw Katayama as doughy and shapeless. If you looked at these pages out of context, it wouldn’t be clear whether Katayama was supposed to be a boy or a girl. His humiliation and his appearance both emphasize his feminization; he becomes unmanned before he becomes unhuman. And, in fact, it’s precisely at this moment of violation that his transformation takes it’s next step, and he develops a spiral on his back. Over time the spiral turns into a tumescence; a kind of inverted pregnancy. And then, inevitably, we get to see even more of Katayama naked.

It’s at this point that the gender implications go from sort-of-subtle to hard-to-miss. Katayama’s parents are called to come take him home, but (in classic coming-out-scene mode) they refuse to recognize him as their son. The school decides to put the ever-less-human Katayama into a cage. The only sign of who he once was are those same giant lips (shown chomping away on some leaves)…and his relationship with Tsumura, the boy who stripped him in the quasi-rape earlier in the comic. Tsumura still loves to torment our ichorous hero, assiduously poking at him with a sharp stick through the holes in the cage fence while chortling, “He’s not human anymore!”

As it turns out, using a substitute phallus to toy with a giant snail has some unfortunate repercussions. Tsumura is soon drinking too much water and moving very slowly and then…well….

Tsumura is put in the cage with Katayama. The two get along quite well; in fact, they mate.

This is one of the most viscerally disturbing scenes in the book. In part it’s the details; leaving Tsumura his hair and teeth as the last vestiges of his humanity is a brilliantly vile move. Mostly, though, I think the scene’s power comes from the way it grabs homophobia with both hands and squeezes it till it oozes a slick, gelatinous mass. It’s not an original insight to point out the homoerotic implications of schoolboy antagonism, but there can’t be many fantasies of queer consummation that are quite this squickily perverse.

I said that this was a fantasy — and so it is. Ito obviously finds the snails and their male-male love disgusting…but at the same time, he also seems to feel a fascinated attraction. There’s a weird tenderness in the rapprochement between the two boy-snails, as they rest face to face with their phallic eyes intertwining.

In later chapters, this appeal turns significantly darker, as more people (always men or boys) turn into snails, and some townspeople (also always men) develop a decidedly sexual taste for (raw) snail flesh.

Ito seems to be suggesting that all men secretly want to — that the only thing preventing constant man-on-snail coupling are a few thin taboos which will warp and dissolve like cardboard before the smallest liquid spray of desire. This is, of course, the fever-dream behind the most alarmist kinds of homophobia; the terror, not so much that gays are recruiting, as that, with just a little prompting, men will embrace any excuse to abandon heterosexuality, and with it humanity. From a Freudian standpoint, you can see it as the combined fascination with and horror of the father; a desire for the power of the phallus which must be carefully regulated through totem and taboo if we are not to all slide into cannibalism and anarchy.

In this context, it is interesting that the final expression of horror at male reproduction is uttered, not by the girls who are the putative narrators, but by the teacher/father-figure, Mr. Yokota. After the two snails escape, the teacher and some students find a cache of eggs. Seeing them, Mr. Yokota declares that “the boys are no longer remotely human” — and his immediate impulse is to kill them and their offspring. The vision of unnatural male reproduction is too much to bear; the only healthy reaction to male-male affection is violence: Tsumura was right when he beat Kituyama, and wrong when he loved him. So, when confronted with the result of that love, Mr. Yokota does the correct thing: he shouts, “It’s disgusting, unnatural! These creatures mustn’t breed!” and he throws himself into an orgy of destruction — ultimately leaving himself exhausted and damp with a puddle on the ground in front of him.

The irony, of course, is that the snails don’t need eggs to breed. They only need loathing, or lust, or the fact that the two are indistinguishable. The final shock panel, shows Mr. Yokota turned into a snail-man, his body covered with what looks like damp eggs. There is no doubt that he deserves his fate; his snailing is clearly the karmic payback for his intolerance. But, at the same time, intolerance is what the father is there for; without arbitrary rules to keep us upright, we’d all be crawling on our bellies. Ito, like many horror creators, desires to fuck up the father even as he’s moralistically and hyperbolically nauseated by the implications. Id and superego circle each other, not-men crawling from the bellies of not-men in a slow and fecund spiral.

