Dreaming Small — “Rhinestone Cowboy”/”Deacon Blues”

Posted on May 2, 2014 by Sean Michael Robinson

Last week 78-year old singer Glen Campbell appeared in the news for the first time in a long while, for reasons personal rather than musical. Since then, I’ve had Campbell’s much-maligned “Rhinestone Cowboy” in constant rotation on my cranial radio. I thought it would be a good time to revisit the song and try to figure out why it is exactly I love it so much, and see if I can bring a little bit of the pathos of the subversive song back to its surface.

Campbell himself was hardly a subversive figure. Although he’d started his career as a side-man and in-demand studio musician, by the close of the 60’s he’d successfully transitioned to the life of a popular country crooner, scoring hit after hit with the songs of other writers. His first major hit was a cash-in cover of Buffy Saint Marie’s pacifist anthem “Universal Soldier,” a song whose message the singer didn’t seem to exactly align himself with. “The people who are advocating burning draft cards should be hung,” Campbell told an Albuquerque newspaper in an interview about the song. “If you don’t have enough guts to fight for your country, you’re not a man.” A few years later his hit-hunting would pay greater artistic dividends when he recorded a series of songs penned by songwriter and former music transcriber Jimmy Webb, including the semi-mystical, harmonically complex “Witchita Lineman.”

Several years and several albums later, Campbell first heard “Rhinestone Cowboy,” as performed by its author, singer Larry Weiss. It would prove to be the song that would define Campbell’s career.

Larry Weiss’ rough and tumble delivery gives the downbeat lyrics a rugged authenticity. “I’ve been walking these streets so long,” he intones with his intense baritone voice while acoustic guitars and a harpsichord chime away in the background.

Where hustle’s the name of the game
and nice guys get washed away
like the snow and the rain

And suddenly the melody rises yet again, Weiss’ voice intense and clipped.

There’s been a load of compromising
on the road to my horizon
and I’m gonna be where the lights are shining on me
Like a rhinestone cowboy!

Throughout the verse the chords have wandered away from the tonic, only to triumphantly return at the chorus, Weiss shouting the lyrics as the melody rises to the top of his range. He’s joined by a soaring unison string section that had only teasingly entered before, now intertwining with the vocal, playing with full intensity.

And what exactly are the compromises that have led him to dream of the life of a rodeo star? What kind of hustles exactly are we talking about here? There are few answers, and only a handful of clues, the chief of which is the intensity of Weiss’s delivery, and the painfully shallow dreams evident in the chorus. What is the great triumph, the wonderful victory on the horizon for the narrator?

Like a rhinestone cowboy
Ridin’ out on a horse in a star-spangled rodeo
Like a rhinestone cowboy
getting cards and letters from people I don’t even know
and offers comin’ over the phone

The horse and the rodeo is incidental, the details sketchy. The important part? People contacting him, caring about him, even people he doesn’t know. It’s a vision of a man who’s at the bottom, who’s highest aspirations are a glitter of the lowest kind.

In Campbell’s version the grit and drama is replaced with Campbell’s expertly employed voice, complete with almost operatic vibrato. The key has been raised a whole step to accommodate Campbell’s vocal range, and the string part squared off. Campbell’s version brings the song even closer to it’s second cousin, the 1966 Walker Brother’s hit “The Sun Ain’t Gonna Shine Anymore,” a song with which it shares a general rhythmical thrust and melodic arc. (Walker’s own operatic vocalizations, however, are almost painfully intense, elevating the lyrical nonsense to obsessive ode through his delivery alone).

So, is it possible that the “hustle” presented in “Rhinestone Cowboy” is that of an urban prostitute? The image itself was certainly in the air, thanks in part to 1969’s Academy-Award winning Midnight Cowboy. Even if the specifics aren’t divulged, the narrow dreams of the narrator make the likely options rather grim. The soaring chorus isn’t cheery; it’s the desperate dreamings of a man at the end of his options.

The narrative strategies at work in “Rhinestone Cowboy” appears again in a rather unlikely place, on the 1977 Steely Dan song “Deacon Blues,” written by Donald Fagan and Walter Becker.

At first glance the songs seem to have nothing in common, at least musically. “Deacon Blues” leads off with a series of shifting extended chords that finally settle into a recognizable but constantly modulating verse, the harmonization throughout almost mockingly complex, while the arrangement and instrumentation is as polished and ornate as the design of a bottle of scotch.

The lyrics of the verse, narrated in the first person, describe with slurred detail the ego-maniacal imaginings of a drunken man. Ejected from his regular nightclub, he staggers through the streets dreaming of his ultimate revenge, which arrives at the catchy, eminently singable chorus–

learn to work the saxophone
I’ll play just what I feel
Drink Scotch whiskey all night long
and die behind the wheel
They got a name for the winners in the world
and I want a name when I lose
They call Alabama the Crimson Tide
Call me Deacon Blues

It’s surely one of the weirdest songs ever to be a success, novelty-level strangeness masquerading as smooth, pseudo-intellectual jazz. The great triumph of the narrator is the imagined life and fame of a saxophone player, a skill that the singer is so unfamiliar with that he can’t even find the right words for the job.

And once he’s learned to “work” his instrument of choice, it’s drinking and dying spectacularly that he dreams about, and the attendant attention and recognition that would surely follow. He’s undoubtedly a loser, and in his imaginings of what it’s like to be a winner, he’s exactly the same, but everyone loves him. His dream is the re-imagining of his own failures and vices as virtues instead.

The genius of the song is in the precise way that it inhabits its alcoholic narrator, and imagines him as he imagines himself, an “expanding man” whose greatness can only be greater once it is extinguished by death. The only missing components in this dream? A saxophone and a grandiose nickname.

An audience at a play or a film understands that every actor isn’t playing a role that reflects themselves. We sometimes extend this courtesy to novelists, and occasionally cartoonists as well; but when it comes to pop singers, audiences are often painfully literal. It’s why every singer dead before their time has their lyrics strip-mined for meaning and premonition, regardless of who authored the songs in question; it’s why every banal utterance is analyzed for autobiographical content.

Let us therefore embrace the brave; those willing to give voice to the little dreamers, those willing to be misunderstood.
_______
This is the first in a series of posts called Panoptisongs, focusing on pop songs.

When does medium become an ethical question?

Posted on May 1, 2014 by Michael A. Johnson

The Ethics of War Photography in Lefèvre and Guibert’s Le Photographe

[H]arrowing photographs do not inevitably lose their power to shock, but they do not help us much to understand. Narratives can make us understand. Photographs do something else: they haunt us.

~Susan Sontag, “Looking at War: Photography’s View of Devastation and Death”

In the essay from which this epigraph is lifted, Susan Sontag outlines a worrisome paradox associated with wartime photography. Although photographs that depict intense human suffering might often be a necessary means of bearing witness, the range of emotional response such photos arouse once they are made available for consumption in newspapers, magazines, galleries, and so on –– from safe pity to numb bemusement –– always potentially short-circuits the possibility of an ethical response. The war photo should be a call to action but if it doesn’t provide enough information for its beholder to formulate a course of action, as is often the case in Sontag’s view, its haunting effect is more paralyzing than mobilizing. Worse yet, the commodification of wartime photography makes even the most humane, ethically motivated photographers potentially complicit in exploitative and orientalizing rhetorics that either aestheticize wartime suffering or naturalize it as a moral failing of the photographic subjects.

