Wednesday, October 24, 2018

The Golden Age Of The B-Film Noir- Dane Clark’s “Paid To Kill” (1954)

The Golden Age Of The B-Film Noir- Dane Clark’s “Paid To Kill” (1954)




DVD Review

By Film Editor Emeritus Sam Lowell


Paid To Kill, starring Dane Clark, Hammer Productions, 1954

Recently in a review of the British film Terror Street (distributed in Britain as 36 Hours) and subsequently another British entry The Black Glove (distributed in Britain as Face The Music probably a better title since the plot involved a well-known trumpet player turning from searching for that high white note everybody in his profession is looking for to amateur private detective once a lady friend is murdered and he looked for all the world like the natural fall guy to take the big step-off for it) I noted that long time readers of this space know, or should be presumed to know, of my long-standing love affair with film noir. Since any attentive reader will note this is my fourth such review of B-film noirs in the last period I still have the bug.

I went on to mention in that review some of the details of my introduction to the classic age of film noir in this country in the age of black and white film in the 1940s and 1950s when I would sneak over to the now long gone and replaced by condos Strand Theater in growing up town North Adamsville and spent a long double feature Saturday afternoon watching complete with a stretched out bag of popcorn (or I think it is safe to say it now since the statute of limitation on the “crime” must surely have passed snuck in candy bars bought at Harold’s Variety Store on the way to the theater). I would watch some then current production from Hollywood or some throwback from the 1940s which Mister Cadger, the affable owner who readily saw that I was an aficionado who would pepper him with questions about when such and such a noir was to be featured would let me sneak in for kid’s ticket prices long after I reached the adult price stage at twelve I think it was, would show in retrospective to cut down on expenses in tough times by avoiding having to pay for first –run movies all the time. (And once told me to my embarrassment that he made more money on the re-runs than first runs and even more money on the captive audience buying popcorn and candy bars-I wonder if he knew my scam.)

I mentioned in passing as well that on infrequent occasions I would attend a nighttime showing (paying full price after age twelve since parents were presumed to have the money to spring  for full prices) with my parents if my strict Irish Catholic mother (strict on the mortal sin punishment for what turned out to have been minor or venial sins after letting my older brothers, four, count them four, get away with murder and assorted acts of mayhem) thought the film passed the Legion of Decency standard that we had to stand up and take a yearly vow to uphold in church led by the priest exhorting to sin no more and I could under the plotline without fainting (or getting “aroused” by the fetching femmes).

What I did not mention although long time readers should be aware of this as well was that when I found some run of films that had a similar background I would “run the table” on the efforts. Say a run of Raymond Chandler film adaptations of his Phillip Marlowe crime novels or Dashiell Hammett’s seemingly endless The Thin Man series. That “run the table” idea is the case with a recently obtained cache of British-centered 1950s film noirs put out by the Hammer Production Company as they tried to cash in on the popularity of the genre for the British market (and the relatively cheap price of production in England using faded American stars and people the things with English actors also probably cheaply paid). That Terror Street mentioned at the beginning had been the first review in this series (each DVD by the way contains two films the second film Danger On The Wings in that DVD not worthy of review) and now the film under review under review the overblown if ominously titled Paid To Kill (distributed in England, Britain, Great Britain, United Kingdom or whatever that isle calls itself these Brexit days as the innocuous Five Days is the fourth such effort. On the basis of these five viewings (remember one didn’t make the film noir aficionado cut so that tells you something right away) I will have to admit they are clearly B-productions none of them would make anything but a second or third tier rating.        

After all as mentioned before in that first review look what they were up against. For example who could forget up on that big screen for all the candid world to see a sadder but wiser seen it all, heard it all Humphrey Bogart at the end of The Maltese Falcon telling all who would listen that he, he Sam Spade, no stranger to the seamy side and cutting corners life, had had to send femme fatale Mary Astor his snow white flame over, sent her to the big step-off once she spilled too much blood, left a trail of corpses, for the stuff of dreams over some damn bird. Or cleft-chinned barrel-chested Robert Mitchum keeping himself out of trouble in some dink town as a respectable citizen including snagging a girl next door sweetie but knowing he was doomed, out of luck, and had cashed his check for his seedy past taking a few odd bullets from his former femme fatale trigger-happy girlfriend Jane Greer once she knew he had double-crossed her to the coppers in Out Of The Past.

