Basic Decency

I: Introduction

When the scapegoat of a toxic family tries to confront them about their constant emotional abuse, one of the many forms of invalidation that the narcissistic parent and his or her flying monkeys respond with is to trivialize and minimize the pain and trauma they’ve put the victim through.

One manipulation tactic they may use in the service of this trivializing and minimizing is to say that one cannot hold the abusers up to some lofty and unrealistic standard of moral perfection: the narcissistic parent, after all, was never “given an instruction booklet” on how to deal with every single problem that inevitably comes along when raising children.

Never mind that the victim never required such unattainable ideals of parental and familial perfection. All the victim ever wanted was to be treated with basic, common decency.

As every reasonable person understands, even in the best and healthiest of families, there will sometimes be fighting, there will be moments of frustration, and otherwise beloved family members will have certain quirks and foibles that will drive us a little crazy. There is nonetheless a certain baseline that any decent family will not go under, despite those frustrating moments that are otherwise unavoidable.

I wish to discuss those things that a decent family would never do…or if they every now and then did lapse into such nastiness, they would snap out of it soon enough, apologize, and work hard not to repeat such nastiness. I write this as a guide that I hope will help anyone out there who may be in an emotionally abusive family, or suspects him- or herself to be in one, and who would like to have a kind of yardstick with which to measure whether or not he or she is in a situation sufficiently bad to need to plan an escape from it.

Naturally, as the scapegoat of my own family-of-origin, I’ll be using examples of my own experience of them to illustrate what I mean by those lows that go beneath the level of basic decency that one should expect from one’s family, that it–however imperfect–wouldn’t be a case of lowering itself to emotional abuse.

Families of basic decency won’t be consistently guilty of the following habits:

II: Gaslighting You Into Believing You’re Less Capable Than You Really Are

Your family is supposed to have your back, and while some criticisms of you, when necessary and appropriate, are unavoidable, being truly supportive of you means that they should be, under normal circumstances, helping you to build your self-confidence, not undermining that building of it.

Imagine being in a family with a narcissistic mother who tells you, a child, that you not only have autism, but that the psychiatrists who evaluated you had you do an IQ test on which you’d apparently scored in the early 60s. She tells you such a score means you’re retarded; yet, by “a miracle from God,” you turned out to have normal intelligence, that this “miracle” pulled you out of retardation.

She’s emphatic in stating that the psychiatrists recommended locking you away in an asylum and throwing away the key. She says she didn’t know if you’d even make a good garbageman–as long as you were happy. She says, on another occasion, that prior to the “miracle” recovery, she’d worried about herself and your aging father, decades into the future, having to continue caring for “a forty-year-old moron.”

It doesn’t matter that she said you’d grown out of your “retardation.” The damage has been done: you have been associated with the mentally deficient, and that’s damage enough for an impressionable child to have to grow up with.

Then, decades later, you learn, bit by bit, through therapy sessions with other psychiatrists and having done the Autism-Spectrum Quotient questionnaire, that you don’t, in fact, show any signs of autistic symptoms, not even the mildest, high-functioning ones. (Read this for the story in full detail.) You realize that you weren’t merely misdiagnosed as a child: your mother had been lying to you.

That happened to me. I was about nine when those lies were first told to me. Imagine the effect such lies have on the psyche of an impressionable child…heard from the mouth of my own mother! That’s an example of what I mean by a lack of basic, common decency.

Now, add to this psychological damage that a child suffers the constant verbal taunts, insults, and four-letter abuse coming from the mouths of his elder siblings. He gets called, for example, “You dip!” over and over again…on his thirteenth birthday, right at the party when he receives the cake; and thus begins a constant verbal barrage of being called “dipstick,” and “dork,” again and again, throughout his teenage years, those fragile years when a kid’s identity is just developing. Talk about undermining a kid’s ability to develop basic self-confidence.

Those taunts, of course, are just the mild end of the spectrum, for the kid is also being called “stupid,” “idiot,” “asshole,” and “you little shit!” any time those elder siblings are in a bad mood. And the kid is just a teenager, during an already emotionally confusing time in his life.

Now, while all of this, among other forms of bullying, is going on–much of it right in front of the narcissistic mother–she does nothing to stop it. She doesn’t help the bullied scapegoat, except in the rarest of exceptions, when she deems the bullying has ‘gone too far.’ Somehow, all the ‘moderate’ forms of bullying are acceptable to her. Well, naturally: they serve the same purpose as the gaslighting and lies: to control the victim.

III: Bullying

The bullying isn’t limited to verbal abuse and constant insults. There is physical intimidation going on, too. At least one elder sibling is threatening physical violence on the victim, if not actually hitting him. Sometimes the elder sibling orders the victim around, even calling him “slave.” Sometimes, the bully spits on the victim, then laughs.

Of course, the bullies will rationalize the awful way they treat the victim, listing his many faults: he ‘doesn’t care about anybody but himself’ (somehow, bullying is an example of caring about others); he’s ‘lazy and poorly motivated’ (hating him will surely fix that). Let’s consider a hypothetical situation: certain children have a problem with rhinotillexomania, which one understandably finds disgusting (will hitting them keep their fingers clean? Incidentally, the filthy childhood habit has been explained [as are other body-focused repetitive behaviours] as one not merely being an ignorant ‘pig,’ but as a way to reduce anxiety…oh, such children would never feel anxiety in an abusive family!). And, of course, there are many other such flaws used as convenient excuses for bullying.

Being mad at the victim for having this or that annoying habit or fault is far from the only reason he is being bullied, though…by the very people who are supposed to love him. The bullies frequently, freely admit to him that they do it for the sheer fun of tormenting him. And the narcissistic mother does nothing to stop the bullying. It’s as if she were telling the bullies, “Go ahead, throttle the little bastard, see if I care.” Indeed, one gets the sneaking suspicion that she’s been secretly fanning the flames of the bullies’ hate.

It’s well-known that narcissistic parents will pit their sons and daughters against each other, goad them into competing–and even fighting–each other for the parent’s (very conditional) love…to seem ‘the worthiest’ one of having that love. Though sibling rivalry is a reality in even the best and healthiest of families, any reasonable parent will do his or her best to minimize any feelings of jealousy among siblings. Narcissistic parents, on the other hand, thrive on that very jealousy, enjoying the ego trip they get from it, and so will intensify that jealousy at every opportunity, pointing out–right in front of the siblings–which one he or she supposedly favours the most.

This inflaming of jealousy can be a powerful motive to bully a sibling. That narcissistic mother I was talking about…mine…who lied about a mental condition I don’t have, who was capable of such mendacity, would have been all the more capable of telling my elder brothers and sister all kinds of lies about not only my faults–either exaggerating them, taking them out of context, or mixing in false faults with true ones–but also lying about preferring me to them, making them want to hate and torment me all the more. If that was true about her, in every detail, and I have every reason to believe it was all true, then she was being especially cruel to me.

Knowing the whole time that the bullying was going on, and doing nothing about it, she’d sigh and act as if it were just an inescapable reality, when a few sharp reprimands from her–given the respect she commended as our mother–my three elder siblings would have chilled right out…immediately. You see, one could make the argument that older siblings’ bullying you when you and they were kids is simply a matter of them having been immature at the time; yet even there, it was still the parents’ responsibility to intervene and stop the bullying. So many years having gone by with this abuse going on, without any substantial parental intervention, is simply a matter of childhood emotional neglect.

It thus still demonstrates a total lack of basic decency.

IV: Teaching a Child One’s Bigotries

One form of emotional abuse that shouldn’t be ignored is when a parent teaches his sons and daughters his bigoted attitudes. Again, an impressionable child is having his or her world view distorted by a parent’s biases and prejudices, thereby stunting the child’s growth and development, making him or her as ignorant and ill-informed as the parent.

I’ve written at length over the years on this blog about how I was emotionally abused by my mother and three elder siblings, with little complaint about my father’s contributions to the problem. In doing so, I haven’t been all that fair. It’s high time I discussed how he, too, contributed to messing my mind up.

He was a right-wing reactionary who justified his attitude with his euphemistic self-description as “conservative.” Just about every “ism” applied to him: racism, sexism, antisemitism, anticommunism, homophobia, etc. He not only had these attitudes, he also expressed them with a bitter, angry vehemence and vitriol. He was, to be perfectly blunt, a mindless, bigoted old fool; he was Archie Bunker with a Master’s degree in history–the one subject that, if anything, should have taught him to have leftist sympathies, had the subject been taught properly to him.

As a young man with liberal tendencies at the time (in the early 1990s, as I was attending university), I tried to resist his reactionary thinking, which even included defenses of evangelical Christian fundamentalism (not that he ever attended church or read the Bible for moral guidance, mind you; it was all just an excuse for supporting authoritarian thinking). But just as mainstream media saturations of bourgeois propaganda sooner or later tend to influence the thinking of the masses, I eventually was swayed, for a time, to his way of thinking…not completely, but to far too great an extent, anyway.

Indeed, from about the mid-1990s to about the late 2000s, I went through a period of lost years, growing increasingly reactionary in my own thinking, in part due to my own personal frustrations at the time, but also due in great part to his toxic influence. First, I became stridently antifeminist. Then, during the early 2000s as a reaction to 9/11, I went full neocon for several years, even supporting the Iraq invasion and Israel (yes, I sank pretty low).

It took a slow, sad and disappointed realization, confronting how the Bush administration had lied about Iraq’s “WMDs,” to turn me around; their bailing out of the banks in 2008 was the last straw. Since then, I’d slowly resumed a socially-liberal/fiscally libertarian stance; and after Dad’s death in 2009 and some temporary grieving of him, I felt psychologically liberated from any need for his approval of my political beliefs, and I thus embraced leftism.