Love and Rockets: The Love Bunglers

[This article contains spoilers throughout]

 

The ending to “The Love Bunglers” is but one ending among many in Jaime Hernandez’s Locas saga; all of them pretending to a certainty derived from an earlier age of innocence.

It is 1988 and Hernandez is writing and drawing the second part of “The Valley of the Polar Bears”. Hopey has left Maggie to go on tour with Terry’s band. Maggie has found new happiness in the arms of Ray Dominguez. They walk arm in arm into a happy future. The words of an imperfect prophet suggest that she could be coming to “the end of her whirlpool”.

She isn’t.

A few hundred pages on and it is 1996; the faithful reader now faced with the closing pages of “Bob Richardson”. Maggie and Hopey suddenly meeting for the first time in “years” at the back of a police car after a series of setbacks; finally together again as they once were 50 issues prior. The perfect ending.

Each of these moments as final as a relationship, wedding, or birth in our own lives; everything apt to be corroded by time.

These periodic assertions of finality are recapitulated in “The Love Bunglers”. Here old past times are recreated…

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[1985 —> 2011]

…and ancient paths retread.

 

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[1985 —> 2011]

The pair of lovers (Maggie & Ray) stuttering, burning brightly, fizzling out, and then rekindled over the course of a few chapters and over 20 years of comics. If likened to a piece of music then a kind of ritornello with elaborations bordered by tuttis where the orchestra plays as one.

This symmetry is reflected in the construction of Jaime’s story and the positioning of “death” in between the story of the two lovers. The first is a kind of foreboding where Maggie’s brother, Calvin, traumatized by abuse, and with a mind to save his sister, beats his tormentor to a pulp. That figure is later seen tortured by obsessive ruminations over the validity of his actions; these thoughts now carried to their natural conclusion of eternal vigilance over his sister. He is a ghost walking the streets, lost in shadow but ever ready to reiterate the past and its tragedies. A personification of his sister’s own state of mind.

In the latter half of “The Love Bunglers”, Letty, Maggie’s childhood friend, becomes an unwitting sacrifice to that tragedy — first pushed into the background by Maggie’s despair at her father’s unfaithfulness and then slowly rebuilding an old bond with her friend. There is space enough to wonder why she has been thus displaced, whether this can be put down to Maggie’s new found wariness or simply her mother’s shame at the preceding events; now spreading like a disease through her family, all of whom are kept close to the nest in light of the recent affliction that has unfolded.

Both of these episodes present themselves as answers to Maggie’s insecurities, always alluded to at various points in Hernandez’s long running series but now brought to the fore. As Ray Dominguez lies bleeding on the ground towards the close of the story, his skull crushed by a brick wielded by Maggie’s deranged brother, Hernandez offers his readers an encapsulation of this pattern of self-flagellation. Ray’s vegetative thoughts of Maggie seguing into Maggie’s own recollections; a gentle push into reconstruction and reminiscence on the part of the author.

Panel 1. It is 1997 and Hernandez will soon be embarking on his much lauded homage to Charles Schulz in “Home School” — clean, elegant lines, wiry hair, and brick walls.

In “6 Degrees of Ray D. Ation”, Ray meets the young Maggie for the first time. There is a hammer hanging over Ray’s head held by a young Maggie, just as so many years later her brother will hold a brick over Ray. He is a willing victim, a deer caught in the headlights. She, his unwitting “scourge”.

Panel 2. Maggie moves back to Hoppers after her parents separate. A friendship is rekindled and Maggie emerges from her shell.

Panel 3. A pose which mirrors that at the end of “The Death of Speedy”.

The school year is coming to a close and Ray has managed to get an art scholarship and will be leaving town. Soon Letty will be dead, a crutch taken from Maggie.