Ditto watching the horror on smart guy gangster Eddie Mars face after being outsmarted because he had sent a small time grafter to his doom when prime private detective Phillip Marlowe, spending the whole film trying to do the right thing for an old man with a couple of wild daughters, ordered him out the door to face the rooty-toot-toot of his own gunsels who expected Marlowe to be coming out in The Big Sleep. How about song and dance man Dick Powell turning Raymond Chandler private eye helping big galoot Moose Malone trying to find his Velma and getting nothing but grief and a few stray conks on the head chasing Claire Trevor down when she didn’t want to be found having moved uptown with the swells in Murder, My Sweet. Or finally, tall lanky and deceptive private eye Dane Jones chasing an elusive black box ready to explode the world being transported across Europe by evil incarnate if gorgeous Marla Sands in European Express. Those were some of the beautiful and still beautiful classics whose lines you can almost hear anytime you mention the words film noir.


In the old days before I retired I always liked to sketch out a film’s plotline to give the reader the “skinny” on what the action was so that he or she could see where I was leading them. I will continue that old tradition here (as I did with Terror Street and The Black Glove and will do in future Hammer Production vehicles to be reviewed over the coming period) to make my point about the lesser production values of the Hammer products. Dane Clark is a cut every corner businessman who thought he had dough backing him up on a merger but which fell through, for the moment anyway. He believed he was ruined and was facing the big axe from his board of directors over in Merry Olde England. Trying to spare his head-over-heels in love with her wife the agony of his downfall he contracts with his long-time but envious pal to kill him-a hire for murder on himself and the wife collects the insurance. Nice right.      

Well it would be nice if that buddy hadn’t somehow disappeared and that dough backing hadn’t finally come through and now he could make things right. Somebody is taking great efforts to kill him nevertheless. Finally he and his trusting head-over-heels in love with him secretary figure it can’t be his buddy. Guess who is pulling as many triggers as possible. Yeah, that so-called loving wife and her board of directors boyfriend who figured to kill him and live free and easy. In a final scene that ever-loving wife is killed in the cross-fire. Guess what the hard-ass businessman is still a sap for that wife as he brings her sullen body into the house. Jesus.   

Better that Terror Street but not as good as The Black Glove although it also can’t get pass that Blue Gardenia second tier in the film noir pantheon. Sorry Hammer.                


As We Enter The Final Phase Of The 100th Commemoration Of World War I With Armistice Day-November 11, 1918-Thoughts On The Film “King Of Hearts” (1966)

As We Enter The Final Phase Of The 100th Commemoration Of World War I With Armistice Day-November 11, 1918-Thoughts On The Film “King Of Hearts” (1966)



DVD Review

By Josh Breslin
  
King of Hearts, Alan Bates, Genevieve Bujold, 1966    


These days, apparently, we can no longer just go through our paces and do whatever review or commentary we were assigned but also have to comment on how and why we received the assignment from our still fairly new site manager Greg Green. Greg has encouraged, if not demanded, that we go to genesis, so the reader can be more informed about how the new field of on-line publication works with the new technology. These kinds of insights in publishing used to be reserved in the now old-fashioned hard copy days to insider memoirs by publishers, writers and editors. Greg has told me he is trying to demystify the whole process and get the story out while it is “hot” and fresh. 

That said, normally anything of late having to do with commemorating the 100th anniversary of the end of World War I would be the purview of Seth Garth who has been running a couple of series the past four years (the duration of  that war from August, 1914 on until November, 1918) around the effect that the carnage had on the flower of the European youth especially the cultural worker, the writers, artists, poets, musicians, and occasional dancers who were engaged in this conflict along with the rest of their generation. He worked, is working still, on retrospectives for the extraordinary number of cultural figured killed or maimed in the war. And of those who maimed or not survived the war and as a result produced a very different kind of work, noticeably different than either their own pre-war work or that of the leading schools and academies in the various disciplines. The reason I got this review of the classic French film King of Hearts though, even though Seth very much wanted the assignment as part of his take on World War I, was that way back when, back in 1973 if I recall I had reviewed the film for The East Bay Other. I had actually seen the film in Cambridge where it played continuously for many years at the now long-gone Central Square Cinema to usually sold-out crowds and became a local cult classic which people would have contests over how many times they had seen the film or cite various lines from the film off the cuff for fun. Greg’s idea was for me to compare that first review with my recent re-watching (along with Seth and our respective companions) and do a comparison. Genesis over here goes.         