And here I am now, a total commie red, with no qualms about it at all.

V: The Toxic Influence of the Petite Bourgeoisie

One thing related to my father’s bigotry, and also linked to my family’s toxicity (as well as, I imagine, the bigotry and toxicity of many families out there), is the issue of class. I’m the only member of my family–to my current knowledge–with any left-wing sympathies (and recall, my own sympathies in that way are only a little over a decade long as of this writing, and I’m 56 going on 57); none of the rest of those in my immediate family has a socialist bone in his or her body, which should tell you something, Dear Reader, as far as their empathy levels are concerned.

As owners of a Smitty’s Pancake House restaurant in the 1980s and early 1990s, my parents were petite bourgeois, and with that social position come the values and politics of such a class. The worker was looked down on by my father as a “lazy lout” (his exact words), and anyone receiving welfare was just mooching off the government and taxpayer. Just as my dad had tried to influence my political thinking rightward, so did my sister, J., though more liberal herself, try in the early 1990s to stamp on my identity that I’m “an upper middle-class young man.” No, J.: as a teacher of English in East Asia, I’m a worker, a proletarian.

When I was a teen and doing some of my first work in the mid-1980s, which in this case was some jobs here and there for the family restaurant, I was working for…$1 (Canadian). My father tried to drive into my head, “Oh, if you wanna make that dollar, you have to work really hard for it…” as if that precious dollar was a mint of gold or something. Later, as a young man and without work with sufficient pay that would allow me to leave home and live independently, my father, rationalizing that “You have to pay your way in this world,” made himself my landlord, requiring me to give him some of the meagre pay I was making for ‘rent’ each month. Granted, it wasn’t as high a ‘rent’ as one normally would pay, but still, this was my father, with his Attila-the-Hun right-wing mindset. One normally expects a more charitable attitude from one’s own family.

My mother was also somewhat more liberal than my father, though as a comparison to him, “somewhat liberal” isn’t saying much. She fiercely supported Israel to the point of flipping out on me one day in the restaurant for appearing there wearing an Arab scarf, something I’d bought on my university campus and–being too young and politically naïve to know anything about the Israel/Palestinian conflict–was wearing it just to be fashionable. In her hissy fit, she shouted that the scarf–looking like Yasser Arafat‘s black-and-white keffiyeh–made me look like a supporter of the PLO; she spoke of how awful it was that Palestinians throw rocks at the IDF, yet it didn’t matter at all to her how the latter have always brutalized the former, with state-of-the-art military technology provided by the US and other countries. My father had nothing kind to say about Zionism, of course, but that was because of his hatred of Jews, not from sympathy for the Palestinians, whom he called “murderers.”

Getting back to my sister, I mentioned in another blog post (I forget which one) how she was annoyed with the politics in Bruce Cockburn songs, in particular, “Call It Democracy.” She’d sneer at the title, imagining the singer “takes himself way too seriously.” Well, J., if you’d ever gone to Third World countries like Guatemala, as he did in the 1980s, and seen the appalling poverty there, caused in no small part by US imperialism, you’d understand why “democracy” in the West is and always has been a sick joke.

All of these examples show the connection between the microcosm of family toxicity and the macrocosm of toxicity in capitalist imperialism, the political gaslighting involved in the narcissism of capital. Capitalism causes alienation, causing in turn the lack of empathy easily seen in toxic families ruled by narcissistic parents. Accordingly, the use of psychological aggression by parents on their kids in the US (the bourgeois country par excellence) is almost universal, according to a study.

VI: Explosive Anger

Now, speaking of “psychological aggression,” one of the defining features of emotional abuse in toxic families is the propensity towards explosive outbursts of anger, happening all too frequently, and typically provoked by only minor offences. Everyone flies off the handle every now and then, even the best of people; but in toxic relationships, frequent explosive anger is a tool of control, meant to terrorize the victim to keep him or her in a state of timid submission.

I’ll now give some examples of sins a victim may have committed “to deserve” to be yelled and screamed at psychotically by a narcissist:

  • Being late with a birthday gift.
  • Interrupting someone.
  • Treating someone’s birthday as if it were of only minor importance.
  • Not bringing a bottle of milk home.
  • Eating all of the cereal (on multiple occasions).
  • Failing to respond when called to make tea for someone.
  • Slamming doors a few times too often.
  • Opening a package of ice cream incorrectly.
  • Rhinotillexomania (and messing up the furniture with the greeners).
  • Failing to wash the dishes when required to.
  • Failing to say ‘thank you’ for a ride to school.
  • Listening to music that others don’t like.
  • Saying someone does nice things for others only to get attention.

Granted, it isn’t easy to be patient with people who do these kinds of bad things, but surely one can deal with such problems in a healthier manner than by yelling and screaming at the offending party. Such excessive reactions won’t improve the behaviour of the offender by a long shot, either; in fact, the bad behaviour is likely to get even worse.

Such over-the-top reactions demonstrate clearly a lack of basic decency.

VII: Making the Bad Even Worse

That yelling and screaming at someone will make his or her offending behaviour, in all likelihood, worse rather than better leads me to my next topic.

The rationalizations often used for pressuring the victim in a toxic relationship to conform to more desired behaviour is that it’s meant “to help” the victim, “to improve” him or her in some way. Yet it is the very nature of abuse, abuse being by definition doing bad things to someone, to do the diametrical opposite of helping or improving somebody.

A common tactic used in attempts to deter undesirable behavior is to dump shame on the offending individual. The–frankly–Neanderthal logic behind using shame is that the offender will not want to be thus shamed, and so presumably he or she will be motivated to break the bad habits.

A modicum of understanding of human psychology, however, will demonstrate that the very opposite of the desired effect will result from shaming. The fact is, shaming the offender will only cause him or her to feel such self-loathing that he or she believes that it is in his or her nature always to be of such a defective nature…so the bad habits can never be stopped.

Object relations theory helps explain how one’s early experiences with caregivers and others in a child’s everyday life create a kind of blueprint, or template, if you will, for how just about all of one’s later relationships will be with others. So a healthy and happy early relationship with one’s parents and siblings should generally result in similar relationships with most other people, and the same goes with negative, abusive relationships. Such relationships become one’s “normal,” and anything different from that tends to be shunned, whether good or bad, because one isn’t used to such a contrast in human dynamics. Not being used to it means not being comfortable with it, so it is shunned, even if it’s good.

So the abusive way of dealing with unwanted behaviour, far from correcting it, will instead usually reinforce it, because it feels “normal” to be in such a negative social interaction. Instead of learning to depart from the undesirable way of behaving, one believes that it is an indelible part of one’s nature, thus perpetuating it.

I’ll give some examples from my family-of-origin. My eldest brother, R., was performing badly at school when he was a teen, probably far more because of difficult, emotionally confusing issues he was dealing with rather than a lack of intelligence. Our father’s Neanderthal way of dealing with R.’s poor academic performance was to shame him with notions that he was “too stupid” to do better. Shock and surprise!…instead of pulling up his socks and studying harder, R. ended up dropping out of school and leaving home; he was made to believe he could do no better. Our father took a bad situation and simply made it worse.

Several years later, when R. was at the end of his tether and could do more as a worker without even a high school diploma, he was finally motivated to come back home, go back to school, and study hard…all of which he did, and he succeeded–not because of Dad’s shaming, of course, but from sheer desperation to turn his life around.

R.’s successful bouncing back (he got into computers, and he’s surely the most successful family member now, having proven his smarts, now that he’d gotten past those adolescent emotional problems) came with some nasty side effects, though, much of which got taken out on me, who’d had a somewhat better relationship with Dad (from somewhat better grades at school). R. had come back home with a great big chip on his shoulder, imagining we all saw him as “the idiot of the family” because of those old bad grades (Really, R.? Ever get called “retarded” by Mom? You haven’t even got a clue!)

So R. had a motive (envy of Dad’s somewhat better evaluation of me), totally unjustified, for joining my other two elder siblings in bullying me. R. was too out of touch with his feelings to realize it was Dad he was mad at, not me, and he was too much of a coward to confront Dad with that anger, preferring to take it all out on me (then a shy teenager going through emotional problems of my own), which was so much easier for him to do.

As for me, there were many things I did that the family, of course, didn’t like me doing, but instead of finding constructive ways of making me stop doing those things, they shamed me for all of it, causing me to do those things all the more.

Apart from having been bullied regularly by my elder brother, F., when I was a little kid, I had to move with my family from the Toronto area to Hamilton in 1977, making me leave my best friend, Neil McIntyre: I was emotionally devastated from not being able to be with him anymore, and the pain stayed with me for years. Research has been done to show that such adverse childhood experiences as bullying and relocation can be traumatizing enough to cause a child to do such things as self-isolate and socially withdraw–it’s a trauma response.

By the late 1970s, my family was growing more and more concerned with my habit then of playing all alone, what was actually maladaptive daydreaming. Granted, they should have been concerned that I didn’t want to go out, find friends, and play with them; but their methods to get me to stop the maladaptive daydreaming were all poorly thought out, and they only served to make me do more of it. Rather than trying to understand why I self-isolated and showing compassion, they shamed me for my maladaptive daydreaming; me elder sister, J., coined a pejorative expression, “tooka-tooka,” to describe it and make me feel foolish for doing it. Such toxic tactics only increased my self-loathing, and made me do more of the maladaptive daydreaming.