The potential of wartime photography to appropriate suffering as a commodity, always from a safe distance, is the subject of Arthur and Joan Kleinman’s essay, “The Appeal of Experience; The Dismay of Images: Cultural Appropriations of Suffering in Our Times.” As they note, the globalization of suffering is a symptom of late Capitalism in which the highly singular experience of suffering becomes a commodity, and as such, is flattened, thinned out, and distorted.

Watching and reading about suffering, especially suffering that exists somewhere else, has, as we have already noted, become a form of entertainment. Images of trauma are part of our political economy. Papers are sold, television programs gain audience share, careers are advanced, jobs are created, and prizes are awarded through the appropriation of images of suffering. Kevin Carter won the Pulitzer Prize, but his victory, substantial as it was, was won because of the misery (and probable death) of a nameless little girl. That more dubious side of the appropriation of human misery in the globalization of cultural processes is what must be addressed. (Kleinman and Kleinman, 8)

They discuss Kevin Carter’s infamous Sudanese Girl photograph (figure 1) at length, pointing to the ways in which the photo’s journalistic and political value conflict with its aesthetic value, and worrying about the photographer’s implication in the commodification of suffering the photograph’s circulation represents. They also speculate about the relationship between Kevin Carter’s depression, and eventual suicide, and his career as a wartime documentary photographer.

Figure 1. “Sudanese Girl”

What strikes me most about Arthur and Joan Kleinman’s discussion of Carter’s depression is the distinct parallel one can draw between the portrait Sontag sketches of Western beholders of wartime photography (who are haunted, and feel pity, but remain paralyzed) and Carter’s own avowed response to the sight of the starving Sudanese girl crawling weakly towards the UN food camp. After taking twenty-some minutes to frame the photo, hoping the vulture might spread its wings, Carter finally took the picture and, after waiting another twenty minutes, eventually chased the bird away. But a number of commentators were critical of Carter for not helping the girl reach the feeding center. Instead, we learn from the BBC biographical sketch of Carter’s life:

Carter sat under a tree, watched her struggle for a while, smoked a cigarette and ‘talked to God’. He did not help the girl. Utterly depressed, he went back to Silva and explained what had happened, wiping his eyes and saying ‘I see all this, and all I can think of is Megan. I can’t wait to hug her when I get home’. [1]

His response to the direct experience of someone else’s suffering in situ is essentially the same as the response a reader of the New York Times might have had months later when the photograph was finally published: an impotent sense of despair, appreciation for what one has, some fleeting form of oral enjoyment (Carter’s cigarette or the newspaper reader’s morning coffee). But as for the Sudanese girl herself, she is already troped as a synechdoche for the moral failures of her nation. Her dehumanization is both depicted by the picture (as a potential vulture meal) and produced by the picture, which limits the signifying possibilities of the scene in order to make her a synechdoche. Beyond being unnamed and faceless, her emaciated body, nudity, and inhumanly prone position make it near impossible for the viewer of the photo to imagine herself in the girl’s place. As much as one might wish to shoe away the vulture, it is difficult to imagine viewers of the photograph identifying with the girl. I’d like to suggest here, simply, that identification, or its possibility, is what makes the difference between pity and compassion, between dehumanizing and humanizing rhetoric, between paralyzing shock and a program of action. And while I agree to a degree with Sontag’s comment –– haunting in its own right –– that photographs haunt while narrative helps to understand, I don’t see the opposition between photography and narrative as always useful, particularly where the question of identification is concerned.

This set of concerns, specific to wartime photography and particularly that of an ethnographic bent, is dealt with elegantly and self-reflexively in Didier Lefèvre’s and Emmanuel Guibert’s highly successful comics–photography collaboration, Le Photographe. Not only does Guibert’s graphic narrative “add” narrative understanding to Lefèvre’s haunting photographs of victims of the Soviet war in Afghanistan, but the inclusion of drawn images and text alongside richly detailed photographs elicits a wider range of affective responses and a higher degree of identification with the photographic subjects than Guibert’s photographs could possibly elicit on their own. In fact, The Photographer initiates a chain of identifications such that the reader is compelled to identify with Didier, who in turn identifies with his photographic subjects, making their suffering felt by the reader.

At the core of my argument is the assumption that the haunting power and potential ethical danger of wartime photography are answered by complementary strengths and weaknesses of the comics medium, namely its analytic quality and iconicity. We learn through the narrative of Didier’s experience in Afghanistan that the photos call for the mediation of graphic narrative in drawn panels, even before Lefèvre and Guibert decided to collaborate. Photos that might otherwise invite a melancholy or orientalizing reception in spaces such as galleries, newspapers or photo books, become a compelling address once placed within a graphic narrative alongside drawn panels.

1. A Comics–Photography Collaboration

The story leading to their collaboration is a long one, some of which ends up narrated in Le Photographe itself. In 1986 Lefèvre is commissioned by Doctors Without Borders/Médecin Sans Frontières to document a humanitarian aid mission into the valleys of Yaftal and Teshkan. During his months there, he took over four thousand photos documenting both the harrowing trip to and from the Valley of Yaftal and the operations of the clinic treating the war wounded. As Alexis Siegel explains in his translator’s introduction:

“We discover Afghanistan through the eyes and camera of photojournalist Didier Lefèvre, who is admittedly naïve about the geopolitical complexities that he is stumbling into […] As it turns out, Didier’s innocence, openness, and eagerness to learn make him an ideal guide for us as readers. His reportage has a depth of honesty that comes from a passion for service––service to his art, first and foremost, and, second, to the mission that he has agreed to be part of: a humanitarian expedition of Doctors Without Borders.”

The reader of Le Photographe is consistently made aware of the materiality of the photographic process. We see Didier pack his film carefully in Peshawar, we worry as he nearly loses his camera during a mishap crossing a river, and during one of the most critical and moving moments in the book, when the doctors must perform an emergency surgery at night to remove shrapnel from a young woman’s spine, Guibert’s drawn panels take pains to show Didier stopping to put in a new roll of film while the doctors rush around him to do their work (figure 2). And his reckless decision to return early to Pakistan is motivated by the fact that he is running out of film. Finally, in the last two pages depicting Didier’s return to France, we see a picture he took of the camera he used in Afghanistan along with the 130-some rolls of film he took displayed like “hunting trophies” (p. 259) on a table (figure 3).

Figure 2. Before shrapnel removal surgery, p. 133

Figure 3. Gathered rolls of film upon Lefèvre’s return, p. 259

We learn in the epilogue (pp. 262-7) that only six of the thousands of photos from Levèvre’s time in Afghanistan ended up published in a two-page spread in the French newspaper Libération (December 27, 1986). These six photos (figure 4) were among the first images of the Soviet war in Afghanistan to reach a large French public, somewhat analogously to Steve McCurry’s now iconic Afghanistan photos in the US.

Figure 4. One of the six photos featured in Libération.

But aside from the six photos that made Lefèvre’s career as a photojournalist in France, several thousand remained in storage, unseen, until his friend, comics artist Emmanuel Guibert suggested that they collaborate on a book about it twelve years later. Guibert had already become known for his unique use of the comics medium as a form of war-time testimonial with La Guerre d’Alan, an intimate first-hand account of American soldier Alan Cope’s experience of the quotidian absurdity of war in WWII. Beginning in 1998, Lefèvre and Guibert began collaborating to produce Le Photographe in three volumes published over the course of four years (2003, 2004, 2006), which sold over 250,000 copies in the French-speaking world. In 2007, Lefèvre died of heart failure caused by health complications related to malnourishment and lack of hygiene during his harrowing return to Peshawar, two years before the English translation of his work was published.