There are many quotes, many of them by military figures who should know the hard face of war and have opinions on its futility even if they cannot go the distance and in effect become conscientious objectors to war after the fact. Famously key Union Army General U. S. Grant said “war was hell,” bemedaled Marine Corp General Smedley Butler said “war was a racket,” Colonel James Johnson said after Vietnam that war was not a fit occupation for human endeavor and those who profess otherwise should be in an insane asylum, a mental hospital, a nut house is what he actually said but I wanted to soften the blow for today’s sensibilities about the mentally challenged. That latter comment gives me a segue into the film under review where the metaphor, and the reality of that statement meet.

We have all heard about the inmates running the asylum and in this case not only are they running the asylum but are running amok, harmlessly running amok during the catastrophe of war and who is to say that they are not better off for their troubles, Certainly compared with the inmates who are running the war which has come to their door. Let’s set the stage (Sam Lowell, good old, what did one young reviewer here call him, oh yes, wizened, Sam Lowell used to harp on giving the ‘skinny” but Greg Green has frowned on that expression since none of the younger writers and stringers know what the damn thing means) for this beauty of an anti-war film which stops everybody in his or her tracks when you see the very visceral comparison between the mentally ill asylum patients in their harmless splendor and the mentally ill guys running the rack on French soil toward the end attempting to kill every last enemy and a few extra if necessary in the fog of war, October 1918 to be more specific, tidying up the loose ends of the war machine, of the war that would end all wars if I recall somebody rashly said in defense of starting the whole thing at all.     

The Germans, facing defeat, facing mutiny in their navy and in some army units and unrest back home in the factories in dear Berlin, are in the last throes of their military activities in northern occupied France. As a parting gift they are setting up enough explosives to blow the whole town to kingdom come. Nice gesture toward armistice, right. The British who are in front of the town and who have been there for years it seems in the stalemated trench warfare that defined that conflict are informed of that provocation and are prepared to take measures to ensure that when they retake the town for their French brethren they too are not blown to bits. Fair enough. Those measures, rather that measure is to send an explosives expert, played by Alan Bates, to disarm the whole munitions dump. Problem, problem number one, really this private soldier doesn’t know thing number one about explosives being part of the messenger pigeon unit. From there it is one escapade after another as he tries, as any “good” soldier would to do as ordered. No luck, none really since he can’t decode the information headquarters has received about its location. Don’t worry in the end that dump will be neutralized. That’s the subplot anyway and would make this film a snorer with the silly antics around disarming the dump if there wasn’t a stronger message.

Here is the real deal. Since the Germans have left as have all sane citizens once they know the place is ready to blow the only ones who are clueless, who don’t know what is about to happen are the inmates, are the cuckoos in the insane asylum. Since the good Sisters in charge have scrammed the inmates open the door and walk into town where they make the place a playground for fun and amusement. Meanwhile that earnest private is trying to do his best to disarm the munitions-and is drawn into their doings-drawn in as their very own king of hearts for whom they have been waiting. Nice.

To make a long story short because both the antics of the “simple-minded” who somehow seem very sane and made me wonder why they were the ones locked up and the soldiery trying to disarm the dump need not detain us let’s get to the point, points rather which are drawn from this film. On the war front the Germans find out that the British have disarmed the munitions dump and march back into town and the British in turn assuming the coast is clear are ready to march in and do so. Enemies again they square off-not in the trenches of yore, none are around but each side going back to some bizarre and arcane 19th century drill formation set up firing lines against each other. Bang, bang every freaking soldier is uselessly dead over this pratfall. Except our King of Hearts who was elsewhere hanging around a beautiful butterfly of a young woman, one of the inmates, one too delicate for the real world, played by Guinevere Bujold who many guys, maybe gals too, would lose sleep over. As the townspeople return and the King of Hearts sullenly goes back to his regiment, or what is left of it, the inmates seeing that reality is far from what it cracked up to be if what they witnessed with the combative soldierly was any example return to the asylum and lock themselves back in. Beautiful. Better, better still the King of Hearts torn maybe between two duties heads back up the road to the asylum. Desertion yes, but another beautiful scene.              