My mother exacerbated my problems exponentially with her autism lie, which served only to make me feel as though I could never fit in with social groups. I’m convinced her reasons for pinning that label on me were outright malignant, a wish to make my life harder and undermine my ability to develop self-confidence. Other motives that I suspect she had were to act as if she were some kind of expert in psychiatry (she, while having training as a nurse, had no psychiatric training whatsoever), and fancying oneself to have abilities and knowledge one lacks is a narcissistic trait; another motive I suspect in her was to project her narcissism onto me, since her characterization of autism was by the original use of the word, meaning an excessive involvement in oneself (Sounds rather like narcissism, doesn’t it?), a retreat into one’s own private, inner world, as opposed to how autism is understood to be now–characterized by difficulties in social interaction and in communication, and restrictive, repetitive behaviours.

Needless to say, all of these things the family was doing to me were making my dysfunctional behaviour go from bad to worse, for, far from doing anything to help me, as they imagined was their intention, their true intention was to try to control me and make me into something they wanted me to be. This leads me to the next topic of what makes a family lack basic decency.

VIII: Forcing Conformity

A healthy family will want each member to grow and become who he or she really is and aspires to be, nurturing and encouraging one to be, in the parlance of our time, ‘the best version of oneself.’ In a toxic family, though, this is not so.

Instead, one is expected to become, if you will, the best version of what the toxic family wants one to be. One of the key components of emotional abuse is having power and control over the victim, and so forcing conformity is part of the abusive nature of the toxic family.

Now, of course, it’s perfectly reasonable that a family will want to deter any member from doing genuinely bad things, such as getting involved in crime, doing drugs, or performing badly at school. But the kind of enforced conformity that I’m talking about is of a far less reasonable sort. Healthy families don’t set precise agendas for their members, making them extensions of one’s ego (we see examples of this in the film, The Graduate).

As far as examples from my family are concerned, I already mentioned how my mother’s agenda was to trick me and manipulate me into believing I have a mental condition that I don’t have, so that–as I suspect–she could, via projective identification, split off and expel the narcissism in herself and impose it on me, a kind of exorcising of her personal demons (a plan of hers that never worked, for she stayed narcissistic to the end). I also mentioned how my father tried to push R. to become a superstar student, and in his frustration at teen R.’s having failed to do that, Dad shamed him for it. Now I’ll discuss some other examples.

Just as my mother wanted to project the worst or herself onto me, so did she manipulate J. into embodying what Mom saw as an idealized version of herself. The golden child of the family, J. was pressured into being the perfect daughter, the perfect sister, the perfect aunt, and the perfect mother–the perfect ‘family woman.’ Totally enmeshed in the family dysfunction, J. was required to give her whole life and identity to the service of the family. On any occasion that she tried to go off and do her own thing, all for herself, there would be hell to pay.

Now, this doesn’t mean, of course, that she never did anything for herself–it’s just that she’d have to prioritize the family over herself. One time, though my memory of it is vague, it’s enough to illustrate my point. We as a family (I was a teen) were in the car doing something we had to do together (I forget what specifically), but J. wasn’t with us. We arrived at the restaurant, where we saw her walking about, doing her own thing. Mom and Dad viciously bawled her out, reducing her to tears.

On another occasion, Mom and Dad had come home unexpectedly early one night, and they found J.’s boyfriend undressed and in her bed (again, I was a teen at the time, and in the basement, hearing the whole ensuing fight, so she, five years older than I, was a young adult). Mom freaked, screaming, “I’m ashamed of you!” at her repeatedly, again, reducing J. to tears…and all for doing something that, by the mid-1980s, was standard for a consenting young adult couple. J. had failed to be our mother’s ideal.

Since Mom forced conformity on J., tricking her into believing that such ‘guidance in the paths of righteousness’ was Mom’s way of loving her (this was J.’s trauma), my sister in turn tried to make me conform to the kind of person she thought I should be, imagining she was loving me and guiding me with her ‘wisdom,’ rather than just using me as an extension of her ego, as Mom had done to her.

J. carried this ‘guidance’ to some rather ridiculous lengths. In her ‘humble’ opinion, I can’t do anything right. I don’t dress the ‘right’ way, I don’t have the proper, ‘enlightened’ political beliefs, and I certainly don’t listen to the ‘right’ music.

Oh, the absurd attempts she made to deter me from listening to the music I liked! She’d berate me for it, dismissing its often experimental nature as “weird” and “strange” (note: we always label the things we simply don’t understand as “weird” and “strange”–her words were really more of a comment on her musical ignorance than they were on my idiosyncratic taste in listening). I was a teen at the time, though, and teens identify with their music: so in calling it “weird,” J. was calling me “weird,” another form of emotional abuse.

Needless to say, none of her attempts to shame me and discourage me from listening to progressive rock, jazz fusion, 20th century classical music, and other forms of experimental or boundary-pushing music ever worked. If anything, I got even more interested in that kind of music. So if listening to that kind of music was bad, then her tactics were just another case of the family pushing me from bad to worse. In any case, her “weird” labelling of my music, and by extension, of me, was just another way that that family gave me a complex.

Though my brother, F., was the worst bully of my three siblings, he imagines he tried to do me a good turn by teaching me how to play baseball. Actually, he forced me to play a game I wasn’t interested in playing; it may amaze him, but not every little kid is interested in playing sports, and that’s okay. And again, if he didn’t like my childhood habit of maladaptive daydreaming instead of going out and finding friends, then he should have made the link between his bullying of me and the harmful psychological effects it had on me as a kid…and if he was too young himself to make that link, then it was the job of our parents to help him understand that–which, of course, they never did.

On at least one occasion during that ‘teaching of baseball,’ he not only bad-mouthed me (about 8 or 9) to a girl neighbour of a similar age, which only increased my feelings of alienation and loneliness, discouraging me all the more from seeking friends, but he at the time also threatened to hit me, if not actually did (I don’t quite remember what exactly happened: traumas often cause memory loss). In any case, I went home in tears that day, and instead of getting any comfort from my parents, my mother loudly barked at me from another room, saying, “Take your bath!” I remember lying in the bathtub in a daze, stunned at the lack of love I was getting…and my mother’s last words to me before dying in 2016 were to tell me that, during those very childhood years of mine, she’d given me “the most love.”

It can be argued that Mom simply didn’t know what had happened, yet her attitude made it plain to me that she simply wasn’t interested in even listening when I tried to tell her. You see, we’re not talking about a few mere flaws in an otherwise basically good family here; we’re talking about a lack of basic decency. Family is not supposed to treat you this way, and the refusal to listen to the victim’s cries for help leads me to my next topic.

IX: Not Listening

If your family loves you, they listen to you. Period. It’s the same as in any other relationship.

Toxic families don’t listen. They preach. They pretend that their long-winded speeches are edifying for you. They aren’t so at all–they’re just annoying, an insult added to the injury of all their emotional abuse.

None of this preaching is for your own good, no matter how much the toxic family claim it is. It’s really about glorifying their egos.

This mentality was Mom’s an J.’s, all over. Just as my mother imagined she was a natural born psychiatrist, with no need for training or education in the field, so did my elder sister fancy herself a life coach of some kind for me.

J. imagines she has this huge treasure-trove of life wisdom to impart to me…actually, as I said above, she’s only five years older than I am: how much more could she possibly know about life than I do? On the other side of the coin, she imagines that I know nothing substantial about life, or about much of anything else, for that matter. This arrogant presumption of hers dovetails with what our mother had said about ‘my autism’ and being ‘mentally defective’ in general.

In fact, if J. and I were ever to switch roles, with me sharing any of my own thoughts on how to live one’s life, she would get outright snotty with me, as if I had the gall to break rank with her and be ‘insubordinate.’ I recall a couple of occasions when I was a young man, when I’d made comments, not at all serious, and she thought I was pretending to know more about life than the great philosopher did.

On one of those occasions, she’d expressed a rather snobbish annoyance at someone speaking ungrammatical English. I joked, “Sometimes in life, we all meet people who don’t talk good [sic].” She redirected her snootiness at me and said, in all sarcasm, “Oh, really? Tell me about life.” Her sense of ‘superior wisdom’ was so great…and her listening so poor, she didn’t even realize I’d merely attempted a joke–a silly one, but a joke all the same, not a serious lecture on life. So, what I’d unwittingly done was offend her narcissism, and I got needlessly hurt once again.

As I said, instead of just being quiet and listening to me, which is what I so desperately needed during those years I lived with the family, J. preached to me. She always thinks she needs to teach me something, that her words of advice will ‘guide me on the straight path.’ No, J., that’s not what I need; people can learn the lessons of life the normal way–by trial and error, through experience. Her words don’t add much to that.

Allowing people to talk, however, is very therapeutic. Allow them to get their pain off their chest, what’s called “the talking cure.” When an analysand free associates, the therapist just listens and takes notes, linking the themes that appear again and again in the patient’s endless talking; after enough themes are connected to show a consistent direction in the patient’s thinking, then the therapist may speak, giving an interpretation of the analysand‘s thought processes, which–it is hoped–will be an insightful one, helping the patient understand him- or herself better, thus leading to improvement in the patient’s mental health.

J., no more a therapist than our mother was, fails to understand the importance of listening. Instead, if I start to explain what’s troubling me, she breaks in and gives me a speech that, supposedly, makes visible the ‘larger philosophical perspective’ that I don’t see. Actually, what she typically says has little relevance, if any, to the subject at hand.