Their collaboration is striking on a number of accounts. Guibert’s use of photos and contact sheets as panels in the narrative creates a sense of rhythm and depth consistent with any “good” graphic novel. One can read quickly for story or linger slowly on visual detail without ever feeling taken out of the diegetical space of the narrative. The drawn panels are often used to link series of photos. For example, in the case of incidents that were photographed in great detail, the addition of just a couple drawn panels allows the event to be presented from multiple perspectives and builds a much fuller sense of a scene than would be possible in a photo-essay. More importantly, Guibert deliberately modified his drawings to reduce the amount of detail in such a way that they never upstage the photographs. The reader moves seamlessly from photographic evidence to fictional reconstruction––carefully kept in scale with the photos––without ever getting the sense that the diegetic “reality” of Lefèvre’s narrative has been violated.

Nancy Pedri describes the seamlessness of this comics-photography collaboration as one that enables the critic to challenge or deconstruct long held idées reçues about the potential and limits of each visual medium. She sees Guibert and Lefèvre as successfully dissolving the opposition of photography and comics that would set Sontag’s concerns that ‘photography haunts but does not help understand’ against the belief that comics in their iconicity (Scott McCloud) are ideal for universal stories but less ideal for witnessing war-time suffering in its detailed singularity. Pedri in fact critiques Bart Beaty for unconsciously reproducing such an opposition in his description of Le Photographe:

Canadian comic critic Bart Beaty distinguishes Guibert’s “stylized and simple” drawings from Lefèvre’s photographs by emphasizing that they are two different types of representations; the first is “stylized,” the second, “realist” (3). To set up an operational distinction between photo-realism (representational) and cartoon symbolism (cryptographic) in Le Photographe, however, is to undermine the way in which to two work together not only to create meaning, but also to challenge long-standing, influential notions informing the understanding of both modes of representation. When photography and cartooning occupy the same narrative space, as they do in Le Photographe, any suggestion of referential hierarchy is mute. In this graphic narrative, each at once copies and expands upon the other.[2]

Although I agree with Pedri’s argument to the extent that Guibert and Lefèvre’s collaboration succeeds in breaking down the opposition between comics and photography, I believe she leaps too quickly to the conclusion that it is therefore erroneous to dwell on the differences between the two mediums. To my mind, the fact that an author successfully dissolves differences between mediums in a particular work does not make those differences suddenly meaningless in every other context. More importantly, however, I believe there were specific ethical stakes behind the use of the two mediums in this particular case, which can only be teased out by spending some time thinking about the differences between them. It also matters that the particular kind of photography being “deconstructed” here is wartime documentary photography in the ethnographic mode, a fact that Pedri ignores. Furthermore, I worry that if we see comics and photography as unopposed, as Pedri advocates, then we might lose sight of the ways in which the aesthetic and humanistic dimensions of wartime photography are at tension with one another. By this, I am referring to the ethical dilemma that tortures Lefèvre throughout the narrative of Le Photographe, the concern that “getting a good shot” means taking a certain aesthetic distance from the immediate and urgent suffering of his photographic subjects. It is thus important to highlight the differences between the mediums in order to understand the sophisticated work that Lefèvre’s and Guibert’s collaboration does, both on the level of politics of representation and ethics of alterity. We must not lose sight of the fact that wartime photography is the trace of a physical, face-to-face, encounter of photographer and subject.

In the next two sections of this post I will consider the two mediums separately from one another in regards to questions of testimony and the ethics of alterity. I will use the terms iconicity (comics) and singularity (photography) to situate the two mediums but I am not especially committed to either term. One could just as easily oppose the terms abstraction and detail, or “reduced visual register” and “rich visual register.” The point is to underline a significant phenomenological difference in the way we experience each visual medium, not to argue that this difference is in any way essential to either medium or should be normative in either case.

2. Photography: Singularity & Witness

There is perhaps no medium more opposed to the iconicity of comics than photography. Although of course, some photos under certain conditions do become iconic. The photograph, in contrast with the drawn panel of a fixed sequential narrative (Groensteen), is utterly singular. And I think it is so on at least a few levels. I am thinking specifically of ethnographically-oriented wartime documentary photography. First, the ethnographic photo is singular in its attention to the minutest details, wrinkles and discolorations of the skin, loose threads of hair, textures and irregularities in fabric, tailoring on clothing. Ethnographic photography evokes a sense of awe in its textural detail, something along the lines of a response to a vast and incomprehensible landscape, which the eye scours almost lasciviously for detail. Here I am thinking specifically of Marc Garanger’s beautiful and haunting, but ethically problematic, series of photographs from the Algerian War, Femmes Algériennes (figure 5). Second, photographic subjects are difficult to abstract from their contexts. They tend to be singularly located, in specific places and times. We see the refugee camps behind them, or more commonly perhaps, the endless rubble framed minimally by concrete walls, bare columns, often bearing marks to remind us of the building’s original purpose: which may once have been a mosque, a general store, a music shop, etc. Here I am thinking specifically of James Whitlow Delano’s haunting photo documenting the effects of the more recent war in Afghanistan, Kabuli Heroin User (figure 6). Third, photographs are singularly frozen in time, both unmediated and immediate in their representations of their subjects. Photography makes an imprint of a moment already past, and in its unmediated stillness, it becomes a sign of absence and loss. This is the aspect of photography that leads theorists such as Roland Barthes and Susan Sontag to associate it with death and aging. Photos of war victims are especially poignant in this regard. The very sight of the photo immediately arouses anxieties concerning the survival of its subject in the photo’s afterlife. Did she survive the war? How has she aged? What impact did this photo have on her life? Here I am thinking specifically of Steve McCurry’s famous portrait of Sharbat Gula, known for years as “Afghan Girl” until National Geographic was finally able to locate her in 2002 (figure 7). And I think it’s important to note, in this particular light, that The Photographer includes a seven-page epilogue that features photos of 26 of the book’s characters beneath which are included brief biographical updates on their lives since the events narrated in the book. I might go as far as to argue that this is a symptom of using photography within a non-fictional sequential narrative. The reader is left with a ghostly sense of loss at the end of the story, which the epilogue works, in a way, to suture.

Figure 5. Marc Garanger, Femmes Algériennes (1960)

Figure 6. James Whitlow Delano, Kabuli Heroin User (2008)

Figure 7. Steve McCurry, Portrait of Sharbat Gula or Afghan Girl (1984 & 2002)

My main point here is that the ethnographic photograph is singular in a way that is largely incommensurable with the iconicity of comics. All of these aspects I just outlined (extreme detail, historical and geographical locatability, ghostly frozeness in time) foreclose the possibility of projective identification, of the reader with the ethnographic subjects. If ethnographic photography is driven by a desire to humanize its subjects, which I believe in most cases it is, it does so in a way that runs counter to the iconic operation Marjane Satrapi describes in her work where the reduction of detail enables readers to project their own dreams and aspirations onto those of the Iranian characters depicted in her story, or to imagine the characters’ dreams as their own.

At best, then, I think ethnographic photography represents an artistic means of staging an ethical (we might call it a Levinasian) encounter with alterity, one in which the eye caresses the image in an exploratory but not appropriative manner. But at worst, ethnographic photography has the potential to become a dangerously orientalizing (or at least exoticizing) practice, which valorizes alterity as an end in itself, and leaves little room for the viewer to identify with the subject of the photo, nor to ascribe political agency to the photographic subject. The singularity of the photograph leaves little room for viewers to imagine any form of action because the suffering of the ethnographic subject is imagined to be an indelible part of that subject’s identity, frozen that way forever in time.