All Quiet on the Western Front, The Grand Illusion, Johnny Got His Gun may all be extremely good examples of cinematic excellence around the madness of World War I. Throw this one in the mix too and you will not be too far off.

Tuesday, October 23, 2018

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –George Braques

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –George Braques 

By Seth Garth

A few years ago, starting in August 2014 the 100th anniversary of what would become World War I, I started a series about the cultural effects, some of them anyway, of the slaughter which mowed down the flower of the European youth including an amazing number of artists, poets, writers and other cultural figures. Those culturati left behind, those who survived the shellings, the trenches, the diseases, and what was then called “shell shock,” now more commonly Post-Traumatic Stress Disorder (PTSD) which is duly recognized, and compensated for at least in the United States by the Veterans Administration in proven cases reacted in many different ways. Mainly, the best of them, like the ordinary dog soldiers could not go back to the same old, same old, could not revive the certitudes of the pre-war Western world with it distorted sense of decorum and went to what even today seem quirky with moderns like Dada, Minimalism, the literary sparseness of Hemingway, and so on. I had my say there in a general sense but now as we are only a few months away from the 100th anniversary of, mercifully, the armistice which effectively ended that bloodbath I want to do a retrospective of creative artistic works by those who survived the war and how those war visions got translated into their works with some commentary if the spirit moves me but this is their show-no question they earned a retrospective.


Poets’ Corner-In The Aftermath Of World War I- Poets Take A Stab At Visually Understanding A Broken World After the Bloodbath    

By Lenny Lynch


I don’t know that much about the Dada movement that swept through Europe in the early part of the 20th century in response to the creation of modern industrial society that was going full steam and the modern industrial scale death and destruction such mass scale techniques brought upon this good green earth by World War I. (Foreshadowed it is agreed by the industrial carnage at places like Cold Harbor in the American Civil War, the butchery of the Franco-Prussian War and subsequent river of blood by its own rulers of the Paris Commune and the Boer War.) The war to end all wars which came up quite short of that goal but did decimate the flower of the European youth, including vast swaths of the working class. Such massive blood-lettings for a precious few inches of soil like at the Battle of the Somme took humankind back more than a few steps when the nightmare ended-for a while with the Armistice on November 11, 1918. An event which in observing its centennial every serious artist should consider putting to the paint. And every military veteran to take heart including the descendants of those artists who laid down their heads in those muddy wretched trenches. Should reclaim the idea behind Armistice Day from the militarists who could learn no lessons except up the kill and fields of fire ratios. 


I don’t know much but this space over this centennial year of the last year of the bloody war, the armistice year 1918 which stopped the bloodletting will explore that interesting art movement which reflected the times, the bloody times. First up to step up George Groz, step up and show your stuff, show how you see the blood-lusted world after four years of burning up the fields of sweet earth Europe making acres of white-crossed places where the sullen, jaded, mocked, buried youth of Europe caught shells and breezes. Take one look Republican Automatons. Look at the urban environment, look at those tall buildings dwarfing mere mortal man and woman, taking the measure of all, making them think, the thinking ones about having to run, run hard away from what they had built, about fear fretting that to continue would bury men and women without names, without honor either.         


Look too at honor denied, look at the handless hand, the legless leg, the good German flag, the Kaiser’s bloody medal, hard against the urban sky. The shaky republic, the republic without honor, shades of the murders of the honest revolutionary Liebknecht walking across Potsdam Plaza to go say no, no to the war budget and grab a hallowed cell the only place for a man of the people in those hard times and gallant Luxemburg, the rose of the revolution, mixed in with thoughts of renegade burned out soldiers ready for anything. Weimar, weak-kneed and bleeding,  would shake and one George Groz would know that, would draw this picture that would tell the real story of why there was a Dada-da-da-da-da movement to chronicle the times if not to fight on the barricades against that beast from which we had to run.