Panel 4. “The Return of Ray D.” (1986). A moment between panels and between pages. Maggie has just been kicked out of her friend Danita’s house and has been wandering the cold streets at night. “Three-thirty in the morning an’ my bed is fifteen miles away…” Ray has been away for 3 years and they meet unexpectedly at a doughnut shop. He only recognizes her after the fact. Maggie remembers that she once started a rumor that they went out “cause I liked him. Like I liked Race…and Speedy…”

 

Panel 5. “The Death of Speedy Ortiz” (1987). Ray has just seen his friend, Litos, shot in the face, and he is sitting together with Maggie in a hospital. “Why are you the only sane person here?” she asks. A moment of quiet as Maggie rests on his blood stained shirt, and then she leaves him to meet Speedy who will be dead within moments.

 

 

Panel 6. A Mess of Skin (1987). Hopey has left Maggie to go on tour with Terry. Left to her own devices back in Hoppers, Maggie accidentally jumps into a car thinking it is driven by Doyle and sees that it is being driven by Ray. They hook up to Daffy’s consternation. All this before that joyful and ephemeral conclusion mentioned above.

 

Panel 7. Maggie is posing for Ray but she’s stiff and lifeless, finally delegating her duties to Danita who soon shacks up with Ray. It is the beginning of the end for the couple, all this belied by a strained smile, happily ignored by readers of the time hoping for a reunion with Hopey.

Panel 8. “Ninety-Three Millions Miles from the Sun”. The end of the affair. Maggie says a final goodbye to Ray before Hopey puts her through another trauma and she disappears for the duration of “Wigwam Bam”.

 

This before that other blissful and temporary end which closed the magazine sized issues of Love and Rockets. The end of an era. The magazine’s circulation dropping from its heydays, partly due to the Hernandez Brothers fascination with convoluted narratives, dead ends, and indefinite resolutions.

Panel 9. “Life Through Whispers”. Doyle meets Maggie for the first time in years, and he’s worried that she’s seen him with his new squeeze. We never see her expression until this moment. Her visage is a mask of stern resignation, so far from the girl that grew up in Hoppers, the demons still clinging to her soul. The memories of happier times now tainted by experience.The one time mechanical “prodigy” now doing maintenance in an apartment block.

Ray’s expression is filled with an unaccountable sadness, staring and not daring to speak. The heady days of youth now extinct, the colorful costumes of the past long forgotten, life settling into a predictable landscape of drab buildings, anonymous clubs and darkened streets. When Jaime demonstrates his love for the feminine form in one of Ray’s life drawing classes earlier in the story, the entire process is viewed with a sense of bemused distraction by Ray. It seems almost like a casting away of “youthful” ways, a disdainful glance at a game from another age. This is a bleak middle-aged, lower middle-class existence conveyed not by picturesque chaos but by Jaime’s increasingly somber environments and restrained linework. Nowhere is this spartan existence more visible than in “The Love Bunglers”, the artist’s expressive line held in check like the lowering of a narrator’s voice.

In the fourth to final page of “The Love Bunglers”, Maggie looks into the mirror having found out that Ray has been in a near vegetative state for almost 2 years —  a direct reference to the two pages of retrospection that have preceded it. What happens in the moment between those two panels is, of course, a mystery.

Perhaps a moment of resolution; perhaps the desire to remember clearly everything that has gone on before. A clean slate from which to draw the best of memories and less of the pain. If Maggie’s problems can be placed down to her memories, then it might be said that Ray finally gets his girl because he has forgotten so much.

In the end, the attacker (that personification of psychological damage) is somehow forgotten. The author reasserting the points of connection between Maggie and Ray, tearing them down and then rebuilding them. Ray’s mind in a constant state of questioning, his memories containing real and feigned histories.

His lover’s face is placid, understanding, and yet indecipherable — the cartoonist inviting his readers to recall the couple’s years of bitter struggle, before accepting the lies of a pleasant but capricious present reality.

 
_________
This is part of an impromptu roundtable on Jaime and his critics.

The Long Peace and the Guillotine

A slightly edited version of this ran on Splice Today.
____________________

Towards the end of Steven Pinker’s new book, The Better Angels of Our Nature, he asks “whether our recent ancestors can really be considered morally retarded.” “The answer”, he concludes, “is yes.”