3. Comics: Iconicity & Identification

Comics, on the other hand, are what Scott McCloud has famously dubbed “iconic.” Iconicity involves both a level of abstraction and reduction of detail and a certain striving towards visual “universality.” As McCloud explains, we can identify more quickly and effortlessly with a stick figure “any man” than with a perfectly rendered portrait of “another man.” Marjane Satrapi––who, incidentally, did the Dari Persian lettering for the dialogue in Le Photographe––explains quite beautifully the value of comics iconicity when it comes a politics of representation. As Satrapi explains, one of the great advantages of the comics medium lies in the ease with which readers are able to identify with the characters. The iconicity of comics––both visual and verbal––allows readers to project their own lives more readily onto otherwise culturally alien subjectivities, creating new possibilities for compassion and humanization at a time when compassion seems to be in short supply. In Persepolis, for example, the cultural otherness of Iranians is constantly mitigated through a reduction of the visual to an iconic register, which prevents the reader from dwelling too much on details that might lead her to exoticize the characters. In other words, if comics succeed in humanizing, it’s not through an ethics of alterity, which would emphasize the rich incomprehensible singularity of the other, but rather though processes of reduction and appropriation that are closer in form to the very dehumanizing rhetorics they counter. In an interview recorded during the 2007 New York Film Festival Conference, Marjane Satrapi described Persepolis (in this case, the film adaptation, but her comments apply to the graphic novel as well) as a fundamentally humanist project driven by a desire to humanize Iranians in the eyes of Western readers, who all-too frequently imagine them in two-dimensional terms as religious fanatics, misogynistic, peasants, etc. For her, comics are ideal for such humanistic projects, she explains admirably in her non-native sounding English:

This movie is a very humanistic movie. It’s a movie about, you know, love, about family, about the human being. Because, it’s about time that [the] human being would be in the center of interest. So, if we understand that. If we watch this movie and we say: this is about the human being and this human being could be me. Then, you know, we have reached our goal. And that is exactly also why we made an animation movie and we didn’t make, you know, a real action movie, you know, with people with meat and blood and all of that. Because as soon as you put, you know, the action in a certain geographical place, you know, with [a] certain type of people, et cetera, then again, that will become the story of these people that are far from us, we cannot relate to them, they are not like us. It’s something very abstract, you know, in the drawing that anybody can relate to. And, you know, that’s why, you know, also when you see in the background we didn’t make anything exotic, you know, in the background. It can be Tehran, but it can be Cincinnatti, it can be any big city anywhere. Because, we did that on purpose. Because we wanted everybody to be able to relate to [it]. And whatever Orientalism [there] is, we put it in the Austrian part. You know, you have the Strauss [?] music, the sachertorte, the dog, and you know, the tramway, and, you know, the yodeler. We made all of that on Austria because we wanted the viewer who watch[es] the movie with us at the time they would arrive to Vienna that would be odd for them and Vienna is, you know, is in the Western world. So all of that was made on purpose and that’s why we, really, that was a choice to make in animation and all of that because we wanted the story to be universal. We wanted the people to understand what we were talking about because it’s a humanistic movie.

Or to give a visual example from Satrapi’s own work, we find it much easier to identify with this depiction of a girl wearing hijab than this one .

In other words, if comics succeed in humanizing, it’s not through an ethics of alterity, which would emphasize the rich incomprehensible singularity of the other, but rather though processes of reduction and appropriation that are closer in form to the very dehumanizing rhetorics they counter. And part of what I’d like to argue is that Satrapi’s claim about the humanizing potential of comics, in their iconicity, is more radical that I think anyone has given her credit for… and runs against a whole specifically French strain of thinking about humanism and the ethics of alterity.

Now, of course, comics are not immune to orientalism (figures 8 & 9). In fact, the medium may be more vulnerable to these kinds of exoticizing or racist operations. But allow me to draw a quick contrast: against the sensuous textural detail of the photograph, the iconic figures of the comic strip do not invite the lascivious scouring eye that lingers on the ethnographic photo. We do not read iconic figures in a mode of paralyzed wonderment but rather we project, appropriate, assimilate almost as soon as we see it. Against the historical and geographical locatability of the ethnographic photograph, the comic icon works on a more utopic register; its non-place can easily become any place or every place. The reader, rather than thinking “I want to go there one day” thinks “there could easily be here. Perhaps it is already here. Perhaps I am already there.” Against the photographic punctum, that snap temporality of photography that aligns it with death, the comic icon occupies a thick slice of time, or perhaps no time at all. Icons are, in a word, eternal, which means they can represent any time. The time of the Iranian revolution in Satrapi could easily become our own time, a possibility Margaret Atwood’s dystopian Handsmaid’s Tale explores memorably, for example.

Figure 8

Figure 9

But while comics are more analytic, opposed to the sensuousness of photography, and inspire identification, understanding, an improbable reaching across cultures, iconic comics do bump up against limitations when documentation and testimony of particularly traumatic events are at stake. And comics that serve a documentary function tend, in general, to be on the more realistic end of the iconic-realistic continuum, or to use realism in contrast with iconic drawing to mark moments of particular trauma and to demand witness, etc.

4. Identification and Interpellation

My main argument here is that the particular format of the fixed sequential narrative is especially apt for inviting an identificatory response from readers (iconicity) and for interpellating readers to respond ethically to the images they are seeing (enabled by the gutters, or the play of panels) in a way that is quite different from the paralyzed melancholic response Susan Sontag describes the newspaper reader having to harrowing wartime photos.

I hope I’ve managed to convince you that photography and comics, especially as artistic means of grappling with cultural alterity, are in many respects incommensurable with one another. But, of course, as soon as a photograph is used within a fixed sequential narrative, it is not longer a photograph, at least not quite in the same terms I’ve been using. And of course, not all comics operate iconically. But there is a tension that Guibert and Lefèvre were quite aware of in their photo-comic collaboration. And it’s important to note in this regard that Lefèvre’s photographs were not originally intended to be used in this format. These photos were never intended to be part of a photocomic. His goal with these photos at the outset was explicitly photojournalistic and ethnographic. And we do see frequent material reminders that these photos were salvaged from his personal archive contact sheets in which we sometimes see hole punches, Xs made with the red wax pencil (which marked the photos he intended to print), streaks, scratches, etc. (figures 10, 11, 12).All these could easily have been photoshopped away, so we have to read these marks of archival materiality as signs of the authors’ intentions; a seamless marriage of the two media is not the goal. And in fact, it might be on account of the discordant juxtaposition of the two media that The Photographer succeeds both as a project of humanization and as a project of documentation. Moreover, by placing these ethnographic documentary photos in a comic strip, I believe some of the potentially problematic aspects of ethnographic war photography are able to placed into question. The ethnographic war photo becomes reflexive in a way that it cannot be when printed in a newspaper or framed and hung in an art gallery.