I’ll give a few examples. Once, when I was about 18 or 19 years old, I tried to tell her about a time shortly before, when Mom had yelled and screamed at me like a maniac for the unforgivable crime of having interrupted her. All J. had to do was listen. Instead, she interrupted me, saying, “Yeah, and I applaud Mom for it!” Then she went on about some nonsense about teenagers arrogantly thinking they know everything, which had nothing to do with Mom’s then-craziness or my attempt to remain calm as she’d spoken so hurtfully to me. That J. thought she knew everything about what had happened was lost on her, of course; I’m guessing she’d heard Mom tell her about our argument, misrepresenting what had happened and painting herself as the innocent victim, and me as the bad guy.

Another time, shortly before Mom died, I tried talking to J. on the phone about how Mom had lied to me so terribly (<<parts 5 and 6) that I didn’t want to communicate with her and put up with her manipulation anymore. Again, instead of listening to me, J. lectured me about how mothers ‘don’t have an instruction booklet on how to deal with every single family problem.’ Again, apart from J.’s typical condescension, her ‘perspective’ had nothing to do with what I was complaining about! Constant lying isn’t just a minor character flaw: it’s a serious personality problem, causing one to feel no longer able to trust the liar. It’s shows a lack of basic decency–not something to be endured. Actually, J. was enabling Mom’s emotional abuse by lecturing me the way she did, and this leads me to my next topic.

X: Enabling the Abuse

Many might read what I’ve written about here and think that I’m wallowing in the remote past like a ghost. Oh, those things you complain about happened so long ago, Mawr, decades ago! Get over it! Let it go!

First of all, those things happened in my childhood, adolescence, and young adulthood–my formative years, when my personality was only developing, and so the experiences would have a profound effect on the rest of my life, the same as anyone else’s experiences of childhood trauma. Such issues, thus, should never be trivialized or dismissed.

Second, the emotional abuse I suffered from that family was not limited to those early experiences. Once a toxic family, always a toxic family. After I left Canada to live in East Asia, the family could still communicate their nastiness by email or long distance phone calls…and they did.

Not content to have implanted the autism lie in my head when I was a child, my mother modified her lie by saying I have Asperger’s Syndrome: no need to have me tested by a psychiatrist during one of my visits home…my mother, the rank amateur psychiatrist, just ‘knew.’ I argued with her about this new label during the 2000s, and she wouldn’t let it go. It didn’t matter to her that she lacked the authority to give me, or anybody, psychiatric labels of any kind. Her presumptuous arrogance was just that brazen.

Of course, enabling of her emotional abuse came from her #1 flying monkey, J., the golden child, who in an email from the mid-2000s told me to “let this go” (i.e., stop arguing with Mom about the Asperger Syndrome label, and stop wallowing in the past). I was also instructed by J. not to reply, for I obviously have no right to tell my side of the story. Mom’s ‘version’ of the truth, in which she is blameless and I’m the bad guy, would suffice for J.

Another thing that had upset me at the time was how, when J.’s husband was terminally ill from cancer, my wife and I had offered to make a visit to Canada to see him one last time. My mother, in her usual condescending tone, said I shouldn’t come out of a fear that my ‘tactless and insensitive’ nature would cause me to put my foot in my mouth and say something to upset J. and her husband. Oh, those Aspies sure are tactless, aren’t they? Never mind how tactless and insensitive my Mom was being. My wife was every bit as offended as I was.

Indeed, I was furious, arguing all the more vehemently with Mom about it, thus leading to J.’s “let this go” comment. And around this time, I was beginning to have truly anti-Mom thoughts. I go into detail about all of this issue here, so if you’re curious about it, Dear Reader, you can go there, as a full explanation is beyond the scope of this article.

J.’s wish that I “let this go” must therefore be seen in the context of these more recent outrages of Mom’s, as was J.’s comment in 2016 about Mom’s ‘not having an instruction booklet to deal with every family problem,’ as discussed above. J.’s enabling of the family’s emotional abuse wasn’t just something from my childhood–it’s recent, too. J. claimed in a tweet to me a couple of years ago that, in spite of my having gone NO CONTACT with the family, she still ‘loves’ me: if so, her having read some of my blog posts on the family’s emotional abuse and having felt saddened by what I’d suffered, why has she–as I can safely assume–not pleaded my cause to R. and F. (if she had, and succeeded, surely they would have tried to contact me on Twitter and sought to make amends, wouldn’t they have)? The enabling of the family abuse, then, continues to this day–her ‘loving’ me was just an attempt to hoover me back into the family dysfunction.

XI: Conclusion

So, to summarize, families with a basic sense of decency will not allow the following problems to go on unchecked: gaslighting you into thinking you’re less capable than you really are; bullying you; teaching you to embrace bigotry and a petite bourgeois mentality (which can lead to fascistic attitudes and bigotry, given the right material conditions); explosive anger; making problems even worse instead of solving them; forcing you to conform to their way of doing things; not listening to you; and enabling their abuse of you.

These issues are not the result of minor, forgivable character flaws in otherwise basically good people. These issues come from people with serious personality problems. If you’re in a family with people subjecting you to this kind of abuse, don’t let them gaslight you into thinking that they’re ‘okay,’ but just a little flawed, and that you are ‘not okay’ for not tolerating their b.s.

They are the ones who are not okay. You are right to call out their abuse and demand better treatment. If, after your demands are made, they still won’t change, get help and get out. You deserve better than to be treated that awful way. Don’t let them guilt-trip you for setting boundaries and prioritizing your mental health over them.

By getting away from them and their toxic influence, you’ll truly get a chance to heal. Do what you need to do to be well.

The Gods Must Be Furious–Prologue

This was the dream.

There was a meeting of all the gods in a place so dark—was it a cave? Was it the bottom of the ocean? Was it in a starless part of outer space?—only their divine eyesight allowed them to see each other.

The gods looked upon the weeping goddess of the Earth, and on those who were her stewards, with near despair.

“Something must be done,” the sky-father said in a deep voice. “We have been dormant for too long. We have allowed man to abuse our grandmother of the Earth several hundred years now. It cannot go on.”

“They stopped praying to us centuries ago,” the god of the sea said. “We tolerated that, but their sin has reached such lows. We cannot tolerate it anymore.”

“Since the praying stopped, we have been dormant, in a state of hibernation for so long,” the king of the underworld said.

“Not I,” the god of war said. “On the contrary, I have hardly been allowed to sleep since the filth has gone into the clouds, the sea, and on the land. My energy is nearly spent. I crave rest.”

“Man is killing me, and all of my children,” the earth mother goddess sobbed. “Man is killing himself, too, only he is too blind and foolish to see it. Save us, brothers and sisters—I beseech you.”

“Our grandmother in body, and sister in spirit, we know your pain,” the sky-god said.

“We will help you, dear sister, have no fear,” the goddess of the grains said. 

“All man cares about is money,” the god of commerce said. “He must either be freed of his slavish devotion to it, or he must be killed.”

“Not all of them,” the sky-father said. “There are a few good men, women, and all the innocent children who can be spared…or resurrected later, at least. First, we will seek out a select few of the evil ones to slay, as a message of warning to the others. Those who have ears, and will listen, we will provide them with protection when we destroy the rest. As for the evil ones, we will first provide fair warning.”

“They will not heed the warning, to be sure,” the sea-god said.

“No, they will not,” the sky-father said. “We will give them warning even still, for it is the just thing to do. Their unwillingness to heed our warnings will be upon them, not upon us.”

“How shall we do it?” the god of the underworld asked. “How shall we warn them?”

“Each of us will choose a group of victims and slay them,” the sky-father said. “You, my brother, find someone in the mining business, or in the hydraulic fracturing business, and destroy him. You, our grandmother of the Earth and our spiritual sister, find fitting victims. You, my brother of the sea, can find some wealthy sorts on their yachts and lead them to their doom. I, too, will find victims. After these attacks, we will await the world’s reaction, and act in a manner fitting.”

“So the people will know that these acts are not freak occurrences of nature, but deliberately carried out by us, we will have to leave signs,” the sea-god said.

“Yes,” said the sky-father. “When the attacks are finished, we will allow ourselves to be seen: me in the sky, you, Brother, on the waves of the water, on the grassy ground for you, our sister of the Earth, and in the underground rock for you, our brother. Someone will report on the sight of our images, and though most won’t believe, enough will—those who have eyes to see and ears to hear. These ones will have the faith to be saved.”

The dream ended there.

Who woke from it?

Many, many people saw and heard the exact same dream…all over the Earth.

These dreamers all wondered: was this dream mere wish-fulfillment, a wish that the wicked would be destroyed and the Earth saved…or was the dream prophetic?

“That dream felt so real,” Michelle said with a yawn. “Were the gods talking to me?”

“Why would I dream of something like that?” Gary asked himself as he sat up in bed. “Wish fulfillment? Do I want the gods to intervene in our shitty world that badly?

Nina was rubbing her eyes and watching her husband sleeping peacefully beside her. I feel rather disappointed that that was only a dream, she thought. Since nobody else is doing anything about the Earth’s problems, a little divine intervention for the sake of our Mother Earth would be a good thing.

Shelly woke up with a start. Then she closed her eyes again, put her hands together, and prayed: “O gods, please do what I just dreamed…but show mercy, even to the wicked.”

Across the road from Michelle’s house, her mother woke up, too.

Why would I, a Bible-believing Christian, dream about pagan gods? she wondered. That was the kind of thing my daughter would have dreamt. Or were they angels? I’d rather believe that.

Cam woke up. “What a ridiculous dream, something Gary would have dreamed,” he whispered, then went right back to sleep.

