Death Valley Woolgathering

"Fall Poem"

Isn't the "style icon" every Fall
Diane Keaton in Annie Hall?

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"Charles Manson Musings"

I was watching recent clips of Charlie Manson in the dock, up to his usual cabaret. This time I was thinking, "Looks like he's had some work done."

Then later I thought, "Manson looks bad. He's looking run-down. Not his usual perky self. He must have a lot of stress in his life."

I stopped midway through this train of thought and caught myself. I went, "What stress? One thing you can't accuse Charles Manson of is keeping things bottled up."

These are my thoughts for to-day. If you tuned in wondering what I am up to these days, THIS IS THE SUM OF IT.

"Compleat Cobblers."

I have stopped watching Dog the Bounty Hunter because I think that I have seen every episode several times. Nothing more depressing than sitting through episodes trying to recall whether you have seen them or not. Waiting for a dim light of doomed recognition to bleerily alight at the bottom of your weary medulla oblongata. Waiting for a stray quip from Beth that "rings a vague bell," or a memorable facial tic, a harelip or a squint, something unique and familiar about the perp.

Now, in the absence of a regular stream of Parking Wars episodes, I have elected to watch River Monsters to feed my appetite for cable reality guff. It naturally doesn't feature the same high-grade repartee as Dog the Bounty Hunter, but on the positive side it does have gigantic freshwater fish.

The gist of this show is the same as Dog anyway: hunt down a perp, wherefore 95% of the show is wholly devoid of direction, necessarily devoted to building up the putative "thrill of the chase". When the perpetrator (or here the "fish") is finally identified, located and caught, there is that same familiar sense of anti-climax, and the corollary pang of intense self-loathing, felt by the viewer. However on River Monsters, for better or for worse, the presenter does not take the giant fish onto the back seat of an SUV, offer it a cigarette, and try to turn it to Jesus and redemption.

In today's episode, the English extreme-stunt-fisherman presenter (or "EESFP" - his name escapes me and I can't even be bothered to look it up) was hunting down a monster killer fish described in Eskimo legends. He was in Alaska. In other programs this would of course be cue for a volley of jokes about Sarah Palin but River Monsters is not that show. It never will be. If you want Sarah Palin jokes switch to Letterman.

After much exposition and shrill shilly-shallying, and interviewing less-than-credible "witnesses" (half the time I felt like I was watching Teeth Mountain testifying on Judge Judy Christ sake) the EESFP found himself in the unenviable position of trying in vain to catch a common or garden sockeye salmon. When he finally hooked one, a baby bear came over and stole it from him. I'm not making this up - it really happened. The camera crew were so vexxed by this baby bear stealing their salmon that they reported him to the authorities. Really.

I couldn't work out the relevance of the capture of this salmon to the larger narrative (which is, lest we forget, the capture of the mysterious Esquimaux Death Fish) anyway. It was not properly explained. They were trying to ascertain whether there was a "viable food source" for the Mystery Monster Fish I think, but I would have thought the mere presence of the salmon alone was sufficient to conclude that there was a food source. Anyway, after the baby bear chased them off the river they blithely abandoned the hunt for sockeye salmon with utter equanimity. They said, "Well there are pike and salmon in the river so the monster fish could obviously eat them." So what was this whole folderol scene for?

It seems to me, as a lowly layperson, a landlubber and no "piscatorean," that the whole scene was cooked up purely to get a scene with a grizzly bear hovering in the background. The presenter kept pretending to be nonplussed, prattling on about absolutely nothing, while there was a bear idling on the opposite bank of the river. Like he was a tough guy, unfazed by bears. This was just the usual prick-teasing that goes on on American television. They keep you watching narrative emptiness waiting for the punchline. Obviously they decided that the baby bear did not have the cinematic cachet that an adult one would, but still he made the EESFP and his crew look like bunglers and cowards.

So they shopped the poor bear to the park ranger.

Wonder what happened to him.

I hope he wasn't shot.

Anyway, after that - and with no "useful data" extracted from the sockeye salmon - the EESFP went up in a small plane where he interviewed a female anthropologist who told him in detail about a giant monster fish she had seen from the air last year. Why didn't they use her testimony in the first place? Without the capering on the riverbank amongst our ursine cousins?

