Book Beat Reading Group for June, A Personal Matter 03.05.2011

A Personal Matter by Kenzaburo Oe


The Reading Group will meet Wed., June 1st at 7pm in the Goldfish Teahouse (117 W. 4th St., in downtown Royal Oak).  Copies of the reading group selection are discounted 15% at the Book Beat.  (this is actually our May meeting moved up to June 1st) All are welcome!

Book Beat’s May reading group book is A Personal Matter by Kenzaburo Oe Oe was the winner of the 1994 Nobel Prize for Literature.  A Personal Matter is a novel based on the author’s experience coming to terms with his son’s mental disability.

“[A Personal Matter] owes obvious debts to Kierkegaard: the search for—and confrontation with—the self. Its urban surroundings, the classless misfits that populate it, and its vivid sexual descriptions make it seem socially and thematically similar to its Occidental counterparts.”—James Toback, The New York Times Book Review

Beer Mystic, chapter 24 by bart plantenga 24.09.2010

Beer Mystic: A Novel of Inebriation & Light

the previous chapter to Bookbeat’s BEER MYSTIC #24 excerpt is now online at:
Beer Mystic #23: Karen The Small Press Librarian

bart plantenga

Furman Pivo believes he [plus beer] may be the cause of a rash of streetlight outages. This sense of empowerment transforms him into the Beer Mystic. He has a mission and a mandate. Or does he? In any case, 1987 NYC will never be the same and the rest is history or myth or delusion.

Beer Mystic Invitation: Participate in a unique literary adventure that will take you on the longest, rowdiest literary pub crawl ever. Follow the Beer Mystic’s story around the world through a global network of host magazines [next excerpt at end of chapter / cover by David Sandlin].

<< Beer Mystic #23 To be announced>> chapter 24:

It’s no wonder, then, that I had to start whistling up for the key after Djuna changed the locks and refused to give me a new key. Each successful betrayal of her by me that overshadowed her many betrayals of me just goaded her on to ever more dramatic acts of vengeance. Now, if Djuna liked the tune – “Mack The Knife” is one, “Surabaya Johnny” another “You said so much Johnny / Not a word was true Johnny” – she’d toss me the keys. If not, I’d have to sleep elsewhere. Sometimes with Nice, who had very temporary lodging arrangements. One floor here, a couch there, a squat for a few months. Or I could just buzz Djuna’s doorbell [the kind that looks like a nipple] all night and sing “At the beginning every day was Sunday / That was until I went with you”… None of this did me any good because, as I later learned, she just puts on her Bose headphones [courtesy of the Times Square Valentine tycoon?] and turns the music up a notch. I mean, ultimately, I think I was only two months behind in the rent.

One night, not long ago, I was wandering to kill the Friday night when I spotted this guy coming up Avenue A, off 7th Street whistling a tune, a tune I knew, a tune I’d learned to whistle from Djuna, “Wie Mann Sich Bettet!” Oh sure, this guy knew Weill’s tune enough to whistle it but did he know Brecht’s words?! “You got to make use of the short time that is yours / A human being is not an animal / For, as you make your bed so must you lie / There’s nobody to cover you up there…” I mean, there he was coming toward me with a small bundle of clothes under his arm, dressed in MY clothes – that’s right! – my fuckin’ clothes that she, Djuna, had lent him from “MY” closet! I understand stuff fast, but it takes a long time to explain it to me.

Yes, Nice has a bed, too – calls it a “Bedouin bed” – and she does not get nauseous lying on her back. On nights when I can’t carry a tune [and some others, too] she is my dream among brambles and hatchets. The bed is a sachet, a dream pillow and is never at the same address for very long.

“Why do you bother with her?” Nice is seldom nosy.

“I dunno. Habit I guess. I remember my father in the garage, putting his hand on my shoulder and saying, ‘Hamsters sometimes eat their young. It’s not something we can explain. It’s just something they do when threatened.’ Understand?”

“Uuuuh. Not really. And so what’s’at make Djuna, like star of Invasion of the Killer Shrews?” Nice only acted jealous because she thought I was too used to it to go off it cold turkey. Beyond jealousy, that’s like one giant step toward Buddhism.

As long as we don’t coagulate into a lump of bitter familiarity, an inert “us-molecule,” me and her could last like a “black and tan” Nick and Nora of the ’90s. As long as I take her with me, half-cocked, hunting black-eyes, she’s willing to play my #2 as a down payment on becoming my #1 in the [very near] future.

Nice’s sexual apparatus works like the firing mechanism of a pistol – she is propulsive. She’s so hot that making love to her with pot holders on doesn’t help. This is how I describe it at work. Ben and Robert listen intently. When we chuckle, the bosses think we are laughing at their expense. I say let them think that.