Analysis of ‘Trout Mask Replica’

I: Introduction

Trout Mask Replica is the third album by Captain Beefheart and His Magic Band, released in 1969 as a double album. The music was written by Beefheart (Don Van Vliet), composed at a piano, and arranged by the drummer of the band, John French (nicknamed “Drumbo,” and uncredited on the album).

TMR was produced by Frank Zappa, offering Beefheart complete artistic freedom on Zappa’s new label, Straight Records. This was Zappa’s most memorable album production (The Rolling Stone Encyclopedia of Rock and Roll, page 1105), as TMR has some of the most radically experimental music of anything in the history of rock and roll. The album combines Delta blues, free jazz, and 20th century avant-garde classical music concepts to create a near-chaotic sound with polymetre, polyrhythms, and polytonality.

I must be frank about TMR. It is by no means easy listening. It’s an acquired taste, to put it mildly. I remember my first listening to it as a teen in the mid-1980s, and I was so frustrated with it at the time that I almost wanted to rip the first record off the turntable and throw it against the wall. In the back of my mind, though, I sensed that significant forces were at work on this album, mysterious forces, but ones worth sticking with. Over time, I came to understand what I was hearing little by little, and now I realize that TMR rewards repeated hearings.

Indeed, this album, though initially selling poorly (as might be expected from such a challenging recording), is now considered Beefheart’s masterpiece, and is a great influence on many other artists, including those outside of music, like Matt Groening and David Lynch. Musicians who have praised TMR include John Lydon, John Frusciante, and Steve Vai. The album is ranked #60 on Rolling Stone‘s 500 Greatest Albums of All Time list.

Here is a link to the complete album, and here is a link to all of the song lyrics.

Though Beefheart was a great blues player of the harmonica, he doesn’t play it at all on TMR. Instead, apart from his usual, gravelly blues-inflected singing (with a range of about four and a half octaves, from a deep vocal fry you can especially hear on “Dachau Blues” to a high falsetto), he also plays such winds as tenor and soprano saxophones, bass clarinet, and musette…all with a wild, atonal, free-jazz honking spontaneity that couldn’t care less what notes he was hitting.

Other musicians on the album, apart from the aforementioned French, include guitarist Jeff Cotton (nicknamed “Antennae Jimmy Semens”), guitarist Bill Harkleroad (nicknamed “Zoot Horn Rollo”), bassist Mark Boston (nicknamed “Rockette Morton”), and bass clarinetist Victor Hayden (“The Mascara Snake”). Doug Moon plays guitar on “China Pig,” and a number of the Mothers of Invention play on “The Blimp” (though uncredited and mostly inaudible).

Side One

II: Frownland

The themes that pervade this entire double album are paradox, contradiction, and incongruity: these are felt in the surreal lyrics as well as in the dissonant, polymetric music, made clear already in this song. A thorough analysis of the song, by Samuel Andreyev, can be found here; what he has to say about the musical structure of this 1:40-long song can give you a sense of how just about all the songs (apart from three a cappella ones) on TMR were put together.

Examples of paradox, contradiction, and incongruity in “Frownland” include the seeming chaos of it. In my introduction above, I mentioned the “near-chaotic sound” of all the music on TMR: that was a tad misleading, for in fact, all of the songs were tightly, precisely constructed. Beefheart’s music has been described as “a sort of modern chamber music for rock band, since he plan[ned] every note and [taught] the band their parts by ear.” (The Rolling Stone Encyclopedia of Rock and Roll, page 147) Actually, French transcribed many musical fragments that resulted from Beefheart’s noodling around on the piano, an instrument on which he had neither musical training nor experience playing. If Beefheart didn’t get a musical idea from the piano, he whistled it for the band.

Elsewhere, there’s paradox and contradiction in the music’s dissonance and seeming atonality. Actually, “Frownland” opens in C major, then it soon switches to the relative minor of A, followed by other modulations, as Andreyev explains in his video (link above). What is true about the dissonance is the frequent use of polytonality. Furthermore, not only is there polymetre, there’s also a juxtaposition of different tempi in this song, coordinated and synchronized so that the conflicting riffs begin and end together. Such an amazing accomplishment, heard elsewhere on the album many times, justifies the Rolling Stone Record Guide‘s comment that TMR‘s music is “astonishingly advanced rhythmically,” with “superb guitar work.”

As for the song lyric, consider a comparison of how the singer yearns for a happy world–in which “a man can stand by another man without an ego flyin’, with no man lyin’, an no one dyin’ by an earthly hand”–with how Beefheart actually treated his band during the creation and rehearsals of TMR. To say he was a domineering, hard task master is to put it mildly.

The band rehearsed his difficult compositions for eight grueling months, living communally in a small house in Woodland Hills, LA. They had minimal food to eat, often having–in their poverty–to shoplift, then need to get bailed out by Zappa when arrested. Worse, Beefheart was emotionally, verbally, and even physically abusive to his band, not allowing them to leave the house and making them practice for fourteen or more hours a day. French described the experience as “cult-like,” and another observed that it was “positively Manson-esque.” The house was Beefheart’s Frownland: his singing that he could “not go back to your Frownland” was pure projection.

So, as with Stanley Kubrick in his uncompromising vision to make a great film out of The Shining–resulting in the abuse of poor Shelley Duvall and the driving of Scatman Crothers to tears after endless reshoots of scenes–Beefheart demonstrated in TMR that he was both an artistic genius and an asshole.

III: The Dust Blows Forward ‘n’ the Dust Blows Back

This is the first of three tracks on the album with Beefheart singing alone, with no backup band at all. The other two songs of this sort are “Well” and “Orange Claw Hammer.”

The song’s imagery is of an ugly natural landscape, with a feeling of Depression-era poverty. In other words, the Frownland continues, though Beefheart again tries to keep his spirits up when he’s “[taken] off [his] pants and felt free, the breeze blowin’ up [him].”

“Tote an old grain in a printed sack” suggests the poor of the Depression having to lug their belongings as they move somewhere in hopes of finding work, as the Joad family does in Steinbeck‘s Grapes of Wrath. “The smokestack blows up in the sun’s eye,” for “the wind blows black through the sky,” a depiction of the ugly reality of urban industrialization. Yet Beefheart sings all of this with a paradoxically cheerful melody.

Indeed, in this song, Beefheart has temporarily tossed aside his usual blues leanings to sing what sounds like a traditional, old-fashioned song, like something a white working-class man might have sung in the 1930s. Instead of his non-rhotic, blues-inflected, gravelly voice, he sings with the rhotic, rustic charm of a ‘country bumpkin.’

Though the singer is in a depressing setting, where “the dust blows forward ‘n’ the dust blows back,” reminding one of the Dust Bowl era of Steinbeck’s novel, the singer tries to sound cheerful, “hand full o’ worms and a pole fishin’…gone fishin’ for a week.” This juxtaposition of depressing imagery with a cheerful singing tone is one of many examples on TMR of the themes of paradox, contradiction, and incongruity.

Examples of pollution, apart from “the wind blows black” and “the smokestack blows up,” include “a lipstick Kleenex hung on a pointed forked twig,” “one red bean stuck in the bottom of a tin bowl,” and “hot coffee from a crimped-up can.” With these sad images are also pleasant, if surreal, ones like “the moon looks like a dandelion.” These contradictions indicate that, while Beefheart is still in Frownland, his smile is stuck.

IV: Dachau Blues

As the title of this song implies, it’s about the Holocaust, in particular, the Dachau Nazi concentration camp. Beyond those atrocities, though, the song is also an antiwar one in general, begging our politicians to heed the warnings and protests of the young activists of the late 1960s, not to allow the Cold War between the capitalist West and the Soviet East to escalate to WWIII and nuclear annihilation.

While musically, the song has plenty of fitting harmonic tension, including some wild honking on the bass clarinet and tenor sax, Beefheart’s singing in vocal fry–an impressive demonstration of his vocal range–gives off an almost comic effect, which seems inappropriate for the song’s serious subject. Perhaps that ‘comic’ effect is meant to underscore the absurdity of continuing with warmongering and hate in our dangerously nuclear age.

The song ends with a monologue by Boston, the bassist, in which he talks about people trying to get rid of a bunch of rats by shooting at them with shotguns and beating them with sticks. One could hear a parallel in this monologue with the subject of “Dachau Blues”: the rats represent the Jews, or any group persecuted by fascists; the fascists, shooting in all directions, making one think one is going to get killed, are endangering the survival of everyone on the Earth with their reckless hate and violence.

V: Ella Guru

After all of the negativity felt and avoided (or what one at least tried to avoid) in the previous three tracks, in this one, Beefheart has only positive things to say in his praise of a girl he calls “Ella Guru.” She is lovely and wise, since “she knows all the colours that nature do.” Though the stress is on the second syllable of her ‘surname,’ she seems to be a true guru in life, for, “lookin’ like a zoo,” she is wonderfully wild and free as an animal. Though “like a zoo,” she is paradoxically not locked up in any cage.

She is as beautiful as the “moon,” which recall, “looks like a dandelion” in the second track. Her three primary colours, with puns on “yella”/”Ella” and “blue”/”blew,” make her beautiful. Beefheart has lecherous thoughts about her beauty, too, since “she blew,” “she’s young, too,” and is “tight, also.”

The point is that she’s beautiful in body and soul, and Beefheart wants to praise her as one of the few good things left in this stinking world. She helps him to keep his smile stuck, so he won’t have to go back to Frownland. She’s no phony: “She do what she mean and she do what she do.”

In the middle, instrumental section of the song, where the guitars are playing in a progression of F major and E♭major, the drums are going back and forth between a shuffle rhythm based on triplets and a slightly faster, duplet rhythm based on the duration between the first and third of those triplets (that’s at least what I think it is). In any case, it’s yet another example of how “astonishingly advanced rhythmically” the entire album is.