Figure 10

Figure 11

Figure 12

The authors find a number of ways to avoid exoticizing their subjects, or to reflect critically on the exoticizing potential of ethnographic photography. For one, by placing photos into sequences the reader becomes more aware of the photographer’s presence, which is sometimes intrusive, and often inspires the subjects of Lefevre’s photos to want to pose, etc. In fact, at a few points in his journey Afghan men ask him to photograph them in martial poses. In one case (p. 44) by placing photos in sequence we see Najmudin caught absorbed in a happy group moment, unaware of Lefevre’s presence, but then, with the inclusion of a third panel, we see him look suspiciously back at the camera (figure 13). On similar lines, the authors also include at least one photo taken by one of Lefevre’s photographic subjects, who turns the camera back onto the photographer. The photographer is photographed, the beholder beheld, in a significant reversal. Moving to the drawn comics panels, although Guibert’s drawing is not especially iconic, there are a number of panels in which the Afghans and the Westerners are indistinguishable from one another (figure 14) which is partly the result of the fact that the MSF volunteers wore Afghan clothing, and spoke perfect Pashto, took on Afghan names, etc., but Guibert in his visually reduced thick-line drawings also works deliberately to blur the difference, enabling Western readers to imagine themselves in either subject position, as a war-wounded or as a doctor treating the war-wounded, as a Westerner in Afghan drag, or as an Afghan who speaks French.

Figure 13

Figure 14. An Afghan and a Frenchman.

Guibert’s and Lefèvre’s deliberate efforts to blur subject positions reaches an incredibly moving climax in the narrative when Lefèvre hears his Afghan name, Ahmadjan (figure 16) being called out and mistakes it for an interpellation. The woman calling his name, it turns out, is mourning the recent death of her son, who we just saw three pages earlier (figure 15). The boy’s name, we learn in the epilogue, is actually Nazim Jan, which suggests a strong desire on Lefèvre’s part to identify with the subject of his photo, so strong that he hears it as his own Afghan name (figure 17). The scene, which is narrated entirely through drawn panels, echoes and adds a dimension of identification to what is certainly the most ghostly photo in the entire book, the photo we are perhaps least likely to be able to project onto. Through what might be called a retroactive layering effect, the comic strip narrative enables the reader to return to the photo as an interpellation. It may be an intercepted interpellation, as the name Ahmadjad turns out to be, but once experienced as an interpellation, the ethnographic war photograph is endowed with a new power to bear witness in the mode of identification (“that could be me”) as opposed to pity (“those poor people”), which in my view represents a much more powerful and honest form of testimony, one that the marriage of comics and photography makes uniquely effective.

Figure 16. Nizim Jan just before dying.

Figure 17. Didier is renamed Ahmadjan.

Figure 18. Didier is interpellated by the mourning mother as the dead son.

[1] “Kevin Carter – Photojournalist.” BBC, May 3, 2007. http://www.bbc.co.uk/dna/ptop/A22083301.

[2] Pedri, Nancy. “When Photographs Aren’t Quite Enough: Reflections on Photography and Cartooning in Le Photographe.” ImageTexT: Interdisciplinary Comics Studies. 6.1 (2011): n. pag. Dept of English, University of Florida. 13 September 2012. Web.

Vampire in the Mirror

Posted on April 30, 2014 by Noah Berlatsky

In Lacan’s mirror stage, an infant looks in the mirror and sees itself as a coherent, capable whole. That joyful instant of recognition is actually a misrecognition; the infant is not in fact that whole yet; it’s a vision of what will be. Or of what the infant imagines will be; Lacan’s point is that the image is false; the vision of coherence is not really a coherence to come; it’s a fantasy. Moreover, the future imagined coherence creates a past imagined incoherence. Part of the misrecognition of the mirror stage is the illusion of a stage, the dream of chronology. The future adult self is created simultaneously with the past child self; identity comes into being at the same moment as a past non-identity comes into being. The self as a chronology is an invention; the past, like the future, is a fiction.

The child, therefore, is precisely a fiction; it is a character in a novel, with a made up background to go with the made up narrative. It shouldn’t be surprising, therefore, that a number of novels that are especially interested in reader identification or mirroring deliberately thematize the mirror stage (or at least an imagined version thereof.) For example, Robert Ludlum’s Bourne Identity semi-famously opens with the main character getting a crack on the skull and forgetting himself. The reader, therefore, enters the novel just as the character does — bereft of a past as of a future, seeking to piece together a coherent self which extends backwards as well as forwards in time. Similarly, in Rick Riordan’s fantasy quest novel The Lost Hero, the main character, Jason, wakes up on a bus with no memory of how he got there. More, those around him (his girlfriend and his best friend) do remember him, because the gods have altered their memories. His past is (within the book) actually false; his story is (again, within the story) actually invented. Entering the book is entering a meta-fiction; to read is to falsely identify with a character whose identity is false. The fiction is really fiction, so your identity (as hero) is all the more thorough in being true to its falseness. You are lost, and are therefore the hero.

Octavia Butler’s novel Fledgling works in a similar way. The novel opens in media self — the first person narration does not know who it is; identity comes into being all at once, without a past or a chronology.

Again, the effect of this move is to put you in the same place as the character — you are linked to the protagonist through joint ignorance. Neither of you knows yourself. In the Bourne Identity and Lost Hero, this is used as an excuse to provide you with a default, standard-issue protagonist self — you become a deadly assassin (with a heart of gold) or the son of a God. In both cases, the fantasy fiction self is white, male, and heterosexual; the image sets you up as the iconic cultural mainstream.

Butler does something rather different. As you read, you discover that the fictional self you are building in the mirror is a black female child who also happens to be a vampire. Though it takes a while to figure it out, the first thing “you” do in the book is kill and eat a friend (to help you heal your wounds); shortly thereafter, you find an adult male, sleep with him, and suck his blood. In this instance, then, the child looks in the mirror and discovers that it is a black female monster, cannibal, murderer, and pedophile. The imagined self is an other; the created past is a nightmare — at least if you’re the supposed male heterosexual white male reader of the Bourne Identity.

That’s really the most interesting part of Fledgling; following the opening revelations, the book is mostly devoted to filling in details about cool vampires, a task which is ultimately as mundane as Ludlum’s genre spy story or Riordan’s video-game-esque fantasy battle set-pieces. The implications, though, are interesting. The imagined self, is, after all, not the self; that thing in the mirror is a thing, some simulacrum wearing your form (which didn’t exist before it wore it.) Who you are is a fiction, which could be a dream of empowerment, but could also be a dream of alienation and monstrosity. And Butler neatly points out that which is which is not necessarily all that obvious. For a black queer woman reader, couldn’t Jason Bourne, the violent white mass-murderer with a gun, be the monster, while the subversive super-powered vampire is the vision of coherent empowerment? One person’s joyful empowerment fantasy can be another person’s nightmare of self-alienation — especially since the one person and another person are just fictions; somebody else you devour to climb into your story, which had already always started without you.

Jack’s Dark Materials

Posted on April 29, 2014 by Chris Gavaler

I was quizzing a friend of mine at a recent dinner party about her living in England as a kid. Ellen and her older brother attended Bishop Kirk Middle School in Oxford, where she had Philip Pullman for a homeroom teacher. He also gave her private guitar lessons while not busy teaching English and Maths (the course is inexplicably plural in England). This was the late 70s, a couple of decades before His Dark Materials made Pullman an internationally celebrated fantasy author. School plays were still his main creative outlet. He wrote one a year and staged it in the lunchroom with a curtain draped in front of the counter. Mrs. Dixon, the music teacher, composed the songs and thumped them out on piano.

Ellen remembers virtually nothing else about the 1978 Spring-Heeled Jack, just that her brother played a sea captain and got to kiss the prettiest girl in school (who became a supermodel and married Simon Le Bon of Duran Duran). Pullman later adapted the play into a children’s book—which I’m holding in my hands right now. It’s part comic book, which is appropriate, since Spring-Heeled Jack is also England’s first superhero. “In Victorian times,” writes Pullman, “before Superman and Batman had been heard of, there was another hero who used to go around rescuing people and catching criminals.”