In her kitchenette [this month], one oven mitt that hung from a hook was the head of an alligator. At night it devoured her “devil’s food breasts.” She liked games involving her breasts. She served me a sweaty glass of beer from the grip of her cleavage without spilling a drop. Doing the limbo. She’s from Antigua – no, lived there. She’s from Senegal. But sometimes from “Jah-maica.”

“You’ve lived everywhere.”

“Which is a little like nowhere.”

And, had her dad maybe named her after a town in the Ivory Coast, Niellé where he had try to negotiate a policy to stop deforestation and help the people diversify their economy away from agricultural products like cocoa and coffee.

Nice and I laugh a lot. When she has an orgasm, the muscles in her arms and legs flex so intensely that they remain fixed there, like chair legs locked into position, right at the surface and you can’t even bend an arm or even wiggle a pinkie. The air perspires and is only later worn like what a tornado does to an afro. She likes to show me the data files she has created with all my documented black-eyes on her computer. The map of Manhattan showing the precise locations of all my beers, however, is her crowning glory. We can stare at that for hours. Nina Simone, Black Uhuru, Youssou N’Dour, LKJ, Kalahari Surfers, and General Echo [“Drunken Master:: “In heaven there is no beer / That’s why we drink it here / So don’t have no fear / Just come and get your share…”] on her boombox. An obscure beer or song is more important than any perfume.

My heart still gets hurled like a horseshoe magnet, aorta over auricle, at this splendid face. Strange, this cosmos of beauty [how facial bones sculpt of skin something undeniable, like a silken scarf draped over dream] and how it still takes up tacks, rips up the carpet of my brain awed and deranged from the floor. I have to grab hold of things, things solid and grounded when I gaze too long at her face. Who/what I am can be measured, I guess, in direct relation to what happens to me.

“Dylan Thomas said, ‘I am lost in the metropolis with a rubber duck and a girl I cannot see pouring brandy into a tooth-glass.’” She quoted as we sit in the Linger Lounge now, after watching the spiral imprint of the wood grain from the pew – I mean booth – disappear from the tender underside of her arm. Then she sucked blood from my lip cut on the chipped rim of a stemmed extended tulip glass [which is perfect for heightening the elegance of a pilsner]. Heightening a pilsner is the act that raises us out of ourselves.

“You are soooo…. Beautiful.”

“Joe Cocker, circa 1975. Written by Billy Preston. Um, I was thinkin’, where we put out lights we should place flowerpots filled with bright flowers.”

“‘A guiding light that shines in the night…’ Maybe like crocuses?”

“Why not. Or narcissus.”

“Or wild purple cockle. Um, NIELLE. I gotta think about it.”

“Orchids? This’ll mark our black-eyes as something deliberate. It’ll make it a place of reflection. It will prevent our acts from being interpreted as vandalism.”

[“If the flower (uneven beer head) is sufficiently beautiful, it will not quickly fade...” Michael Jackson. The New World Guide to Beer. Courage Books, Philadelphia, 1988.]

“You got something there. Except that costs bucks.”

“We can steal’m. Everyone must share in the beautification program. Besides, it’ll give form to vision.”

The lights were bright and shivering outside the Linger. On the way to the All-Nite Pharmacy I asked Nice, “What kind do you wanna get?”

“I dunno, let’s try something different.” She played along because for her, life was a series of instants placed before us to amuse. I could be juvenile again. I could say stupid things and not feel stupid.

“Isn’t it the ribbed green kind you like?” Even louder.

“Yeah, but I don’t like the TASTE. Let’s try the reservoir-tipped ones with the grape jelly time-release all-natural spermicide.”

“What kind do you usually get with your husband?”

“Boring flesh-colored.”

“Black flesh or pink flesh?”

“Grey fish flesh… OK, so ma’am, can I have a gross of the Martian green-ribbed? Yea, a gross.” And as I paid she made as if to open my fly to assure a proper fit. “A gross, that’s the weekly recommended dosage, isn’t that right, ma’am?” A yawning sneer from behind the counter as if to say “You may think you are a clever scene from a Porkys retread but I know better.” The gross did indeed go fast, because she often became so impatient and riled up that she would end up biting through the condom, ripping it off, because she couldn’t stand to be so far away from my skin and the throb of my blood.

Her mind still allows her body to be a dreamscape. And when she flexes the wingtips of her scapula it forms a voluptuous fissure, an alternate vagina which she urges me to explore with tongue and plum-headed glans – or tomorrow she might offer the inside of a Black Beauty tulip. And this is what she means by “poetry in motion.” Or she’ll take my scrotum firmly in hand and make the sound of a bullfrog as she squeezes.