VI: Hair Pie: Bake 1

I’ll discuss the musical structure of this track when I get to “Bake 2.” As for “Bake 1,” I’ll discuss only what makes it different from 2, which isn’t very much in terms of musical structure.

The title of these instrumentals sounds like a lecherous continuation of Beefheart’s infatuation with Ella Guru. Since “she blew” in that song, it seems here that Beefheart is returning the favour with his honking on the soprano sax and bass clarinet (that low note on the latter being played by “The Mascara Snake,” I assume), this being the one essential difference between Bakes 1 and 2. Apart from that difference, Bake 1 also slowly fades in, with less and less sax and bass clarinet towards the end, while “Bake 2” is heard at full volume throughout, with no wind instruments at all.

Another difference between Bakes 1 and 2 is that the latter was recorded in a studio, whereas the former was recorded in the house the band was living in, the sax and bass clarinet parts in the garden of the house…hence Beefheart’s comment to the two visitors heard after the end of the instrumental: he tells them, “It’s a bush recording. We’re out recording the bush.” This “bush” reference sounds also like more of Beefheart’s lecherous feelings for Ella Guru, his blowing on the sax is an eating of her hair pie.

VII: Moonlight on Vermont

Beefheart spuriously claimed that he wrote all of the songs on TMR in one eight-hour session. “Moonlight on Vermont,” as well as “Sugar ‘n’ Spikes,” were actually written around December of 1967, and “Veteran’s Day Poppy” was written in mid-1968. The rest of the music was mostly written over the summer and fall of 1968. This would explain why these former three songs aren’t as radically experimental as the music of the rest of the album, but are more bluesy.

Other interesting features of “Moonlight on Vermont” that are worthy of mention include the, I’d say, ironic reference to the spiritual “Old Time Religion,” and to Steve Reich‘s “Come Out.” These two elements, appearing towards the end of the song, are as I say ironic because if anything, Beefheart’s song is about getting away from tradition and the leaden repetition that comes from it (and Reich’s recording). So the yearning for tradition (“that old time religion”) and the breaking away from it (to get away from Frownland) is more paradox and contradiction.

The song’s lyric is based on the old belief that the moon can make us into lunatics. Some man in the song has gone so wild, he’s brandishing a pistol (or is it his phallus? Has he seen Ella Guru?). The upper-class people of the lunatic neighbourhood aren’t playing bridge anymore.

“No more bridge” for “high society” could represent the bringing-down of the ruling class, liberating the rest of us as a result of the lunatic influence of the moon (“Goes to show you what a moon can do.”). The freeing of us in turn means we can finally get rid of the “white elephant” of our oppression, so we can be free to express ourselves, “escaped from the zoo with love.” We’ll be “walkin’, lookin’ like a zoo,” as Ella Guru does. We’ll be “free to grow as flowers,” as Beefheart sings in “Sweet Sweet Bulbs.”

Side Two

VIII: Pachuco Cadaver

Before the song begins, we get one of a number of Beefheart’s references to a preoccupation of his, his expression “fast and bulbous.” We already heard it in “Ella Guru.” It can be related to the upcoming song, “Sweet Sweet Bulbs,” too. He’s talking about something flowering, growing…yet plants aren’t fast in their growing.

In “fast and bulbous,” therefore, we hear another paradox, or contradiction. It seems rather like the development of TMR: Beefheart’s dictatorial driving of his band to practice his difficult music for long hours every day, never allowing them to leave the house, and berating them abusively whenever they made mistakes–this was the “fast” in the music’s “bulbous” growth.

Furthermore, the “fast and bulbous” paradox is a reflection of the contradiction between, on the one hand, the Frownland that Beefheart wants to stay away from, which is stressful in how “fast” everything has to be (think of how much worse we have it today, with all of our multitasking), and on the other hand, the childlike, free world that Beefheart yearns for, the “bulbous” world where we’re “free to grow as flowers,” where we’re “walkin’, lookin’ like a zoo” with Ella Guru.

Accordingly, we hear a number of references to flowers on TMR: “the moon looks like a dandelion,” the flowers in “Sweet Sweet Bulbs,” “Veteran’s Day Poppy,” and “her skin is as smooth as the daisies,” in “Pachuco Cadaver.”

The song begins with a guitar riff in A major, while the bass plays Es in groups of three, one set an octave apart from the other, and they’re played at a tempo slower than that of the guitars and drums. Beefheart then comes in, doing spoken word.

Whoever “she” is (Is it Ella Guru again?), she wears a “bolero,” which on the one hand is a cropped jacket, and on the other–given Beefheart’s predilection for lyrics full of puns and surrealist imagery–a Spanish dance in 3/4 time from the late 18th century…hence, “when she wears her bolero, then she begin to dance.” Her car, a Chevy sedan, is a “Pachuco Cadaver,” referring to how a Mexican-American might own an old car made from scraps, with a steering wheel from “a B-29 Bomber.” The car is “forever amber,” because of how rusted up it is–yellow with rust.

The “yellow jackets ‘n’ red debbles” (devils), which are “buzzin’ ’round her hair hive ho,” are barbiturates (pentobarbital and secobarbital/Seconal respectively for the yellows and reds), often taken in the 1960s by women with beehive hairstyles (one is reminded of that old song by the Rolling Stones). So “she” has her hair like this, and she’s buzzing on “chill pills” as she drives her car.

We get more puns when we hear that “she wears her past like a present.” The present can be a gift (the bolero jacket), or it can mean that she is a person of all times, past or present. ‘She looks like an old squaw Indian,” yet if she’s Ella, “she’s young, too.” Old, yet young. Another paradox…past, yet present.

“She” certainly seems to possess the attractive qualities of Ella Guru, for “her lovin’ makes [Beefheart] so happy,” he’d crack his chin if he smiled. “Her eyes are so peaceful, thinks it’s heaven she be in.” As these lines are said by Beefheart, the music has become cheerful, even celebratory, with a shuffle rhythm and guitar riffs in A major, at one point shifting down to A♭major, then back to A♮major; and the drummer sometimes shifts from the shuffle (often with quick triplets hit on the ride cymbal) to duplets played on the hi-hat. (Somewhere in this song, the melody from “Shortnin’ Bread” is heard among the guitars, but it seems to be so buried in there that I cannot pinpoint it.)

I mentioned above how “her skin is as smooth as the daisies” in reference to Beefheart’s love of flowers; it should be added to this the significance of “in the center where the sun shines in,” or, of course, the yellow centre of a daisy. This comparison of a flower to a light in the sky should be linked to another such comparison I also mentioned earlier: “the moon looks like a dandelion,” from the second track. These lines in turn should be related to what Beefheart sings in “Frownland”: “My spirit’s made up of the ocean and the sky and the sun and the moon…” He loves the flowers, the sun, and the moon; these beauties of nature are all one to him.

Fittingly, “when she walks, flowers surround her, let their nectar come into the air around her.” If she’s Ella, “she comes walkin’, lookin’ like a zoo”: natural, wild, free, and beautiful–like flowers. Is Ella the earth mother-goddess? “Her lovin’ stick out like stars.” The sun is a star, the centre of a daisy, like her skin. Her love is a star, the sun, the centre of a flower.

Beefheart would like to emulate her spontaneity with a sax solo that, though going along with the rhythm of the band, couldn’t care less if it conforms with the harmony or not. After that, the back-up band continues playing the cheerful riff in A major for a while, and the song ends.

IX: Bill’s Corpse

“Bill” in the song’s title refers to guitarist Zoot Horn Rollo (Bill Harkleroad), who upon having left an LSD cult to join Beefheart’s Magic Band had been in an emaciated condition; in fact, that emaciation may have also been a result of the conditions Beefheart had created in the house while the band rehearsed (recall how the band had starved).

Bill’s corpse can thus be seen as a metaphor for the unhappy, degraded state of the world described in this song lyric. After the celebratory happiness we heard in “Pachuco Cadaver” (an ironic song title to have come just before this track, the two songs giving off opposing moods…yet such is the thematic nature of TMR–paradox, contradiction, and incongruity), we have come back to Frownland.

“Quietly, the rain played down on the last of ashes,” Beefheart sings as the band plays in D minor to a by-now-typically conflicting rhythm. “She…” (Ella Guru, the sad earth mother-goddess?) is “hideously looking back at what once was beautiful.”

Since “her ragged hair was shining, red, white, and blue,” we can see how Ella Guru has gone from her happy yellow, red, and blue primary colours to those of the flag of the United States, where oppression and unhappiness have reigned for so long. Such misery is apparent in how, for example, “the goldfish in the bowl lay upside-down bloatin’,” symbolic of how environmental damage has harmed marine life in the rivers, lakes, and oceans…great fish bowls, as it were (also, there was the Dust Bowl of the Depression years).

Elsewhere, “the plains were bleached with white skeletons,” those of Native Americans killed by the white man and ironically, if redundantly, called “white skeletons,” or skeletons made so by whites. Related to the Native American genocide is how “various species [were] grouped together according to their past beliefs,” which can represent racism, which has sometimes been rationalized with Biblical quotes like Genesis 1:25. If God meant all the animals to be created “according to their kinds,” then, apparently, He would have wanted the black, white, Asian, and Native American ‘races’ to live “according to their kinds,” that is, separately.