On The 60th Anniversary Of Jack Kerouac's "On The Road"-*Poet's Corner- Allen Ginsberg's "America"

On The 60th Anniversary Of Jack Kerouac's "On The Road"-*Poet's Corner- Allen Ginsberg's "America"




In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)

By Book Critic Zack James

To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just kicks, stuff, important stuff has happened or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation.  Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my older brother Alex thy called “blowing to the China seas” out in West Coast jazz and blues circles, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the mean streets of New York, Chi town, North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps, half stirred left on corner coffees and cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50th anniversary is being commemorated this year as well. So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind. The kind that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter which would drive Alex west before he finally settled down to his career life (and to my sorrow and anger never looked back).              

Of course anytime you talk about books and poetry and then add my brother Alex’s name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Jack, Jimmy, Si, Josh, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967 just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before (and which nobody in the crowd paid attention to, or dismissed out of hand what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s book which had caused a big splash in 1957, and had ripple effects into the early 1960s (and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain desert night but staying unsettled for a while anyway.     

Like I said above Alex was out two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely end. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly from hunger working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley the “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan that was for smooth as silk Frankie to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Dylan above all else) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)

Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like he wrote the final version of the thing on a damn newspaper scroll. So it was through Markin via Alex that I got the Kerouac bug. And now on the 60th anniversary I am passing on the bug to you.           





Commentary

There was a time when Allen Ginsberg's poetry 'spoke' to me and, and I am sure, to others from the "Generation of '68". His 'beat'/pacifist take on the struggle for power- heal thyself- rang through many heads-until the beasts got serious at the Democratic Convention in Chicago in 1968, and in other locales, before and after, as well. Still Ginsberg's mid-1950's poetry shook things up for lots of people. Here's why.

"America" by Allen Ginsberg, 1956

America I've given you all and now I'm nothing.
America two dollars and twenty-seven cents January 17, 1956.
I can't stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb
I don't feel good don't bother me.
I won't write my poem till I'm in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I'm sick of your insane demands.
When can I go into the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
Your machinery is too much for me.
You made me want to be a saint.
There must be some other way to settle this argument.
Burroughs is in Tangiers I don't think he'll come back it's sinister.
Are you being sinister or is this some form of practical joke?
I'm trying to come to the point.
I refuse to give up my obsession.
America stop pushing I know what I'm doing.
America the plum blossoms are falling.
I haven't read the newspapers for months, everyday somebody goes on trial for
murder.
America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid and I'm not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses in the closet. 
When I go to Chinatown I get drunk and never get laid.
My mind is made up there's going to be trouble.
You should have seen me reading Marx.
My psychoanalyst thinks I'm perfectly right.
I won't say the Lord's Prayer.
I have mystical visions and cosmic vibrations.
America I still haven't told you what you did to Uncle Max after he came over
from Russia.

I'm addressing you.
Are you going to let our emotional life be run by Time Magazine?
I'm obsessed by Time Magazine.
I read it every week.
Its cover stares at me every time I slink past the corner candystore.
I read it in the basement of the Berkeley Public Library.
It's always telling me about responsibility. Businessmen are serious. Movie
producers are serious. Everybody's serious but me.
It occurs to me that I am America.
I am talking to myself again.

Asia is rising against me.
I haven't got a chinaman's chance.
I'd better consider my national resources.
My national resources consist of two joints of marijuana millions of genitals
an unpublishable private literature that goes 1400 miles and hour and
twentyfivethousand mental institutions.
I say nothing about my prisons nor the millions of underpriviliged who live in
my flowerpots under the light of five hundred suns.
I have abolished the whorehouses of France, Tangiers is the next to go.
My ambition is to be President despite the fact that I'm a Catholic.