“I always think of you as having this finger that’s a bottle opener. Like a sideshow attraction. Like I was witness to at J.D.’s Lowest Common Denominator benefit party. Beer in the bathtub…”

“I saw you but did not know you.” She sipped her Pilsner Urquell – with only one finger of foam; it is best served with two – with gusto and I devoured her burp as if I was inhaling 125-year-old cognac or imagination or snails dipped in fresh mayo – as if each fetid moist molecule of her scent was tagged with mons and pheromones. I drank a Red Stripe from “her” Jamaica and spit several sips down the slender throat of Nice, with thumb pressed to her Adam’s apple. This is how we cross-bred. This is how we got in trouble in the Linger and other bars, and even outside. Affection in a bar is fine, so is a bit of muted passion, but when the passion is full-blown and all over the place, a bar suddenly becomes a church or something. And outdoors in the streets, people can get even more grossed out or pissed off at wanton love than at random violence.

The beach we go to is a dream of us in g-strings and no shoes. I dream of a dream that makes love to me. I encouraged her to read Kerouac’s Subterraneans to me out loud, pillow against the wall, my tongue tickling the vein that runs from hamstring to inner thigh along the sartorius muscle. She lets the crescent of musk melon fall into her lap. She is fruitful. The drops of nectar get caught in her profusion of pubic fur. Her voice full of resonance and proof – 151. [151 is also the pulse rate at the instant of orgasm.] “O dear, what a mess.”

One night she came into the Linger Lounge out of the dark rummy night breathing heavy, opened the paper, and read aloud, “Greedy aliens are stealing stars out of the eternal heavens… snuffing them out like light bulbs [her emphasis]… Something is snatching these stars out of our very own Milky Way like apples from a tree… blablabla… A super-intelligence with only one thing in mind – to suck the very life out of these stars. This is not only evil but potentially dangerous to the delicate harmony of the cosmos. It is speculated that alien cultures need the stars’ light and heat to survive…” And she looked at me, as Bonnie may have looked at Clyde, and thought this was evidence of my/our workings “woven into the cosmic scheme of existence,” as she put it. I was flattered but also a bit frightened by the notion that she considered this some heavenly legitimization of my efforts. I ran my hand through her hair. She is in awe of me, but pities me all the same for all the responsibility this awe places upon my shoulders. I am in awe of the love I am finding I am capable of giving her.

Her hair is thick and dark like the sea at night. My hands get lost in twenty pounds of it. “Pam Grier.” I whisper. “Alice Coltrane.” I remembered a kid with red rake, in briars and brambles up to my knees. Stuck and earnest. So trusting of my father’s camera, squinting in the febrile bee-buzzing sunlight.

In the morning it’s a different day. She gives me a printout of our map with its patterns of black-eye activity. Heavy concentration in the East Village, Foho, Soho, and Tribeca areas. She had circled areas in red that we should target more vigorously.

It’s a Billy Holiday and I am blue. The sky – what there is of it – is grey and untrue on my way to work. I gung-ho it to be on time – a valiant failure. Robert never minds, pretends not to notice. I smirk with the delicious perfume of Nice’s inner thighs still pasted to my face as the boss, Leon Codger, lectures me on punctuality and honesty. “A career starts and ends with punctuality.” A bit late for that buddy I think as rejoinder. This is an act and we all play our parts. He spins in his luxurious leatherette swivel chair. Little does he know how much the accountant, a savvy silver-haired old dame, has told me about how “irreplaceable” she is because of what she “knows” about this joint. Skimming – it sounds like a sport. She once said, “Some cook at home. I cook here. I’ve got all the books cooked to a fine stew.” Winkwink. I go to my position, ready to kill the body of the day. It is Friday and we listen to “Stormy Monday” but I do not wear a donut as a halo today.

And I am by evening redeemed in the tug and strife between me and Djuna, by the fact that something I do still eats away at Djuna. The mystery of why she would be jealous is entangled in the mystery of the human cell. She is jealous for no rational reason. Her body just gives her no alternative. Jealousy is encoded into her DNA the way lovers carve their initials into tree trunks.

It’s been a year – or is it three? – that we’ve been playing Top My Self-Abuse, You Martyr You, an escalation as stupid as any follow-the-leader I’ve ever been involved in. But that’s the nature of cohabitation and inertia. And that is over with. It’s a new game now.

My admittedly quasi-suicidal drinking forays [where the purpose and result are sometimes confused], which I try to dress up as poetic lovelorn angst [like a “different” kind of music’s guitar solos], just don’t faze her anymore. Because after all, does the earth ever have anything nice to say to those who dig the graves?