Connected with such a racist attitude is how “the only way they ever got together was not in love, but shameful grief.” That is, the white supremacists got together for the purpose of persecuting blacks, Jews, natives, and any other racial or ethnic groups they hated. So much of the history of the “red, white, and blue” has been made up of such hatred. Beefheart doesn’t want us “to get together” in such ways. Getting together is normally associated with love, not hate; so this hateful getting together is yet another example in TMR of paradoxes and contradictions.

So “the rain [of sadness] played down,” that is, rained down on our world and ruined our happiness, saddening earth-goddess Ella Guru, the lady who would “look out of love.” She “should have us all,” that is, together and happy, or, if we cannot be, then she “should have us fall.”

X: Sweet Sweet Bulbs

In this song, we’ve left Frownland again, and we’re back with happy Ella Guru, that is, “in [Beefheart’s] lady’s garden,” where the “sweet, sweet, sweet, sweet bulbs grow,” and where “warm, warm, warm, warm, warm sun-fingers wave.” This garden could also be that of the house where he and his Magic Band were practicing his music…though–yet another contradiction!– he was actually working them like slaves, as I pointed out above.

For him, at least, the garden is a happy place where “flowers dance” and the sun, whose “fingers wave,” is also associated with joy, as I mentioned earlier. “Hominy,” a Mesoamerican food item, was eaten by the poor during the Great Depression, and thus it links this song with track 2 off of Side One.

She herself is linked to hominy, in her “smile” and her “snatch,” which in turn links her to Bakes 1 and 2 of “Hair Pie,” since–among other, obvious reasons–hominy is frequently used as a base for baked dishes, and there are pies with hominy, including baked Tex-Mex/Southwest pies.

Since, as I said above, hominy was eaten by the poor during the Depression, we can link it with the bare subsistence diet that the band had to eat while working on Beefheart’s music, in that house with that garden nearby: French, for example, had no more than a small cup of soybeans a day for a month. So the contradiction here is between the joy Beefheart is feeling about his artistic inspiration and his music being played on the one hand, and the suffering his band is going through on the other.

He calls Ella “Phoebe,” this name being a female version of Phoebus, as in Apollo, a god associated with the sun, since Ella, flowers, and the sun are images of happiness for Beefheart. Recall how “her skin is as smooth as the daisies, in the center where the sun shines in,” for “her lovin’ makes [Beefheart] so happy,” as he tells us in “Pachuco Cadaver.” He sees “Phoebe” in her bonnet, “with the sunset written on it.”

As for the music, we primarily hear a merry set of tunes played on the bass and guitars, in a largely pentatonic E major. By the middle of the second verse, though, the music gets more tense and in its by-now-typically disoriented state as Beefheart sings of how “just behind ya was the sea of negativity…she walked back into nature a queen uncrowned.” Yet when she recognizes herself “to be an heir to the throne,” and “her garden gate swings lightly without weight,” we return to the merry guitar and bass tunes in pentatonic E major.

Ella is the queen of this happy garden (of Eden?), which is “open to most anyone that needs a little freedom.” Beefheart would invite as many of us as can come to be “free to grow as flowers” and “share her throne,” for in his utopia, we’re all equals…unless you’re a member of his Magic Band, of course.

XI: Neon Meate Dream of a Octafish

Since the surrealist lyric of this song is about a wet dream, or at least a sexual fantasy, I can now understand why–in his discussion with the two visitors about “Hair Pie: Bake 1” when the music is over–Beefheart confuses the title of that instrumental with that of this song. The former track is about the female genitalia, and this song is about the male genitalia.

Apart from the phallic tentacles of the “octafish,” and other sexually suggestive references to “incest,” “tubes,” “speckled,” “waddlin’ feast,” “buds burst,” “meate rose and hairs,” “meaty dream wet meat,” “twat trot,” “whale bone fields,” and “serum in semen,” the lyric is chock-full of Beefheart’s typical use of puns.

So this song can be seen as yet another example of Beefheart’s lusting after Ella Guru. Fittingly, the music has such dissonance in it that it can legitimately be called “musical masturbation.”

XII: China Pig

The White Stripes did a cover of this song.

In this improvised recording with Beefheart’s singing accompanied only by Doug Moon on guitar, we have TMR‘s closest approximation to pure Delta blues. It almost sounds like something Robert Johnson would have done.

The song is about a piggy bank (“china,” as in porcelain). Not wanting to kill Beefheart’s “china pig,” then, simply means he doesn’t want to break and destroy his piggy bank.

So, not wanting to destroy the piggy bank, in turn, represents a need to refrain from spending one’s money carelessly, a need to save money, because one is poor, as during the Great Depression, or as in the impoverished state the Magic Band was in, rehearsing in that house. “A man’s gotta live. A man’s gotta eat. A man’s gotta have shoes to walk out on the street.”

The piggy bank, of course, has “got a slot in his back.” If he is desperate to get his hands on some money, he whips out his fork and pokes at the piggy bank: “I put a fork in his back!” This is to get coins out without breaking it.

So a song about being poor and needing to count one’s pennies is aptly played in a Delta blues style, since so many of the old bluesmen sang about their sorrows. Things might be a lot happier if “flowers grow/[Beefheart’s] china pig be quite a show.”

XIII: My Human Gets Me Blues

This song begins with striking dissonances from the guitars, especially in contrast to the straightforward blues of the guitar in “China Pig.” Such dissonance is fitting, since the song is about the discord between what one is supposed to believe about Christianity and what we often do believe about it.

Beefheart begins his singing by addressing the baby Jesus in His “X-ray gingham dress.” Beefheart can see through it, because he can see through the phoniness of the religion. Gingham is a fabric with patterns of horizontal and vertical stripes that cross over each other; so like the X in “X-ray,” they represent the Cross that Christ was nailed on.

Jesus is in a “dress,” meaning those robes worn in ancient times; but “dress” is also used as a pun on “duress” in the second line of the first verse. Jesus was “under duress,” that is, forced by God to die on the Cross (Matthew 26:39). But Beefheart knew Jesus under his dress, that is, he could see, like an X-ray, under the phoniness of the religion that speaks in Jesus’ name.

Jesus can “keep comin’,” as in the Second Coming. Like all those clergymen in their robes (‘dresses,’ if you will) who represent Jesus, He’s “the best dressed,” that is, in all that Catholic finery (or, in the case of the evangelical Protestants wearing those fine, expensive suits), the religious authorities are showing off their wealth, they who represent Christ. They “look dandy in the sky,” like foppish dandies in those fancy clothes and fraudulently imitating Christ, but they’re no ‘dandelions’ to represent the flowers of true happiness, as Beefheart saw in the dandelion-looking moon.

Jesus is supposed to be our Saviour, to give us peace and comfort, yet He would scare us with threats of Hell for not believing in Him…still, He doesn’t scare Beefheart, who–seeing through the Church’s phoniness–has “got [Him] here in [his] eye.”

“In this lifetime,” that is, in the material world we’re in now, as opposed to the spiritual afterlife, “my human gets me blues” is the painful feeling of being regarded as a lowly sinner (“human”), fallen from the grace of God, and needing the authority of the Church to be restored to God’s grace, that is, needing to conform to Church doctrine to be saved…salvation by grace through faith (Ephesians 2:8).

Beefheart doesn’t want to be thus coerced into such conformity, to be “under duress.” He’d rather roam about freely in the flowery fields with Ella Guru. He knows Jesus would “never come back,” i.e., there will be no Second Coming, as the Church has so fraudulently promised for two millennia. In Matthew, chapter 24, it was prophesied that He would come back, with the end of the world, before the death of that very generation hearing Him (Matthew 24:34).

There’s an “old lady” who is “afraid [she’d] be the devil’s red wife,” which sounds like the Whore of Babylon, a place that in turn has been seen to represent Rome. Since this song is critical of Christianity, Babylon-as-Rome can be seen as the corrupt Roman Catholic Church.

“God dug [her] dance” just as Jesus dances in a way Beefheart knew He’d never come back, hence the link between her and Jesus, or the Whore of Babylon and the Roman Catholic Church. God would “have [her] young and in His harem”: she’s an “old lady” because being a whore is the oldest profession.

Now, “everybody made Him a boy,” that is, we have never traditionally regarded God as female, hence, the all-male priesthood to represent Him (1 Corinthians 14:35). Because of all of these faults in the Church, among so many others, Beefheart’s got the “human gets me blues,” that is, the sadness of having to deal with all those human, all-too-human faults of the Church, as opposed to its supposed divine authority over man.

XIV: Dali’s Car

This short instrumental for two electric guitars (played by Zoot Horn Rollo and Antennae Jimmy Semens) was the first that Beefheart composed for TMR. He called it a “study in dissonance,” according to French in his book, Beefheart: Through the Eyes of Magic, pages 805-806. The instrumental was inspired by Salvador Dali‘s Rainy Taxi, or Mannequin Rotting in a Taxi-Cab, from 1938.

Side Three

XV: Hair Pie: Bake 2

As I said in my description of Bake 1, the only major differences between the two “Bakes” are the absence of sax and bass clarinet honking here and no slow fade-in here, as well as no visitors asking about the music. Instead, this “Bake” ends with Beefheart shaking jingle bells with the tape being sped up.

Now I’ll discuss some of the musical highlights of these two instrumentals. We can hear examples of polytonality in the two guitar parts and in the bass, as well as polymetre and synchronized polyrhythms. One noteworthy example of the latter is, shortly into the beginning, when we hear a riff in 5/4 time, then the drummer pounds a strong shuffle rhythm (implying triplets), which at first is heard alone, then the guitars and bass return with the 5/4 riff, perfectly synchronized with the shuffle rhythm.