Pinker condemns his (and our) forbearers for two reasons First, he shows that the rates of violent death throughout the world have been declining for almost as long as there are records. Hunter-gatherer tribes with no state system has higher rates of homicide than ancient empires; ancient empires had higher rates of violent death than did 18th and 19th century Western societies, and so forth. Second, Pinker argues that the decline in violence has been the result of enlightenment — in its technical sense. The ascension of Western Enlightenment values like democracy, free trade and human rights have civilized the formerly barbaric, religion-haunted, blood-soaked planet. Locke and Voltaire and Darwin said “beat your swords into abacuses,” and that is precisely what the world has done.

Pinker’s thesis is both optimistic and polemical. It suggests that the human species has made massive progress, and that that progress is attributable to Western Enlightenment ideology. Among the aspects of that ideology that Pinker praises are:large states (the Leviathan) which monopolize violence and thereby reduce interpersonal murde; democracy, which statistically appears to make states less prone to violence; free speech and broad education, since literacy and the distribution of books increases the ability to see other’s perspectives (and since the availability of books seems to correlate with the widespread decrease in violence); and the expansion of women’s rights, since women are overall less violent than men, and their influence tends to stabilize and civilize. Most importantly, Pinker praises scientific thinking itself, which Pinker credits with giving individuals a non-parochial perspective, allowing them to break free of the blinkered Prisoner’s Dilemma and see that peace is best for all.

The spectacle of a Western author and scientist triumphantly proclaiming the virtues of the West, books, and science is not especially surprising — though I was a bit taken aback when Pinker, a prosletyzing evolutionary psychologist, proudly proclaimed that one of the causes of the decrease in violence might be the spread of the ideas of evolutionary psychology.

But however clear Pinker’s biases may be, and however skeptical one may be of the thesis that we are the best people in all of history (and I am quite skeptical), Better Angels is an imposing, not to mention mammoth, brief. With 700 pages and graph after graph moving inevitably down and to the right over time, he shows, at the least, that by many measures violence per capita in our society is at world-historical lows. The claims that ours is an age of terrorism, or that Americans are less safe than they have ever been, is, patently, bunk.

Some of Pinker’s other assertions are more questionable. Here are a few.

—Pinker’s absolutely right that gay rights have improved enormously since 1950. But that ignores the fact that many the 1950s in the West was a particularly horrible time and place to be gay. Gay people were certainly worse off in the mid-20th century West than they were in Ancient Athens, or even in early 19th century England.

—His insistence that animal rights have been constantly improving since the Middle Ages seems somewhat contradicted by the rise of vivisection and animal testing. Even if, as he contends, people treated animals horribly in the 14th century, and even if, as he claims, vivisection has declined over the 20th century, science still tortures animals at rates that would impress (if not particularly horrify) our morally retarded ancestors. And this is without even discussing humanity’s role in our current ongoing planetwide species mass extinction event.

—Weapons have improved over time. This suggests that weapons, and war, have become more violent over time. Pinker responds to this by explaining that swords and arrows were plenty deadly — which rather begs the question. Nobody denies that arrows are deadly. But machine guns are a lot more deadly than that, and nuclear weapons are more deadly again. If you read John Keegan’s The Face of Battle, which discusses Agincourt, Waterloo, and the Somme, you are impressed first by how utterly, hideously horrible Agincourt was — and then by how much exponentially worse Waterloo was — and finally by how monumentally, unbelievably terrible the Somme was. Pinker spends a lot of time discussing the deadly effects of low tech weapons and medieval torture devices, but he spends little to no time talking about the much, much more deadly effects of our current arsenal. His silence on these matters speaks for itself.

One of the biggest question marks in Pinker’s book, though, is his handling of the first part of the twentieth century — the lovely years from World War I in 1914 through Mao’s famine in 1964, with the Holocaust, Stalin’s purges, and several neighboring atrocities thrown in. If you’re trying to prove that the world has been becoming more peaceable, that’s an awful lot of relatively fresh bodies to sweep under the carpet.