Besides, Djuna’s no half-cocked beer sap anymore. Nosireee! She’s on a success trip now. Oh, boy! A religion of holy ferocious clean. Ex-junkies really DO mutate into the shrillest of saints. They find purpose and their 12 Steps lead right to salesman of the year. Reason, civilization, and enlightenment, according to Nice according to Adorno and Horkheimer, led fatefully right to Nazism and Nazism-lite, or entertainment and distraction…

Djuna says things from her smile of shrapnel, “Jerks manufacture suffering to heroically play their art off of. Getting crowded up there on the cross lately, ain’t it?” She may be right, but her tone of voice has me rooting for the other side of right.

“Killer whales kill for pleasure – they’re the only animal besides wo/man, by the way,” I’m willing to point this out free of charge.

To get back at her I keep detailed notes of all my glorious – and exaggerated – infidelities. The diaries are calculatingly fictionalized and left lying about. Nice becomes my “Lina.” The lunatic proximity and the jubilant convenience of some of these transgressions eat away at her. Some are supposed to be her close friends! But where does she keep her fictional diaries. The ones that she suggests will implicate me in a crime of passion that may put me away for a very long time.

Not knowing the precise nature of my adventures also gets to Djuna. Not knowing where I “mistakenly” put her sun tan lotion got to her even more. Hide some of her daily accoutrements here and there and her day starts off in a funk.

“‘Escargot dentres jambes.’ Now who does that refer to?” She spit out quotes memorized from my journals she’d gleaned while I was in the shower. “‘She was so hot she’d set off fire alarms whenever she walked near one!’ Gimme a fuggin’ break!” I listen dispassionately as I pour flat beer – left over Tripel Karmeliet “Authentiek three granenbier, nog steeds gebrouwen volgens een 17e eeuws Dendermonds Karmelietenrecept” over the corn flakes. I remain calm and focused as I try to decipher the Flemish.

“You fuckin’ alkie.”

She hates the time I spend on the journals. “‘She runs her tongue along the scrotal raphe, that tingling seam strung from anus across the scrotum.’ Whadda you, dating proctologists?” Djuna detests not being in total control. Her eyes begin to flicker ever so slightly. Further satisfying clues come from her denying voice, infected with a quavering trill of jealous rage, and that pleases me. That is the only song she sings that I still like. “Blond, robust, smooth and fruity 3-grain beer with final fermentation in the bottle. Brewed with pride and patience after Carmelite tradition with wheat, oat and barley. 100% natural beer.” I read aloud. “It’s like a bowl o’ granola in a bottle.”

However, if I show too much satisfaction with my self-congratulating presence she may be provoked to pick up the very pen I had been using to describe her [in a fit of indiscreet generosity] and stab me in the arm with it like she did last week. That’s right, spousal violence.

“I hope you get some kinda scrivener’s infection so that from now on every word you write will be an embarrassment, every sentence a mockery, every story a plagiarism…”

“Yeah, I get it.”

“Some people treat words like a gun full of blanks aimed at somebody’s skull. Is that a powder burn or just a sideburn? Ha Ha.”

“Laugh now, Djuna. I’ve already done 10 episodes. I’m gonna be syndicated, baby!”

“Puh-LEEEaase! Please tell me you’re just a bad dream crawling into bed next to me at night. People always writing junk down are bad lovers. Take the pen away from the writer, give’m a knife, see what he does then.”

“You’re six dark lanterns down the road, baby! But you got a whole ‘nother state to cross.” I mean, I resented her calling me a mere writer – skywriter’d be more like it! I mean, before the lights started communicating with my organs of inebriation, writing was nothing more than scratching things down on paper. I scratched them down to assure myself that things happened to me. I scratched them down and then lost them. I also resented how far Djuna’s dreams had taken her away from me. And vice versa. And to answer the question that countless others had posed – why does she still want him in her place? – well, all I can say is that landlords being who they are and that demanding the rents they do and then getting them with so little effort in New York certainly has a way of making people interact in ways they would not normally desire. The renters had handed over control of their lives to the rentees. To live together was an expediency of survival. Neither of us could afford to live alone. Economics makes strange bedfellows! Something like that.

“Heat cannot of itself pass from a colder to a warmer body and have the rest of the universe remain unchanged. That’s the law, baby! second law of thermodynamics – and relationships.”

“Call it a relationship. Kid yourself. To be fair to this ‘Lina,’ is she your lover or just a weapon to use against me? Or some fuckbag manufactured in the skeevy residues of your brain? I mean, everything rots, but I find nothing heroic about sleepin’ next to an embalmed corpse.”

“‘Better to sleep with a sober cannibal than a drunken Christian.’ Herman Melville said that.”