Pullman’s illustrator, David Mostyn, draws Spring-Heeled in a cape and top hat—which is disappointing if you’ve seen any of the Victorian illustrations. I don’t know how Pullman dressed his middle school actor (“the costuming was all very much pulled-together,” Ellen says), but Alfred Burrage’s 1886 penny dreadful describes “the tight-fitting garb of the theatrical Mephistopheles” which “covered him from his neck to his feet” and “made him look like a huge bat, with a body of brilliant scarlet.” This “most hideous and frightful appearance” also included a “black domino” mask, claws “of some metallic substance” (adamantium perhaps?), a “small black cap” with a “bright crimson feather” (though he sometimes substituted a “large helmet” or “the head of an animal, constructed out of paper and paste”), a “high-heeled, pointed shoe” and “something like a cow’s hoof, in imitation, no doubt, of the ‘cloven hoof’ of Satan” (“It was generally supposed that the “springing” mechanism was contained in that hoof”), and a “capacious cloak,” the flaps of which distended in flight “until they resembled a pair of wings.”

When Burrage rebooted in 1904, he added a batcave and then stole an escaped-fugitive-framed-for-treason revenge plot from The Count of Monte Cristo. Burrage wasn’t Jack’s first chronicler though. An anonymous serial sprung up in 1867, with a title lifted from John Thomas Haines’ 1840 play, Spring-Heeled Jack, The Terror of London. If that subtitle doesn’t sound very superheroic, it’s not. The play was inspired by the possibly hysterical reports of a real-life assailant who terrorized the suburbs of London in 1838. According to The Times, a “young man in a large cloak” tore at one victim’s “neck and arms with his claws” and “vomited forth a quantity of blue and white flames from his mouth.” Police suspected a carpenter too drunk to recall anything of the night, but spreading rumors named the devil and/or Henry de la Poer Beresford, the Marquis of Waterford. The mayor of London received an anonymous letter accusing an individual from “the higher ranks of life” of accepting a wager to garb himself “in three disguises—a ghost, a bear and a devil” and accost and so deprive “ladies of their senses.”

True or not, the tally of senseless ladies soon climbed to thirty with the Morning Post reporting how “females” were “afraid to move a yard from their dwellings.” If Jack was the devil, then Old Nick must have just flapped in from the Kentucky frontier where he was routinely sighted as the animal-headed, demon-avenger Jibbenainosay in Robert Birds’ 1837 Nick of the Woods. The devilish Marquis was never arrested, but two of his imitators were. Spring-Heeled Jack, however, had already bound into legend. The name—originally just a reference to the culprit’s elusiveness—reverse engineered itself the superpowered ability to leap over coaches and houses by supernatural and/or mechanical means. “Spring-Heeled Jack” also became a standard term for unsolved assaults and ghostly sightings, culminating with that 1888 Whitechappel serial killer dubbed “Jack the Ripper.”

I’d say Spring-Heel traffics a lot with the Faust legend too. Mephistopheles migrated from German to England in 1592 via Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus. The alchemist wagers his soul to employ the devil as his personal servant. The Marquis’ wager does Faust one better—he becomes the devil himself. Burrage trades in the Marquis for a dashing young baronet, further ennobling the nobleman in the process, but the plot is the same. An aristocrat transforms himself into a man-bat to play “the part of the Good Samaritan,” a Victorian Batman protecting distressed damsels from burglars, rapists, and swindling relatives cheating them of their inheritances.

Mephisto (the truncation popular with Marvel) continues to terrorize the multiverse. He started tempting the Silver Surfer back in 1968, before contracting the Ghost Rider for his soul, duping the Scarlet Witch and Vision out of parenthood, and, in a recently flamboyant retcon, swapping Spider-Man his aunt’s life for his marriage. Mephisto also may or may not be responsible for the damnation-threatening hate mail Phillip Pullman received after his last identity-splitting novel, The Good Man Jesus and the Scoundrel Christ. “The letter writers essentially say that I am a wicked man, who deserves to be punished in hell,” said Pullman. “Luckily it’s not in their power to do anything like sending me there.”

If Pullman did sell his soul for literary success, it was in the 1980s when sales for his children’s novels allowed him to quit his day job at Bishop Kirk Middle School. Ellen remembers the first, Count Karlstein, as another of her teacher’s beloved school plays: “Those plays were just so fun, so fantastic—he really was the best teacher. A born storyteller.” Spring-Heeled Jack ends with a mad dash to a disembarking ship where the tale’s Middle School-aged children are reunited with their father, and then the “strange, devilish figure” vanishes without a parting word.

“I wonder,” says Rose, “what Spring-Heeled Jack will do tomorrow night?”

Nijigahara Nihilism

Posted on April 28, 2014 by Ng Suat Tong

A review of Inio Asano’s Nijigahara Holograph. Translated by Matt Thorn.

“If only the last dozen years were just a dream my younger self was having, how wonderful that would be.”

* * *

When the publicist for Inio Asano’s Nijigahara Holograph suggests that the work has “Lynchian” qualities, he probably means to evoke David Foster Wallace’s definition of the word:

“An academic definition of Lynchian might be that the term ‘refers to a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.’ But like postmodern or pornographic, Lynchian is….ultimately definable only ostensibly— i.e. we know it when we see it.”

There is some of this in Asano’s manga but it never reaches that level of absurdity and distortion which we associate with the films of David Lynch. Far closer is the waking nightmare of a film like Mullholland Drive where the character played by Naomi Watts fantasizes about success and discovers her own dead body even as she festers and decays in a dark apartment.

The clues to the dream state in Nijigahara Holograph are the butterflies which flit around the panels of the manga, an evocation of Zhuangzi’s butterfly:

“Once upon a time, I, Chuang Chou, dreamt I was a butterfly, fluttering hither and thither, a veritable butterfly, enjoying itself to the full of its bent, and not knowing it was Chuang Chou. Suddenly I awoke, and came to myself, the veritable Chuang Chou. Now I do not know whether it was then I dreamt I was a butterfly, or whether I am now a butterfly dreaming I am a man. Between me and the butterfly there must be a difference. This is an instance of transformation.”

The manga begins with a collage of past events; a god’s eye view of humanity which will be inexplicable to the reader until several chapters in. It seems for all intents and purposes to be the day dream of one of the protagonists, a grown-up Amahiko, who stares fixedly into the distance and down into the open mouthed burbling of his dying, cancerous father. Moments later, he is seen talking about his waking dreams to a complete stranger:

“These days…I have dreams. It makes me wonder if what I’m seeing now isn’t really just a dream.”

The rest of this short prologue are disconnected vignettes of characters as yet unknown, sometimes barely perceived: a soon to be familiar man eating dinner in front of his television; a couple having sex (or is it rape); a set of notebooks; and a half-seen girl about to divulge her past to a disembodied psychiatrist-interrogator (or so it seems).

A hundred pages on and a teacher (Kyoko Sakaki) is waking from a dream; lying on her futon, staring motionlessly at the ceiling of her room.

“Recently I have had dreams. Dreams of my days as a teacher. I recall the happy memories and the painful memories.”

The chapters which have preceded this moments have concerned her past students and just those memories. The page before this shows a student diving into a swimming pool as the same teacher cheers him on—a lucid moment before waking; a past recalled imperfectly. As Novalis once said:

“We are near awakening when we dream that we dream.”