But Pinker goes for it. He first attempts to make World War I and World War II vanish into statistical noise mostly by adjusting them for world population. At 55 million, World War II is overall the largest catastrophe in the history of the world. However, if you adjust for world population, it is only the 9th largest. The biggest would instead be the An Lushan revolt in 8th century China, which Pinker says killed 36 million people over 8 years; a number which would work out to 429 million dead proportionally in the 20th century. Other conflagrations which beat WW II proportionally are the Mongol Conquests (40 million raw, adjusted to 278 million by population) the fall of the Ming Dynasty (25 million raw, adjusted to 112 by population) and the annihilation of the American Indian (20 million raw, adjusted to 92 million by population.)

It’s certainly worth remembering that people have done hideous things to each other for a long time. Even if no one is really sure that the An Lushan rebellion killed quite 36 million people, there’s no doubt that a staggering number of people died. Even if the Fall of Rome lasted over three centuries as opposed to the 6 years of World War II, 8 million dead is still a ton of dead people, as are the 40 million killed over the century of the Mongol Conquests. The recent past was by no means the first era of murder on a massive scale.

Still, one might argue that geeking out on statistical weighted tallies of dead is more than a little obscene. And one would be right. Human beings aren’t just numbers. Every dead person matters. Pinker insists again and again that the romantic ideology of the Nazis had nothing to do with enlightenment modernity and its march towards clear eyed utility, but he is least convincing on this point when he starts to fiddle with his death tolls in order to make his graphs look pretty. Counting World War I, World War II, Mao’s famine, Stalin’s purges, the Russian Civil War, and the Chinese Civil War, 142 million people died through atrocity in the first part of the twentieth century. That’s twice as many people as lived in the entire Roman Empire, and probably 10 times as many as lived in the entire world before the agricultural revolution. Does that make the number less obscene? More? What exactly does even asking the question accomplish? People look back on the early twentieth century as one of unique horror not because they’re naïve, or foolish, or because they’re not as scientifically astute as Steven Pinker. They look back on it as a period of unique horror because it was a period of unique horror.

For all his tables and weighted numbers, Pinker is honest enough to admit as much. He argues, however, that the unique horribleness is not a function of modernity, but an aberrant blip caused by the insanity of Hitler, Stalin, and Mao. “Tens of millions of deaths ultimately depended on the decisions of just three individuals,” he insists. He adds that without the assassin who shot Archduke Ferdinand, there would have been no World War I. The early twentieth century, therefore, tells us nothing about violence in general, except that bad luck sucks.

The problem with this is that bad luck is universal. Insane assholes have existed forever. Genghis Khan (who Pinker discusses) for example, was a blight on the face of the earh Christopher Columbus’ genocide of the Arawak peoples ranks him as one of the monsters of history.

Both Genghis and Columbis killed and tortured lots of people. But they didn’t kill and torture anything like the number of people Hitler or Mao or Stalin did, for the simple reason that state apparatus and technology had not developed sufficiently to allow them to do so. As Tyler Cowen argues , the increase of state power, damps down individual violence, but it can vastly increase state violence as well. Thus, slavery has always been a bad thing, but it took centralized European states to create the rationalized, large-scale African slave trade that even Pinker calls “among the most brutal chapters in human history.” Cowen suggests, therefore, that “one way of describing the observed trend [in violence over time] is ‘less frequent violent outbursts, but more deadlier outbursts when they come.’”

Which brings us to nuclear weapons. Pinker argues forcefully that nuclear weapons need never be used, and that our ever-growing conflict-aversion may help keep them in their silos forever. One data point he uses here is the Cuban Missile Crisis. According to Pinker

Though the pursuit of national prestige may have precipitated the crisis, once Khruschev and Kennedy were in it, they reflected on their mutual need to save face and set that up as a problem for the two of them to solve.

That’s certainly a comforting way to think about it. However, in most accounts I’ve read, the resolution was achieved less through mutual face-saving, and more through Khruschev unilaterally deciding that he didn’t want to destroy the earth. This wasn’t, in other words, an example of an ultra-civilized meeting of minds; it was, instead, the usual pissing match, which one monkey ended by baring his throat.