“Wait, I don’t get it; am I the sober cannibal or… Besides, Melville worked the Chelsea docks, disillusioned, and he died poor and unappreciated.”

“Exactly!” Or was it? “No, yer the drunk Christian, with your motivational kits and your can-do mantras and your membership to the Jehovah’s Fitness Center! I seen it all, all the signs of addiction.”

“When I hear your static I just tune in another station. What’re you lookin’ for anyway?”

“Nothin’.”

“Well, you don’t have to look hard. Just look at yer life. If yer lookin’ for spare keys, don’t bother, I don’t keep any spares lying around.”

And later I puked in a secret place – Karmaliet and corn flakes – a place where she couldn’t hear me. Vertigo is a sensation of abnormal movement in which the patient feels either that (s)he or his/her surroundings are going around and around or rocking to and fro. Often accompanied by vomiting, sweating, and faintness – alcohol or merry-go-round can be causes but it usually is the result of ear disease or sometimes a stroke or a migraine or the blood supply to the brain. Sometimes caused by increased fluid in the inner ear – the part housing the balance mechanisms and the nerve endings that transmit sound to the brain or it could be an abnormality of the special nerve endings [proprioceptors] situated in feet and legs that help maintain balance. But there are still some who adhere to the notion that to lose your mind is to have gained – gained something in altitude!

Beer Mystic Excerpt #25: is already up at http://eddiewoods.nl/?page_id=2017


About the author:


bart plantenga
is also the author of Wiggling Wishbone and Spermatagonia: The Isle of Man both published by Autonomedia. His book YODEL-AY-EE-OOOO: The Secret History of Yodeling Around the World has received worldwide attention. He is currently [not] working on a new novel, Paris Sex Tete, which lies around like an apathetic, half-clad, dissheveled paramour while his new book on yodeling Yodel in HiFi, will no doubt be a bread-winner of epiglottal proportions.

His life has been defined by women, undignified employment [not unlike 98% of the rest of the world’s population], migration, lack of money and writing. His writing focuses on inequity, unempowerment, insatiable desire, the unentitled, the under-regarded, ignored and ineffable, which has led to a life of luxurious suffering and indellible indifference to profit.

His radio show Wreck This Mess has been on the air since 1986, first on WFMU [NY], then Radio Libertaire [Paris], and finally Radio 100 and now Radio Patapoe [Amsterdam], the world’s most untamed and oldest pirate radio station. He lives in Amsterdam.

Susan Sontag’s underworld journals reborn 20.12.2008

sontag050117_400.jpg“I don’t intend to let my intellect dominate me,” she commented. “I intend to do everything … to have one way of evaluating experience — does it cause me pleasure or pain, and I shall be very cautious about rejecting the painful — I shall anticipate pleasure everywhere and find it, too, for it is everywhere!” In an especially revealing passage, she then went on to comment, “I am alive … I am beautiful … what else is there?”

The publication this month of the first volume of Susan Sontag’s Reborn: Journals and Notebooks, 1947-1963 (Farrar, Straus and Giroux), edited by her son, David Rieff, is a significant event in the literary world. The book gives us more fully than ever the mind and sensibility of one of the 20th century’s finest writers at work during her formative years. It provides compelling insights into the worlds (and underworlds) that she successively inhabited…read the complete review in The Chronicle Review ‘I am alive… I am beautiful.. what else is there?’ photo of Sontag by Jill Krementz

Questioning Photography: words without pictures 02.09.2008

A series of interesting articles on “photographic meaning” is now available from LACMA’s excellent photo blog “words without pictures” — this one from last November: Qualifying Photography as Art, or, Is Photography All It Can Be? by CHRISTOPHER BEDFORD mentions critic Michael Fried, whose upcoming book “Why Photography Matters as Art as Never Before” (Yale University Press) critiques art photography since the Bechers.  The most recent “words w/out pictures” article is on photo repetition; A Picture You Already Know by SZE TSUNG LEONG. 

MONSTER ISLAND AT ZEITGEIST GALLERY 29.01.2008

Mu_theater15web.jpgA Monster Island Shadow Theater production: “Rehearsal for the Destruction of Mu: The art-form of the future!”, will be performed during the opening of “3 the Hard Way”, new art work by Tom Carey, Topher Crowder and Dennis Jones. At the Zeitgeist Gallery, 2661 Michigan Avenue, 313-965-9192, The reception for the artists will run February 16th, from 7 pm to midnight, with music around 9pm. There will also be music and visuals by psych freaks UVU. Monster Island will be joined by musicians Jimbo Easter, Mary Alice and Matthew Smith. Hold on to your retinas.Muflyer.jpg

On left: Mu woodcut/flyer by Tom Carey.