From this "expert testimony" our intrepid guide quickly asserted that the fish was - must be - a "Massive White Sturgeon". The rapidity and ease with which he arrived at this diagnosis just from the female anthropologist's scanty and bored testimony was suspicious to my critical and cynical eyes and ears. It smacked, I say, of a put-on. Then he says, with equal blitheness, "Well I could spend forty or fifty years trying to catch a sturgeon on this body of water but you and I in televisionland don't have forty or fifty years to spare so I am going to go down to Oregon waters, there to catch a sturgeon." To anticipate his viewers' obvious disappointment, he insisted "I am still catching the same fish, just in completely different waters several thousand miles away. This is not, I repeat not, a cop-out."

This was a reductio ad absurdum if I ever I heard one. There was no proof that the Monster Fish in question was a Massive White Sturgeon except on our eminent expert's dubious say-so; his speculation would only be confirmed by catching the monster fish in question in Alaskan waters. Which he now had decided against. This journey down to Oregon was a fool's errand.

There's no point in getting angry about this. I know: don't sweat the small stuff. You keep telling me that but it's hard sometimes. So he went over to Oregon where there are literally scads of sturgeon idly booping along the sea-floor just waiting to be hooked up. He caught one in about five seconds and it was about three foot long. We all mistook it for a sprat. It swam away as soon as he tried to grab it by the jaw so he fished for another one and made a mighty production of it when he caught this one, which was I think eight foot long. Still, the one in Alaska was meant to be twenty foot long so I felt cheated some more. By ooh let's see twelve feet of fish flesh.

Then he reaches into this micro-sturgeon's mouth and says, "Look the sturgeon has no teeth, just these telescopic gums." He demonstrated this by pulling the sturgeon's gums this way and that for a while, just to demonstrate the toothlessness of the fish. The poor sturgeon just took it with Christianly good grace. He "never said a mumblin' word." This did not seem to strengthen our presenter's position from where I was sitting. This diminutive, pacific, toothless wonder was our threatening Monster Esquimaux Killer?

The conclusion was, nevertheless, that this fish - "or one like it" - was the same monster up in Alaska and that it had capsized all those Esquimaux kayaks not by ruthless biting (since teeth had it none) but by its mysterious habit of leaping out of the water and knocking Esquimaux out of their canoes. This eccentric trick, incidentally, "has never been explained. Maybe it is motivated by panic."

Maybe.

This is some "fish story" indeed! This wasn't even the tale of "the one that got away" - this was the tale of "the much smaller version of the one several thousand miles away which even that one's identification was only deduced by the idlest speculation. And which got away."


"VENATOR"

Poem. Inspired by The Sleepy Eyes of Death Series

Observation:

It is now considered de rigeur
Among the au fait ronin
To disparage the bushido
While wholly upholding it.

[Interior query:

Can you knock a man unconscious
By punching him in the stomach?]

Funny Eyes of Death

"The sky... the sea... and the Musou-Masamune blade." RAIZA ICHIKAWA

I was watching The Sleepy Eyes of Death 1: The Chinese Jade, and in the fiftieth minute the master of karate Chen Sun (the excellent Tomisaburo Wakayama - the Japanese Lino Ventura) says to his arch-opponent, the ronin Nemuri Kyoshiro (Raizo Ichikawa), who he has a "hard-on" to battle, "Shall we fight?"

To which Raizo replies, "Not now. Let's end this rude interruption." They then fight off a cadre of inconsequential samurai.

I meanwhile misread the subtitles for a moment, and thought that Raizo had made a genuinely subversive and liberating comment: "Not now. Let's wait til the end of the film."

Boring Comics: Narratological Point.