America how can I write a holy litany in your silly mood?
I will continue like Henry Ford my strophes are as individual as his
automobiles more so they're all different sexes
America I will sell you strophes $2500 apiece $500 down on your old strophe
America free Tom Mooney
America save the Spanish Loyalists
America Sacco & Vanzetti must not die
America I am the Scottsboro boys.
America when I was seven momma took me to Communist Cell meetings they
sold us garbanzos a handful per ticket a ticket costs a nickel and the 
speeches were free everybody was angelic and sentimental about the
workers it was all so sincere you have no idea what a good thing the party
was in 1935 Scott Nearing was a grand old man a real mensch Mother
Bloor made me cry I once saw Israel Amter plain. Everybody must have
been a spy.
America you don're really want to go to war.
America it's them bad Russians.
Them Russians them Russians and them Chinamen. And them Russians.
The Russia wants to eat us alive. The Russia's power mad. She wants to take
our cars from out our garages.
Her wants to grab Chicago. Her needs a Red Reader's Digest. her wants our
auto plants in Siberia. Him big bureaucracy running our fillingstations.
That no good. Ugh. Him makes Indians learn read. Him need big black niggers.
Hah. Her make us all work sixteen hours a day. Help.
America this is quite serious.
America this is the impression I get from looking in the television set.
America is this correct?
I'd better get right down to the job.
It's true I don't want to join the Army or turn lathes in precision parts
factories, I'm nearsighted and psychopathic anyway.
America I'm putting my queer shoulder to the wheel.

In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-In The Birthday Anniversary -“The Subterraneans"

In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-In The Birthday Anniversary -“The Subterraneans" I

n Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)




By Book Critic Zack James


To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes,  I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis) 
Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my oldest brother Alex who was washed clean in the Summer of Love, 1967 but must have known the edges of Jack’s time since he was in high school when real beat exploded on the scene in Jack-filled 1957, they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all Jack’s kid stuff high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the poet princely mean streets of New York, Chi town, Mecca beckoning North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps (and the fleas were real no time for metaphor down in the bowels where the cowboy junkies drowse in endless sleeps, raggedy winos toothless suck dry the dregs and hipster con men prey on whoever floats down), half stirred left on corner diners’ coffees and groundling cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when the acolytes and bandit hangers-on  came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands).
Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back which has caused more riffs and bad words than I want to yell about here).             

Of course anytime you talk about books and poetry and then add my brother’s Alex name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Frankie, Jack, Jimmy, Si, Josh (he a separate story from up in Olde Saco, Maine and so only an honorary corner boy after hitching up with the Scribe out on a Russian Hill dope-filled park), Bart, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967, their birthright event, just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker, what did Jack call his generation’s such, oh yeah, holy goofs,   who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before 1967 (and which nobody in the crowd paid any attention to, or dismissed out of hand, what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s travel adventure book which had caused a big splash in 1957(after an incredible publishing travail since the story line actually related to events in the late 1940s and which would cause Jack no end of trauma when the kids showed up at his door looking to hitch a ride on the motherlode star, and had ripple effects into the early 1960s and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway, like I say I think the best part, have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain, desert night but staying unsettled for a while anyway.    

Like I said above Alex was out on the road two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely and semi-tragic end down some dusty Jack-strewn road in Mexico cocaine deal blues. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that for fear of being tarred with those brushes. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly “from hunger” working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants any way they could as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little bit “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law back then when the coppers were just waiting for corner boy capers to explode nay Friday or Saturday night, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan. That was for smooth as silk Frankie now also like Alex a high-road lawyer to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Bob Dylan above all else.) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)


Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like Jack wrote the final version of the thing on a damn newspaper scroll in about three weeks. So it was through the Scribe via Alex that I got the Kerouac bug. And now on the 60th anniversary I am passing on the bug to you.           