A description of the Mu shadow theater play is available in the online post: Monster Island at the UFO Factory.

The Shining Moon, the Dead Oak Tree, Nights like This Appeal to Me 20.08.2007

El Rey tesorors.jpgThe Shining Moon, the Dead Oak Tree, Nights like This Appeal to Me. (1)

By Ben Schot

The comeback is characterized by a temporary disappearance, after which the return can be celebrated with all due. It is a variation on the resurrection, on rising from the dead, which has a long history and has been translated into countless myths, fairy tales, rituals and artefacts. From Lazarus to Iggy Pop, from Elvis to Martina Hingis, many are acquainted with it. There really is life after death, certainly in art.

Amongst the knickknacks on our mantelpiece is a small box, containing a crudely modeled Elvis figurine. We received it at some point as a gift from a friend. The cheerfully decorated box was made anonymously for the Dia de los Muertos on November 1st and 2nd, when Mexico celebrates the dead. We know it is Elvis because of the white, open-necked jumpsuit, the greased-down black pompadour and sideburns and the white acoustic guitar. Written at his feet is the text, “El Rey Vive”. But the ironic character of the message is evident in the grimacing skull where Elvis’s face should be. The King is alive, but death rules. Let us not forget who is in charge here.

Rising up from the dead is a motif that is deeply anchored in our psyche. Throughout the ages and spanning widely diverse cultures, fantasies of resurrection have generated a plethora of artefacts, rituals, fairy tales and myths. In just that little box over our fireplace, Aztec and Spanish Catholic cultures are joined with American pop. What all these resurrections have in common is that they are all self-contradictory representations that both recognize and deny death.

Death exists, but it is not definitive, and therefore death does not exist. If we are to believe the psychoanalyses, resurrection fantasies are for that reason variations on a universal theme that can be traced back to our ambivalent longings for both immortality and death.

A condition of non-existence, a symbolic death, also precedes the comebacks of the living.(2) It might be a period of decline, illness, old age, addiction or another comparable cause for people to lose status and be forgotten. Rising up out of that situation is often celebrated in terminology that is reminiscent of a return from a mythological underworld. Comebacks are in fact mini-myths. The American actor, George Clooney, thus recently “climbed out of a deep pit”, tennis star Martina Hingis is as though “reborn”, and the American cyclist Floyd Landis made a “miraculous” comeback in the Tour de France (even if it later proved less miraculous than people had imagined). Death, that grimacing king in his white jumpsuit, is all-powerful, and every victory we enjoy over deaths “even though it can only be a symbolic victory” is firmly grasped, in order to sate our desire for immortality.

Sometimes, however, the comeback fails to happen, and there is only the symbolic death. One example is Syd Barrett. Beginning in 1972, when Barrett retreated from public life into his mother’s house for good, countless attempts were initiated to motivate the original leader of Pink Floyd into making a comeback. All to no avail. Even a lucrative offer from a recording studio could not awaken the songwriter from the creative death brought on by too much LSD. Barrett’s comeback kept postponing itself farther and farther into the future, to finally dissolve into thin air. With the passing of the years, the formation of the myth no longer focused on his impending return, but on his silence, a silence far more genuine and touching than the demonstrative silence with which Marcel Duchamp enveloped himself during his lifetime. (Das Schweigen von Marcel Duchamp wird aberbewertet, as Joseph Beuys rightly concluded in 1964.)

Syd Barrett’s lifelessness had already assumed mythical proportions when, a few months ago, he actually died. His physical death in fact no longer made any difference. A comeback was unachievable while he lived, had even become undesirable. The vulnerable Barrett had become a symbol both for eternal youth and for endless oblivion. Sleeping beauty on acid was “long gone”.(3) Coming back was out of the question. This is quite a different story than the posthumous comeback with which Duchamp crowned the self-fabricated myth of his person and his art, and with which he had made his early deposit on immortality.Etants donnes? Non, merci, astronomy domine.(4)

The Van Winkle Museum

In 1819, the American writer Washington Irving published his adaptation of the Karl Katz fairy tale, previously immortalized by the Brothers Grimm. Irving’s Rip Van Winkle is about a villager in the Catskill Mountains, north-west of New York City, who secretly tastes a magic potion and falls asleep. He wakes up twenty years later. When he returns to his village, he finds that his wife and several of his friends have already died. Moreover, the political situation has undergone drastic changes. Where Van Winkle’s village had once been under the rule of England’s King George III, it was now part of George Washington’s United States. He had slept right through the American War of Independence. Not that this made a lot of difference to the good-hearted, but lazy, Rip Van Winkle. Now that he was finally liberated from the scolding of his wife and could live out his old age in peace, he had all the time in the world to devote to his favourite, if unproductive pastime: sitting on a bench reminiscing about the past. His temporary death had brought him nothing but liberation. In America’s utilitarian culture, the name of Rip Van Winkle has assumed negative connotations. He is a symbol of those people or institutions that are unaware of their changed environments and have consequently become anachronisms.