It is a commonplace in Marvel comic books, particularly ones of a certain era, to waste several pages of the narrative with empty scenes showing the super heroes' battle abilities and finesse in generic battle scenes. The locus classicus is the Danger Room scene in The X-Men.
The splash page customarily begins with the X-Men seemingly spiritedly fighting one of their most notorious foes. After numerous pages (which we, the comic's humble buyers, have plainly invested and wasted whole cents in) the scene is revealed to be an exercise and an illusion. These were mere phantsasms - robotic simulacra created by the Shiiar technology of the Danger Room. Cut to a panel of Kitty Pryde at the Danger Room controls. Eating a slice of pizza, stuck in the mid-Eighties, talking her usual Mary-Sue jive.

This generic scene purportedly establishes the powers and pecadilloes of the characters for new, first-time readers. A similar scene is the opener of literally millions of comics: Spider-Man webspinning through New York and breezily espying a mugging in a back alley.

Must we ever be made to behold this sight ever again? Spider-Man captureing the muggers, grinding them down with vapid one-liners that everybody (really, everybody) is weary of. He webs them up and further lightly humiliates them, then turns to their victims who recoil from him and call him a "nasty hooligan" or some similar synonym.

Cut to a scene of J. Jonah Jameson droning on about the "web-spinning menace"; or a Daily Bugle front page editorializing against the infamous Spinner of Webs.

Marvel Comics are boring aren't they!!! I certainly wish they had never invented the Danger Room.

Add Danger Room scenes to my list of boring comics.

Also boring: "Pantheon" storylines that deal with characters from classical mythology.

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Further "English Bands That Americans Like"

The full title should be "English bands that Americans like inordinately," but I think that goes without saying. "English bands that the English ceased to listen to in 1986 but which keep coming round on American turntables."

New additions:

Elvis Costello
Echo and the Bunnymen
Nick Lowe

I thought about adding Sting and Paul McCartney to the list. Does anybody in England listen to these two redundant rascals?

Etymology, Blasphemy and Bowdler

Speaking of the Americans-as-Anglophiles, there is a quite new bar under the Williamsburg Bridge called Gordon Bennett. I was in there with Toby Spinks, sat at the bar, and I was explaining to Toby what "Gordon Bennett" signified in England. "It's an exclamation of awe or surprise." I went further than was necessary, delving as I did into the gnomic realms of etymological conjecture. I said, "It occurs to me now that the phrase may have survived and prevailed chiefly as a bowdlerization of 'God damn it'."

Profane people today are unaware that blasphemy was taken very seriously less than a century ago, at least in certain milieux. There was a New York street gang in the 1850s called The Dead Rabbits. According to the nameless author of the entry on Wikipedia,

The name has a second meaning rooted in Irish American vernacular of NYC in 1857. The word 'Rabbit' is the phonetic corruption of the Irish word ráibéad, meaning 'man to be feared'. 'Dead' was a slang intensifier meaning 'very'. Thus, a 'Dead Ráibéad' means a man to be greatly feared.

This sounds like so much blarney to me, begad and beggorah.
(Blarney? On Wikipedia? It can't be!)

Uncoincidentally, the phrase "dod rabbit" was also abroad at this time-- as a canny, insider, subversive, neutralized way of saying "God damn it". When you said it, anybody astute knew what you really meant, and yet you hadn't strictly offended genteel values by saying the real phrase. The same trick persists today after a fashion in the middle-class use of the oaths "Gosh" and "Golly" ("Cripes" and "Crumbs") ("Begad" and "Begorrah"), which avoid breaking the Third Commandment while pointing ingeniously to the blasphemies. Ambrose Bierce published under the name "Dod Grile" (for "God Riled") in his earliest writings.

I submit that the phonetic similarity between "Dod Rabbit" and "Dead Rabbit" is more convincing than some airy speculation about words from Gaelic. This Gaelic interpretation sounds to me like the wilful excesses of academe at its most academic. And yet it endures. I really should write a paper on this subject for Notes and Queries.

Evenings in the university periodical section blandly leafing through back-numbers of Notes and Queries. This, which sounds pathetic I know, also sounds beautiful to me now. Idly flicking through issues of Artforum on a Norwich night.

Anyway, I merely speculated at the bar that the same may be true of the oath "Gordon Bennett!" While I was explaining all this to Toby, mine host the bartender - a generic Williamsburg collegiate laid-back slacker stubbled t-shirted bardude - had the gall to chime in to "correct" me.