Kyoko Sakaki is about to awake to the traumas of her past. The question is whether she will disappear into them.

“I felt I could swim on forever. But I didn’t even know how to kick my legs or breathe properly.”

This is the essence of Asano’s dream narrative: a foreshadowing of events; a retelling of times past; a sequence of events which moves, without warning, between the past and the future—the induction of a hypnopompic state in the minds of his readers where we can barely distinguish between dream and reality.

Much of this comic will only make sense on rereading. Discrete scenes within the author’s framework only gain resonance when the manga is taken as a whole—an experience not uncommon to prose works but quite atypical of the manga industry where ease of reading is prized over much else.

Consider the moment when Kohta meets up with Maki at the latter’s café workplace. They are old schoolmates and Kohta is Maki’s childhood crush. They met the day before after a space of eleven years and have had impulsive but congenial sex. Their meeting in the cafe is intercut with moments from Kohta’s murder of his grocery store employer (a former teacher). His threat of violence to a co-worker (who he has known since childhood) is intercut with his cold, unfeeling embrace of Maki. She agrees to meet with him at the Nijigahara embankment, a place only shown but unnamed up to this point—the monster’s refuge of children’s legend; the place of sacrifice to defer the end of the world; the nexus of all the vicious activities of that school and small community. The entrance to the embankment is an uncovered drainage hole, large enough to fit a child—both Kohta and his friend Kimura Arie are thrown into it earlier in the manga. The exit from this cave is the gaping underbelly of a bridge which yawns open like Grendel’s lair.

As it happens, Maki was involved in the attempted murder of Arie back in her school days, the latter’s body dumped into the same embankment. She reveals this sometime later in a drunken state to an admirer (her employer, Makoto). This short episode of no more than seven relatively silent pages is a repository of all the tension Asano has presented up to this point—the unexplained murders, the sought for vengeance, the desperate love, and sexual deviation.

The bestiality is everywhere but fragmented and barely broached in buried panels: the elicit love of a father for his pre-pubescent daughter (Arie)…

…the marks of abuse on an otherwise happy child…

…a faceless mother (stepmother as revealed later in the book) telling her son (Amahiko) to just die…

… the corporal punishment meted out by one of the teachers (the future grocery store owner)…

…and a senseless act of sororicide…

This last incident where Narumi is murdered off stage by her brother, Makoto, is both strange and painful in its elliptical denouement. Narumi might be the only character in this tale without a trace of malice and her death is an extinguishing of hope.

In fact, most of these acts of savagery are silently inflicted off panel save for an instance of rape.

This latter incident recalling—by means of an upturned umbrella—the previously described murder of Kohta’s employer.

The manga posits a world of existential and moral nihilism. Only the languid pacing and quiet narration prevents these relentless moments of brutality from overwhelming the reader. They seem almost matter of fact—a mother threatening her children with murder becomes no more than a creeping disease, like a father’s erection at the sight of the back of his daughter’s head. Not for these is the distress and despair of common humanity when confronted with “original sin”—like the media circus surrounding the murder of James Bulger for instance.

The appeal to Zhuangzi over the course of the manga suggest a deeper, more metaphysical nihilism if traced to our modern world—the exaltation in meaninglessness. The “monster” of Asano’s tale claims to have lost “something” on the fields of the Nijigahara embankment—perhaps it his conception of any sense of metaphysical values or consequences. As Nietzsche states in On the Genealogy of Morals:

“Nothing is true. Everything is permitted.” . . . Well now, that was spiritual freedom. With that the very belief in truth was cancelled. . . Has a European, a Christian free spirit ever wandered by mistake into this proposition and its labyrinthine consequences? Has he come to know the Minotaur of this cavern from his own experience?” [emphasis mine]

One proffered explanation for this nihilism (within the context of the manga) is that they are the product of Arie’s consumptive dreams. She has lain in a coma since being pushed into a hole in the Nijigahara embankment by her classmates. On visiting her incidentally in the hospital some ten years after her incident, one of her classmates wonders “what she’s been dreaming about all this time.”

Prior to her rape and attempted murder (these two events being only tangentially related), Arie had been telling and recording a “fantastic story of a world apart from this world”—a nocturnal land where a beautiful girl foretells a terrible future to seven villagers. Fearful of her, the villagers “cut off her head and [offer] her to the monster. ”It so happens, there are seven heads looking down into the hole where she has been cast right at the start of the manga.

On a final trip with her family to that embankment, Sakaki explains that the Nijigahara embankment was named for a legend about “Kudan”, a “cow with a human face” which is known to predict plagues and afflictions for a few days before dying.

“According to legend, whenever a Kudan was sent down the river, twin Kudans would be found at this spot. So “The Plain of Two Children” was its proper name. Someone later changed it to “The Plain of Rainbow.”

As must be obvious, Arie is the “Kudan” of Asano’s narrative. Or at least one of them, for she has a twin. And as Lafcadio Hearn explains in Glimpses of Unfamiliar Japan:

“…the Kudan always tells the truth.”

It is never made explicitly clear who the original Kudan of the narrative is—perhaps she is hidden in plain sight (see below) under an innocuous name like the illusory embankment of the manga’s title.

In her review of Nijigahara Holograph, Sarah Horrocks submits that it is this suppression of truth which explains all the anguish which follows. Sakaki’s dissolution into a myriad butterflies (see first image above) at the steps of the embankment suggests an inevitable (and symmetrical) recurrence of abandonment and death. The twins, Amahiko and Arie, are “abandoned” by the death of their mother, just as Sakiko’s twin children are abandoned by her grief and torment.

[Spoilers Ahead]

Finding readerly joy in Asano’s manga is not especially difficult, but it is predicated to a certain extent on heavy reconstruction. More than most comics, Nijihgahara Holograph is a web of half-hidden, splintered relationships which need to be pieced together like a jigsaw. The tangled associations of the various characters seem like a kind of inbreeding of cruelty and conception. There is, for instance, the affable pedophile, Makoto, who befriends Arie, encourages her stories of monsters, then rapes her before being stopped by her teacher (Miss Sakaki) who is then assaulted with a cinder block for her pains. Miss Sakaki is seen from the start of the manga with an unexplained patch over her eye and she is the same person who nurses feelings of violence against her own children.

Makoto (the violent pedophile) also happens to be the owner of the café which Maki works at eleven years later, the same café which Sakaki walks into a decade after her initial attack. It is only in retrospect that we recognize a silent panel—with Sakaki shown with her gaze cast downwards—during that fateful meeting as one denoting recognition. On a first reading, the panel in question is entirely unremarkable.

It only through these short hints and interjections that we realize that Makoto is a psychopath—the “monster” of the play. It is never entirely clear if Arie’s Cassandra-like foretellings are the work of her own imagination or a translation of Makoto’s communications to her. At one point early in the manga, Makoto’s sister, Narumi, is observed in class by Amahiko (the framing character of the manga and Arie’s twin) and noted to be “always writing something in a notebook.” Do these notebooks foretell a similar fate and is Narumi the original solitary Kudan of our tale?

The fairy tale of the beautiful girl and the seven villagers is only ever revealed in full by Makoto himself. This uncertainty is brought to the fore when we find out that Makoto has burnt down his parent’s house and (possibly) killed his sister (Narumi) for having discovered his murderous diaries. This is but one instance of Asano’s careful seeding of narrative and memory; not so much an exercise in mysticism but a fastidiously planned look into the suppurating secrets of a backwater town.