Museums should adopt “Van Winkle” as a nickname: Boijmans Van Beuningen Van Winkle, the Stedelijk Van Winkle Museum, the Van Abbe Van Winkle. It sounds chic, too. Instead of giving in to unrelenting political pressure to find more ways of connecting to our consumer society, every museum should stand up for the right to devote itself to no other objective than to sleep, to dream, to look back and to offer its visitors a bench on which to do the same. A museum is by definition an anachronism. The collections for which museums are famous are comprised of objects that have been removed from the economic circuit. For this reason, a museum cannot be at the centre of contemporary life. Museums are rooted in a cult of the dead and the heroic: Jeroen Bosch Vive, Max Ernst Vive (all right, all right: Duchamp y Beuys Viven, too.)

Now that the honourable distinction between museums and commercial enterprise has been almost entirely eradicated, the financial success of any given exhibition is more crucial than ever. It is a success that in the first place depends on the publicity it generates. Therefore, it is not surprising that more and more frequently, museums are commercially exploiting what is in fact their cultural function: the cult of the dead and the heroic. As a consequence, in the publicity for retrospective exhibitions of still-living artists, we regularly find the word “comeback”, or some other reference to a resurrection, even when there really is none. One example is the recent publicity concerning the work of Ira Cohen. With his hallucinatory photographs and films, his poems and his fragile publications, Cohen has been a trend-setting counterculture artist ever since the 1960s, and he has worked, virtually without interruption, all this time. But in the publicity for several of his exhibitions (including his show at the Whitney Van Winkle Museum of American Art), we read how they are celebrating his “comeback”. Comebacks apparently sell well,  better than a belated homage to an artist whose work has been ignored for forty years. Now, with whatever slogan it might be generated, Ira Cohen is not to be begrudged commercial success. Hopefully, it will give him enough financial wherewithal to devote the rest of his days to unencumbered dreaming.

The Resurrection of Iggy & The Stooges

Commercial interests will also undoubtedly have played a role in the comeback of Iggy & The Stooges. But it does not matter, because the return of this legendary band has primarily succeeded for reasons that are not monetary. While most comebacks of sixty-ish rock musicians are embarrassing spectacles, with sentimental value at best, the risen-again Stooges performances have remarkable strength and energy. This, of course, is mostly thanks to the individual qualities of guitarist Ron Asheton, his brother Scott on drums, bassist Mike Watt (replacing Dave Alexander, who died in 1975) and singer-performer Iggy Pop. Musically speaking, a preferable combination for a rock band is hardly conceivable, as was recently demonstrated at the Lowlands festival, where the Stooges left the younger musicians in the shade.

Iggy Pop and & The Stooges – “the name says it all” – are about conscious deconstruction of rock performance and rock music.  “I took a ride with the pretty music. I went down, baby, you can tell. I took a ride with the pretty music, and now I’m putting it to you straight from hell,” sings Iggy Pop in the Stooges’ classic,  “Loose”.(5) It does not matter that Ron Asheton has developed a considerable beer belly or that the skin sags on Iggy Pop’s cheekbones. From a visual perspective, such signs of decay as these are factors that support the Stooges’ comeback. In a rejected studio recording of  “Loose”, we hear how Iggy Pop sang alternative lyrics: “Well, I’m flying on a red-hot wiener. Yeah, I’m riding on a big hotdog. It’s a thing that’s slipping easy. It’s a thing that’s big and long.”  Elvis may have been the first white artist to have openly introduced references to sex in his music and his stage performances. But Iggy has the honour of having expanded such references, levelling the barriers between performer and audience to such a degree that the distinction between sexy performance and sexual act has disappeared. Iggy Pop is synonymous with raw, sexually laden, destructive energy, on stage and off. Elvis the Pelvis pales in comparison. When Iggy, now nearly sixty, his body battle-scarred, his torso bare and his pants hanging down to his notorious penis, sings,  “I wanna be your dog”, it opens up a dimension in his performance that was not there in his younger years.(6) The strength of the Iggy & The Stooges comeback consequently comes not only from the mix of vital music and deconstructive rock performance that is characteristic of the Stooges, but also from the combination of sexual energy and physical decay. Lazarus is back and looking for sex.