He brazenly leaned across the taps and "explained it away" by means of a fatuous scenario: "If we saw a great sports car right now, while an American would say 'Awesome!,' an English person would say 'Gordon Bennett!'"

How was this different from what I had said? He simply situated it in a rather banal context. He then added, authoritatively, that "Gordon Bennett was also a real guy."

So, of course, was Joe Shmoe a real guy; and what's your point?

I looked at him with wan, noli me tangere disdain. Mine host was a total type, known on college campuses the world over (and Williamsburg is, lest we forget, a college campus sans college). The collegiate American Anglophile dude. He has a close equivalent in Australia in Ryan Webb [see past issues of Curiosa Rubberlineana, ca. 2003-6]. He is expert in smalltalk about exotic sports and is a total bore about "guest beers". He has a preferred English football team and follows them closely. He can talk companionably to anybody, as long as they have a dedicated fondness for utter boredom.

I do not. I am not that man. Nor do I take well to being corrected on points of my own national folklore by outsiders. I said, "Pardon my mistake, Herr Doktor Bardude, I had you for a lowly cocktail shaker! I didn't realize you were the doyen of the philology department. I merely grew up in England."

What I should have said: "Gordon bleeding Bennett!"

What I should have said: "And what is the etymology of the word pillock exactly I wonder, hein?"

PARADOX ("Pearls Before Swine").

At the comics shop.

Whenever customers bring their girlfriends into the shop, the storekeeper always upbraids the swains, the suitors, for being so lame as to bring their beauties into so low a den.

" Bachelor’s Hall, Bachelor’s Hall,
I’ll always stay single, keep Bachelor’s Hall."

"What are you doing," he ejaculates, "bringing these fine purebreed fillies into this foul donjon?, this debauched bachelor den of wasted males ('mutates')? Would ye besmatter these pearls with vile dross and grit? Aye - and it seems you would."

"Whatever dude. Do you have the latest Birds of Prey dude?"

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I chose Birds of Prey for my punchline simply because it may well be the dullest comic in the creation. Three female superheroes. Barbara Gordon, Black Canary and... who? I forgot.

("Batgirl." - Damian Morgan)

A while ago the same storekeeper was giving away DC comics "free gratis". DC or Diamond Distributors had said it was okay for him to "title page" them; that is to scrap 'em, and just send back the title pages. So I was tottering over the racks when he goes, "Fabian, do you want a copy of Birds of Prey without the cover?"

I gave him such a purely disgusted, violated look that he added, plaintively, "It's free."

"Still," I said. "STILL."

And yet. And yet.

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Boring comic, but quite a good story I am sure you agree. Here's another one just as good as that one and bound to go down in the annals of legendry...

Speaking of which, the last time I saw D. Oregon Morgan it was in London and we met at the MVE comics shop basement. Damian is always flat-broke but he also always has a pocketful of vouchers.

Sing a song of sixpence
A pocket full of vouchers.
Four and twenty copies
Of Secret Invasion Front Line.

I went down there and he was already in place, neck deep in slime, filth, damp rot and back-numbers. Wearing his trademark white tuxedo.

"Livingstone, I presume."
"Elementary, my dear Watson."
"Echec."
"Et mat."

Also assembled there were a few other people; the usual subterranean bottom-dwellers and mouth-breathers, all bent crooked, riffling in silence through the fifty pence bins in a cloud of spores. So our greetings were rather muted. Hadn't seen Damian in nearly a year and the first thing we said to each other was consequently very emotional. Damian goes:

"Um, Fabe, so how come Spider-Man gave away his identity in Civil War and now nobody knows who he is again?"

I coughed and tried to explain this byzantine narrative abortion at some length.

Didn't succeed.

What makes me bring this up is that Damian was steadily building him up a pile of issues of Hawkwoman. I could not believe it.

"Are you doing this simply to defy me, rascal?" I goes. "Do you do it just to damn my eyes?"

Oregon pulled up a copy of Birds of Prey, squinted at the cover condition like it was a Near Mint issue of Action Comics #1, added it to his pile, and goes, "Naturlich, my dear."