This interpretation seems to better fit the facts, inasmuch as Khruschev’s face wasn’t saved; he had to back down and remove his missiles from Cuba. Kennedy’s quid pro quo — removing missiles from Turkey — was done in secret so that the President wouldn’t be punished at the polls for “weakness”. Gary Wills in Bomb Power concluded that Kennedy “risked nuclear war” rather than lose public standing. I’m able to type this today not because two world leaders behaved in a civilized and dignified fashion, but because Khruschev was not as much of an insane asshole as Kennedy. And he was not as much of an insane asshole, arguably, because he didn’t have to worry about an electorate. So much for the peaceful influence of democracy

The thing that is most troublesome about Pinker’s book, though, isn’t so much the occasional fissure in the argument as the tone. The suggestion that your grandparents and mine were moral fools is not exactly typical, but it’s not isolated either — and it’s not confined to the past. John Gray points out that Pinker tends to label certain peripheral groups (Muslims, for example, or hippies, who he blames for the rise in murder rates in the 1960s) as less civilized. Therefore, violence is associated with these groups because they are backwards or not sufficiently rational, rather than a function of power disparities or politics. As Gray says:

A sceptical reader might wonder whether the outbreak of peace in developed countries and endemic conflict in less fortunate lands might not be somehow connected. Was the immense violence that ravaged southeast Asia after 1945 a result of immemorial backwardness in the region?

Pinker’s disavowal of the effects of politics is consistent with his vision of rational enlightenment, which he sees as specifically outside of power relationships or communities. Science and reason, he argues, allow for “an Olympian, superrational vantage point — the perspective of eternity, the view from nowhere.” For someone who claims to find so little of worth in God-talk, that’s some oddly theological language there interlaced with the self-vaunting. Or does it not count as theological if your divine ideal is human? And on what grounds, then, do you so entirely disavow the enlightenment’s relationship to Marx?

None of this upends Pinker’s thesis, of course. But it does suggest that some caution might be in order. We should acknowledge, and celebrate, the reduction of violence in the world where and when it occurs. And we should acknowledge the part modernity has played in that, and in many other advances. But Pinker himself notes that elevated self-esteem — perhaps we could say hubris? — is one of the many factors that can lead people to violence. There are others of course, such as a faith that one has discovered the ultimate true path that will lead the world to peace. Or, for that matter, a faith in the transformative power of evolutionary progress, sometimes known as eugenics, from which some bad things have flowed in this, our modernity.

Pinker likes to see himself as a contrarion, but reason, science, progress, and self-regard are hardly anathema in our world’s wonkish corridors of power. Since one of the gifts of the enlightenment is a questioning of orthodoxies, it seems only reasonable to question the orthodoxy of enlightenment as well. Among other things, we might consider the possibility that there is something morally retarded in believing that we are the most morally advanced individuals to ever walk the earth. Perhaps we could also think of peace less as an algorithm and more as a gift, for which we make ourselves continually worthy through humility and contrition. Acknowledging our successes is certainly part of that, but so is admitting to our failures. Modernity is both our long peace and the guillotine. I don’t think that downplaying the second will extend the first.

Utilitarian Review 10/28/11

On HU

Our Featured Archive post this week was Domingos Isabelinho on the mother/daughter art of Dominique Goblet and Nikita Fossoul.

Most of this week was devoted to our roundtable on the Drifting Classroom, with contributions by Jason Thompson, Shaenon Garrity, Sean Michael Robinson, Richard Cook, Joe McCulloch,and me.

We also had a dialogue about Jaime Hernandez, soap operas and Quentin Tarantino, which starts with this post by Caroline Small, wends its way through a massive number of comments, and continues with this post by Katherine Wirick.
 
 
Utilitarians Everywhere

I talked about Bjork and Life on Earth at Splice Today.

I discuss In Time and capitalist dreams at the Atlantic.
 
 
Other Links

Franklin Einspruch on excellence in art.

Chris Mautner on DC’s 52/

TCJ has an intersting looking habibi roundtable.

Eric Berlatsky (aka “my brother”) talks about his anthology of Alan Moore interviews.

And here’s the horror Manga Movable Feast archive post, which our Drifting Classroom roundtabl