A World in Dreams

In 1950, when Jan Wolkers carved his Lazarus eaten away by maggots from the marl of the Cauberg, in Valkenburg, he brought down the wrath of the city council.(7) The artist may have been allowed to defend himself by arguing that Lazarus only rose from the dead after four days, but that time in the grave was not supposed to have left any visible signs on his body. Wolkers’ sense of realism was deemed  “in bad taste”. The objections generated by the sculpture were not entirely incomprehensible, for Jan Wolkers’ resurrection had literally exposed the worms in Christian resurrection mythology. Wolkers’ refusal to camouflage the physical reality of death cut right into a function of the myth, one clearly evident even in the Isenheimer altarpiece by Matthias Grunewald, so famous for its realism.(8) On that altarpiece, the martyred and crucified body of Christ is depicted in horribly realistic fashion, but as soon as the panels are opened and the painted resurrection of Jesus is made visible, all mutilation and signs of death ” with the exception of the stigmata” have vanished as if by magic. Christian resurrection myths do not support the physical reality of death. They repress them. Resurrections complete with decay and decomposing flesh have had to find a different place in our culture, through voodoo and folklore.

Lazarus the zombie. Lazarus de vampire. It seems an impossible combination. Where Christian resurrection myths sublimate our feelings about dead bodies, zombies and vampires are in fact projections of those feelings. Christians use bread and wine as substitutes for the body and blood of Jesus. Zombies and vampires, in contrast, are only satisfied with real flesh and blood – ours. Sublimation and projection are, however, two sides of the same coin. Only when they are seen side by side do we have a picture of the diverse and contradictory desires concealed in our fantasies of rising from the dead:  “I am the First and the Last. I am the Living One; I was dead, and behold I am alive for ever and ever! And I hold the keys to death and Hades.”(9)  “The long-dead eyes devoid of all humanity, meet theirs. Long immersion in a damp and sullen grave has rotted and putrefied not only flesh, sinew, skin, membrane. It has fouled the very spirit that still lingers within the confines of the stinking skull, leaving only malevolence and blind, bestial blood-lust!!”(10)

Assuming material form, eternal life, cannibalism, necrophilia – whatever flights our fantasies of death and  “undeath” might take, all the traits that we attribute to them evolve from a need to find a compromise in which we can both satisfy and repress our desires, be it in religious imaginings or comic strips, literature or folklore, high culture or low culture. Resurrection fantasies, including comebacks, are repeatedly fuelled by a mixture of universal desires for immortality and death, and by culturally determined responses to corpses, to the dead body. But what are we supposed to do with that knowledge? Doesn’t it leave us empty-handed? Perhaps it does. But personally, I’d rather pay my respects to the ashes of Freud in the Golders Green Crematorium in London than put my faith in the abandoned tombs of Lazarus, Jesus, zombies, or vampires. This does not mean that I fail to see the attraction of the mythical days of the resurrection, in which “the sun became black as sackcloth of hair”,(11) or  “the lurid rays of the dying sun give the ancient buildings a bloody hue”,(12) even if it is only because I prefer the world of dreams to that of reality” at least in art.

Notes
1. From “Run Like A Villain”, by Iggy Pop, on their 1982 Zombie Birdhouse album
2. Things and ideas can also have their comebacks, but to my mind, these are cases of personification and bear no further relevance to this article.
3. “Long Gone” was recorded on Syd Barrett’s 1970 solo album, The Madcap Laughs.
4.”Etants Donnes” is the title of the work with which Duchamp meticulously staged his posthumous comeback at the Philadelphia Museum of Art. Syd Barrett’s “Astronomy Dominie” was released on Pink Floyd’s first album, The Piper At The Gates of Dawn, in 1967.
5. “Loose” is from the second Stooges album, Funhouse, 1970.
6. “I Wanna Be Your Dog” is another Stooges classic and was included on their first album, The Stooges, released in 1969.
7. This autobiographical tale was described and later filmed in Turkish Fruit (1969 and 1973, respectively).
8. Grunewald painted the altarpiece between 1510 and 1515 for the cloisters of the Antonite Order, in Isenheim, near Colmar, Germany.
9. From the Bible, The Revelation to John
10. From the comic strip, “Rise of the Undead” from Vampirella magazine, #51, 1976, text by Flaxman Lowe
11. From the Bible, The Revelation to John
12. From the comic strip, “Rise of the Undead”, from Vampirella magazine, #51, 1976, text by Flaxman Lowe

This article was first published in Dutch art magazine Metropolis M #6, December 2006/January 2007, republished with permission of the author, all rights reserved by Ben Schot.

Ben Schot is an artist, curator, author and publisher who lives in Rotterdam, Holland. He contributes to artistic journals and radical endeavors in print and online. He is the mind behind Sea Urchin Editions, a small independent Dutch press that reproduces classic surrealist texts .