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One last story while I am so clearly on a roll. A few days later we met Damian and his housemate Kirk (whose special unique characteristic is that he is the oldest person I know) at the launch for some Antony Gormley show at White Cube II, Piccadilly. Yeah, we're all real art buffs. [This said in the voice of John Lydon on the Bill Grundy show.] They're all heroes of ours, ain't they? Oh yes! They really turn us on.

Kirk and Damian had been in St. James's Park that afternoon, playing Ultimate Frisbee, football golf and also their own version of badminton where you hit the shuttlecock up as high as you can and keep batting it up as high as you can. A regular paralympics ("laff-a-lympics").

I looked at them strangely and said, "It's like Don Quixote, at the end, when they all decide to become shepherds." Something pathetic and woeful about this - - something that seemed to suggest to me that the world will end in the next few years.

Everybody was enjoying the free beer except me. I don't drink beer, so I had a glass of revolting white wine from the pub nearby. Awful piss.

Speaking of awful piss, Will Self was there.

Anyway, the conversation was strictly pedestrian and quite obviously headed nowhere, so I decided to "pep" it up a bit with a wry remark to Damian about the comics. Some observation about Franken-Castle or something equally erudite. And Damian pulls up his collar and withdraws from his waistcoat his snuffbox and he heaves a big inhalation of snuff and utterly fucking ignores me.

"Do you snub me now?"

"Didn't hear what you said, Fabe."

"I was talking about the four-color funny-books, Damian."

"What's this, hey?" Kirk says. "Do you read comics, Damian?"

"I've got maybe about six back at my Mum's, Kirk," Damian said loudly and haughtily, looking the other way (where, as it happens, Will Self sprawled idling).

I nodded, coolly, and simply cooed: "And the cock crew thrice."

And you know what it did.

"THE END."

Back to the Sea Floor; Or, "J'Accuse."

I went back, bewilderingly, to the refried basement sale at Jim Hanley's Universe. I had resolved to stop buying up middling comicbooks and wasting my dwindling life on this third-rate guff. So why'd I go back?

Why'd I go back.

I went back like a reanimated cadaver to his best-loved tomb.

Anyway this time down there the place was verily alive with the fanboy's equivalent of drawing room banter. Somebody said something to the shop steward about Batman and soon half the basement was chiming in on this and other scintillating subjects.

These pillocks, seemingly to a man, could not get past the basic problem of verismilitude in the funnybooks. One major pons asinorum for them was that characters in the comics didn't age at the same rate as people in the so-called "real" world.

"Franklin Richards used to be the same age as the kids in Power Pack," one grumbled. "Now he is younger than them."

"Aunt May was born in the era of the Civil War," complained another with furrowed brow, "and yet she still lives."

I had heard similar confusion in other comicshops. At Roger's, he was reasoning with a young seeker of truth, that if the comics were in "real time" then "Peter Parker would be ten year older than I am." The unshying seeker palled and left that place fast, mumbling "I have to look into this."

John Byrne has talked at considerable length about the tedious problem of Franklin Richard's age in a hundred-page interview that I amazingly read from start to finish. Everything interesting to say about this incredibly dry (and cut-and-dried) subject is in there. Still, the comics basement men talked about it as though it were a new, fresh subject for discussion and they were the first brave pioneers to strike upon this magnificent paradox at the very heart of modern life.

Next they began to bitch that characters in the comics had a habit of dying and then coming back to life. They discovered, through the frank exchange of opinions, that this was not the case in real life. In real life, they announced with grave confidence, people who died seldom returned from that interesting state.

They went on kvetching about the unreality of comics, all the while stacking up piles of comics to buy and presumably read.

Finally, after listening in silence for some time, I had had enough. I said, "Lads, lads. It seems to me that you are in the wrong place in your quest for verisimilitude. Might I recommend the works of Emil Zola?"

A moment. Then the Mexican gentleman, checklist in hand, queried:

"Zola? That's the Kirby-era Cap nazi villain with the camera for a head and his face in his thorax, correct?"

I paused; thought regretfully of this doomed planetoid and replied:

"Eggzackly."