Book Review
The Subterraneans, Jack Kerouac, Grove Press, 1958

What if a monstrously- gifted, an immensely-gifted one million bloated word man maybe working on his second million words and those words not all “and, the, and buts (although maybe butts)” but some fantastic jazzy (not Duke big band tone poems or Benny clarinet quartet swing-a-ling but Dizzy salt peanuts bop-bop-bop and Charlie solo austere heaven-reaching big note blows) sing-song reflecting childhood, red brick Lowell mill town moody street pawtucketville dying for lack of work and jobs moving to cheap labor south childhood, reflecting early brother death is eternal loss sadnesses, big sadnesses, reflecting Merrimack rocky tree-strewn river runs, hide-outs, stone-skippings, buddy-adventuring against the adult sorrows, big adult sorrows to come, reflecting father-son –and the holy ghost Gallic Roman Catholic French-Canadian (F-C to you, okay) old country (Canuck) Gaspe sad sack existences and forbear breton celtic moodinesses, big moodinesses, reflecting hard time father time day dreams and moving, endless moving from one street triple-decker to another to make the rent, from one bewildering printer job town (and odd jobs as circus promoter, oh, wrestling promoter, sad sack bowling pin ball man) to another, reflecting modern Greek god-like athletic prowesses running football-loped head-long like some Pamplona bull in holy arch-enemy Lawrence games , a slight speed burst juke here, a slight jet stream flash juke there, reflecting mad teenage boy-girl crushes (hardened Maggie), conquests (easy Paula , and half of the reflex football F-C girls all a-glitter with handsome Johnnie’s dark good looks, ooh-la-la) and woman madness, reflecting sailing out on the seven seas, or part of them, stoic, reflecting New Jack City romps, discoveries, heartaches, women taken, booze drunk, pills devoured, reflecting first-time cross country jaunts with golden- haired western cowboy heroes, more women, more wine, taken in search of the post-World War II blue-pink Great American West night, reflecting big book discoveries and plots for even bigger books and two million words passed to three million, writer blew into 1950s Frisco town.
What if that reflected writer searching for that post-World War II blue-pink Great American West night searched around North Beach looking for beat angels (although not called beat angels just then just angels, and angles- figuring angles at that), searched around Columbus taverns and bars looking for that one drink that would bring relief to his aching besotted head, that one joint that would clear the air of all the stinks of Lowell, of New Jack City, of Jersey shore sprays, of Chicago hog butcher to the world bloods, of Denver poolroom pass-throughs looking for golden-haired all-American cowboys to drive his vengeance, searched around Larkin Street wino stink-holes, smelling of urine and bad karma on top of non-fumigated beds, desperately in need of cleaning shower stalls, and small hot stoves for liberty coffee, searched around, well, you know, searched, no better waited around for some juicy woman, fresh from some Podunk town (not realizing, she not realizing, that he too came from podunk but just smitten with good looks and great writer bedroom eyes) to call at his door, to, frankly be bedded and be pushed out the door when his writing habits came on, searched for kindred (guy kindred although no fags need apply if that is what you think) to spend endless benny-nights and morning sun come-ups talking, talking of Proust (that old reprobate Frenchman, maybe kindred back, way back in old, old country days, maybe Adam time), talking rough trade fag wharf-heavy Jean Genet and flowers, talking about cold war break- outs with no word of cold war break-outs spoken , searched for that high white note that came from the negro streets blown by Lester Young, blown by Charlie, blown by some twelve year old Broadway boy when the title was vacated, searched for, alright, searched for the subterraneans, the denizens of the newer world, the be-bop world.

What if that searched writer decided, well, maybe not decided that is too strong a word but fell into something, fell into something that he needed, no, that he wanted right then, an affair, a tryst, an encounter, hell, a steady easy ride with a woman, a subterranean, an exotic, a woman of color, hell with a negro woman, no, a negress (proper usage then before black devoured negro, and negress, although not those po’boy, and girl, negro streets that beat angel, before beat, Allen Ginsberg kept jabbering about), decided that he would take her and her brown exotic (exotic from ten million American meltings with hobo gypsies, hobo injuns, hobo white trash, hell even with Mister back in plantations days when nobody ever heard of miscegenations) essence (and brown or exotic that fragrance, that perfume smell that has trapped man, men, since Adam’s day, maybe before) and ride out the storm (her storm, orphan annie , junkie, benny-high, tokay low, cheap anyway in an emergency, anybody’s girl if the mood struck her, her get it, and different, different from the F-C girls, different from the too easy New York City jewish girls looking for that first goy trick, different from white stocking lace curtain (or want to be) Maggie Cassidy, different in the head too, different in the kicks department, decided that he would chance, mother scorn chance that black-white mix (exotic and subterranean overcoming doubts on the white streets of North Beach even among beat angels), chance the mental balance nightmare of her life, decided too that he needed to move on to that second million words alone, alone like in the end we are all alone.

What if he wrote a book, a slender book, about it? Yah, what if…