Let us return for a moment to Zhuangzi’s butterfly. In an article at Philosophy Now, Raymond Tallis explains the “radical uncertainty” presented in that Daoist text:

“Wittgenstein…pointed out that

‘The argument ‘I may be dreaming’ is senseless for this reason: if I am dreaming, this remark is being dreamed as well – and it is also being dreamed that these words have any meaning.’

Whether or not this is true, it is certainly the case that I must doubt that there is any audience for the words. Dreams are by definition solitary: they permit only the illusion of ‘we’. As Heraclitus said, “Only the waking share a common cosmos; each sleeps alone.” If there is no way out of the notion that the world is entirely my dream, there cannot be any way into it either, if only because there is an implicit ‘we’ in all language use, and even more so in conversation. I cannot truly share a sincere suspicion that I am at present dreaming…It reminds us that when we engage in philosophical inquiries fueled by radical doubt, we often overlook the very context that is necessary for the inquiry to take place, which has to be untouched by doubt. ” [emphasis mine]

There is no place (or need) for such contextual certainties in the encapsulated world of Asano’s manga which is driven entirely by fantasy. But there is everywhere considerable doubt as to the shared nature of Asano’s narrative of dreams—where do one character’s dreams end and another character’s nightmares begin? The closing passages of the manga both explicate and gently confuse the narrative coherency of everything that has preceded it.

The burst of disjointed imagery which opens the manga is as much a reflection of somnolent reverie as it is a statement of authorial intent; a blurring of reality and wish fulfillment; where past, present and future meet in a deliberate and calculated melding of form and content. The work as whole is a marvel of narrative needlework and one of the best comics to have been translated in recent years.

* * *

Further Reading

(1) Sarah Horrocks on Nijigahara Holograph (Parts 1 and 2)

“Violence is an important theme in Nijigahara, because one of the core aspects of the book is the constant repression by the community of prophecy, and the violent feeding of the monster who lives beneath that said community, in the tunnel at the Nijigahara embankment.”

“Life in Nijigahara Holograph is depicted through the management of trauma and memory. Adults become adults by what precious things they are stripped of as children, and how well they function as adults is down to just how well they can deny those memories….But in actuality, no one in Nijigahara forgets.”

(2) Matt Thorn on Inio Asano’s gender identity. No doubt someone out there has already linked Asano’s wish “that he could have a sex change” to the stories of the various twins in Nijigahara Holograph.

Alexander Hamilton Was an Authoritarian Jerk

Posted on April 27, 2014 by Noah Berlatsky

This first ran in Splice Today.
__________

Back in high school, my AP History teacher presented American government as one long argument between Alexander Hamilton and Thomas Jefferson. On the one hand, federal centralization and unity; on the other, decentralization and liberty. Two great thinkers thinking great thoughts, founding our national discourse as founding fathers will.

What my history teacher didn’t tell us was that Alexander Hamilton was a paranoid, war-mongering loon.

In the late 1790s, when Britain and France were locked in war, the Federalist President John Adams was desperately trying to maintain neutrality and not drag the US into a massive conflict for which it was ill-prepared. Hamilton, on the other hand, was thrilled at the prospect of war. In part, this was because he hated the French Revolution, and its attack on central authority and monarchy. But it was also because he figured he could use the war to attack the pro-French Republicans led by Jefferson, a man who he later denounced as “an atheist in religion and a fanatic in politics”. Placed at the head of an army raised to repel a possible French invasion, Hamilton got it into his head that Virginia was arming against the central government, and almost marched on the state. Dissuaded from starting a Civil War, he turned instead to infringement of civil liberties. After some initial hesitation, he supported the notorious 1798 Alien and Sedition acts to limit immigration and punish dissent. Then, when Adams managed to secure peace with France, Hamilton was so upset that he wrote a 50 page diatribe denouncing Adams and concluding that the President had lost “the respect of friends and foes” alike.

So, to sum up, Hamilton was bitterly partisan, eager to engage in avoidable wars, and prone to using the machinery of government to stifle dissent and persecute his enemies, real and imagined. He sounds, in other words, remarkably like Dick Cheney.

What’s interesting in comparing Hamilton to Cheney is that, while the behavior seems consistent, the political terms don’t quite match up. Hamilton was a statist big government anti-revolutionary who wanted to increase centralized federal power. Cheney was…what? In theory the Republican party doesn’t like big government. But in practice Cheney was all for everything that Hamilton was all for — militarization, civil liberties infringement in the name of crushing internal enemies, the works.

People often talk as if inter-party tension is worse now than it ever was, but as far as I can tell Hamilton was actually more scurrilously partisan than Cheney. There are Republicans who will insist outright that their opponents are traitorous scum, but they don’t tend to be leaders; even Cheney was at least somewhat circumspect in this regard. But Hamilton, one of the most influential Federalists, pretty much came out and said that the Republicans would betray us all to the French regicides.

The difference, then, isn’t so much the partisanship as the fact that with Hamilton and Jefferson, the partisanship made more sense. Maybe it was because the battle lines were new back then, or maybe it was because the revolutionary anti-government libertarians just hadn’t ever been in power yet, or maybe it was because everything got scrambled when the U.S. became an imperialist superpower.

In any case, the point is, in those early days, when America was America and men wore wigs, the pro big intrusive government authoritarians were pro big intrusive government authoritarians. They didn’t demand enormous armies on the one hand and bewail the power of centralized government on the other. They were pseudo-monarchists and proud of it. And, similarly, the radical anti-government folks like Jefferson were really anti-government; they were radicals who supported the French Revolution even on up to (in Jefferson’s case) the Terror. Jefferson declared he would rather see, “half of the earth desolated; were there but an Adam and an Eve left in every country, and left free, it would be better than as it now is.” When he said he believed in liberty, he meant he believed in liberty for everybody. Except the slaves, of course.

In short, back then we had a clear choice between naked paranoia and open hypocrisy. Now, alas, in these decadent times, it’s hard to tell which is which.

Utilitarian Review 4/26/14

Posted on April 26, 2014 by Noah Berlatsky

On HU

Featured Archive Post: Kailyn Kent on the high art(?) of splash pages.

Chris Gavaler on cosplayers for Congress.

Chris Gavaler provides the minutes from the Last Supper.

Osvaldo Oyola on Brian Wood’s crappy all-women X-Men comic.

Patrick Carland on Zen Pencils and hating on the haters.

Orion Martin on Jodorowsky’s Incal, Prophet, and the problem of keeping science-fiction strange.

Qiana Whitted looks at how what’s in print affects comics studies (for PPP.)

On Katherine Gilles Seidel‘s novel Again and romancing the critics of romance.

Utilitarians Everywhere

At Salon I have

— a list of the 20 most underrated albums ever. Plus 10 more.

— a piece about how there is no canon of romance novels.

—a piece about the Other Woman as displaced rom com.

At the Atlantic I wrote about sci-fi and the imagined colonization of white people.

At Splice Today I wrote about the new Justice League United and DC’s pitiful efforts at diversity.

And at the Chicago Reader a short review of a Batman gallery art show.

Other Links

An interview with visual artist Curtis Gannon.

Wendy at Super Librarian argues (contra my article) that there is a romance canon, and she provides a list.

Janelle Asselin on how she has gotten rape threats for pointing out that a crappy DC comics cover was crappy.

And a message to guys about sexism in comics.

Uninsured people really want health insurance.

Edward Gorey illustration for the War of the Worlds

The Hooded Utilitarian

a pundit in every panopticon

Category Archives: Blog