Later, we’ll hear polytonality in the guitar parts, with one playing a descending line of C, A, A♭, and G, while the other is playing G♭[4x], and A, the former implying a key of C to the latter’s implied D major.

We’ll also hear the polymetre of such conflicting time signatures as 3/4 against 4/4, and 5/4 against 4/4. All of this conflict in dissonance, metre, rhythm, tempo, and key makes up the album’s musical equivalent to the lyrical themes of paradox, contradiction, and incongruity.

Between this instrumental and the next track, “Pena,” we hear a goofy dialogue between Beefheart and the Mascara Snake about all things “fast and bulbous.” They mess up a few times, first from Beefheart laughing, then from the Mascara Snake coming in too early with the line “Bulbous also tapered.” Zappa can be heard giving directions.

I mentioned above how I interpreted “fast” to mean our stressful lives, with everything so fast-paced; yet on the other hand, “bulbous” refers to a free, organic, natural world of flowers. So “fast and bulbous” is a paradox of our happy, yet unhappy lives. “A tin teardrop” is a surreal reference to how our modern-day, metallic world is taking us away from that natural world and thus making us weep. So, “bulbous also tapered,” along with “also, a tin teardrop,” refer to how our natural world of beautiful, bulbous flowers is being diminished and reduced of its thick bulbousness.

XVI: Pena

Antennae Jimmy Semens narrates this one in a hysterical voice, with Beefheart doing high-pitched, unintelligible screaming in the background. “Pena,” with “her head…like a barrel of red velvet balls,” sounds like the feminine of “Penis.” Her name can also be seen as a variation on “poena,” as in “subpoena,” and other words like “penalty,” “punishment.” What is necessarily ‘punitive’ in this surreal narrative, though, may not be all that obvious to see at first, given how it more obviously seems like another coded, symbolic sex fantasy, like “Neon Meate Dream” above.

That the “velvet balls” are red is symbolic of love, since, according to this video (about 9:30 into it), Beefheart says red represents love, as yellow does wisdom, blue does peace, and green does logic in songs like “Pena” and “Ella Guru.” So Pena’s head, “clinking like a barrel of red velvet balls,” suggests a ‘female’ penis and testes.

Now, with this album having come out in 1969 and therefore long before transgender issues became a big concern in mainstream thinking the way they are today, I doubt that Pena’s hermaphroditism is meant as an expression of transgenderism. I think the ‘female penis and testes’ of Pena are just more of Beefheart’s surrealism, with sex differences still perceived as just a binary, and thus the hermaphroditism is yet another example of TMR‘s theme of contradictions.

It’s significant in this connection that both aptly-named Beefheart and…aptly-nicknamed Semens…have high-pitched voices on this recording, making them sound rather androgynous. It’s also worth noting that in the promotional photos for TMR, Semens is seen wearing a dress. With the names Jeff Cotton and “Jimmy,” he doesn’t identify as a female. He’s just in a dress as part of the philosophy of the Magic Band as free and defying social conventions–it’s the same with all the band members’ goofy-sounding nicknames.

Back to the narration. “Treats filled her eyes,” that is, Pena’s, “turning them yellow…soft like butter, hard not to pour.” The treats, I suspect, are phallic, and the eyes are yonic and anal, the soft, butter-like yellow being ejaculation. “Sitting on a [phallic] turned-on waffle iron, smoke billowing out from between her legs” sounds unmistakably sexual, “making [the phallus] vomit beautifully.”

She’d “fall on [his] stomach” while he’d “view her from a thousand happened facets,” that is, he ogles her naked body from all angles. He may have hurt himself in his ecstasy, hence the “liquid red salt,” or blood from lovemaking (I suppose this was the penal aspect of Pena); “[he] later Band-Aided the area, sighed, ‘Oh, well, it was worth it’.”

Pena was pleased with the lay she got, but “sore from sitting, chose to stub her toe”…so it seems that she got punished for her pleasure, too. And in this pleasure-pain of both lovers, we see yet another of TMR‘s paradoxes. The “red pockets” of the “white pulps” would be more blood from the stubbed toe. Her being “tired of playing ‘Baby'” could mean that Pena, with the raised social consciousness of Second Wave feminism in the late 1960s, doesn’t want her lover to treat her as a mere sex object anymore; for being treated as such, despite the pleasure she got from the sex, she feels like she’s being punished for it.

The “blue felt box” completes the red, white, and blue with the “pulps” and “pockets”–the American flag, colours complained about in “Bill’s Corpse.” Note how the red, white, and blue colours all appear around Pena’s protesting of not wanting to play ‘Baby’ anymore. It’s in reactionary governments like that of the US where women and other oppressed groups feel so confined.

On the other hand, red, yellow, and blue are the colours of free-spirited, wise Ella Guru. “Out of a blue felt box let escape one yellow butterfly the same size.” Out of the blue of peace came the yellow of wisdom (recall the colour symbolism of the Beefheart video–link above). White is often considered the absence of colours, so without yellow in red, white, and blue, there’s an absence of wisdom. If white is, alternatively, the sum of all colours, as it’s also sometimes deemed, then the red of love, yellow of wisdom, and blue of peace are all lost in the mix, as was the case in the American involvement in the Vietnam War going on in 1969, when TMR was released.

The yellow butterfly’s “droppings were tiny green phosphorous worms.” Green, according to that Beefheart video, represents logic. So, from the wisdom of yellow we get the green of logic. Of course, yellow mixed with blue (from the “blue felt box”) is green, so wisdom mixed with peace is logic.

The song lyric ends with Pena blowing raspberries: “Mouths open to tongues that vibrated and lost saliva.” Is she, in her red love, yellow wisdom, blue peace, and green logic, sticking her tongue out at the freedom-crushing US flag? Is hermaphrodite Pena’s/penis’s defying of sex roles, in not wanting to play ‘Baby’ anymore, an example of that defiance?

In any case, the song musically ends with dissonant riffs heard mainly in 5/4, among some polyrhythms.

XVII: Well

This is the second of three tracks on TMR that Beefheart sings a cappella. As usual with his lyrics, this one is full of surrealist imagery.

A lot of the imagery is of oppositions: day/night, black/white, hard/soft, hard (as in ‘bad’)/well, melted/froze, and silent/scream. His singing is largely a hitting of two notes: G and E, implying a shift back and forth from G major to its relative minor in E. This implied progression suggests yet another opposition: major/minor. All of these musical and lyrical oppositions add to TMR‘s general theme of contradictions.

In the first two lines of the first verse, we hear of a human being (“a red raft of blood”) going through his day (“light floats down day river”) and feeling the sunlight. Then comes the night, with a giant black…beetle?…large enough to block out the light of heaven, the shining of “its hard, soft shell” is “white in one spot,” implying the shining of the moon and stars. Life is hard, but the singer is “doing well, well.”

“The white ice horse melted,” yet the singer “froze in solid motion.” In a reversal of time sequence, the horse’s mane melted last, and after that, the tail melted…more contradiction and incongruity. The melting of an ice horse sculpture would seem a bad thing, but it’s all “well” to the singer. His “life ran through [his] veins” in the “red raft of blood” that is his body. Is “the ocean swarmin’ body…well” Brahman, as opposed to the Atman of his “red raft” body?

Since the blackness of the night is “like a big, black, shiny bug,” then the singer’s having “heard the beetle clickin'” means he’s hearing the sounds of the night…then [he’d] “begin to dream” at night. And with the dreaming would come more surrealist imagery, since surrealism is an expression of the unconscious mind, and as Freud once said, “the interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” So in all of Beefheart’s surrealist, non-rational dreaming, his “mind cracked like custard,” etc.

The “thick, black felt birds…flying” sounds like a metamorphosis of the “big, black, shiny bug” of night, these birds flying everywhere and blocking out heaven’s light. Now, they have “capes” and “feathers of solid chrome,” which can be a shiny, decorative cover on cars and motorbikes. So the night is shiny again, indicating the light of the moon and stars, “and bleached the air around them, white and cold, well, well.”

This white in black, just like all the other oppositions discussed above, can also be interpreted in terms of the dialectical monism of the yin and yang of Taoism. Yin is black, and yang is white. So, though “it showed in pain,” all is “well, well.”

XVIII: When Big Joan Sets Up

“Big Joan” would appear to be the diametrical opposite of Ella Guru, who is wise and attractive to Beefheart, whereas Joan is “too fat to go out in the daylight,” and her hands and “arms are too small.”

The song begins with a frantic guitar riff in A: a bend from A to B, then the guitar goes up to E, back down to B, down to E an octave lower, E again, up to A, to D, and to the upper E again. This is heard mixed in with other high-pitched guitar leads that Beefheart follows with his high-pitched vocalizing.

Joan’s physical unattractiveness sounds more like a comment on society’s unfairly high beauty standards for women than an actual criticism of her looks. She once “compared her navel to the moon,” as if to see beauty in her body, though society refuses to see that beauty.

Beefheart is willing to accept her as she is: he’ll “set up with…Big Joan,” for he admits that he, too, is “too fat to go out in the daylight,” just as she is. He “won’t droop” if she promises not to complain about her small hands. She needs to accept herself as she is, too.

“Something’s happening,” that is, the world of the late 1960s was changing in terms of its social attitudes, so Big Joan is finally willing to come out publicly. In this sense, Beefheart’s song is like “Take Your Clothes Off When You Dance,” by Zappa and the Mothers of Invention, from the 1968 album, We’re Only In It for the Money, in which “there will come a time when you won’t even be ashamed if you are fat.”

Yet, on the other hand, immediately after Beefheart says she’s “come out,” he essentially says she cannot come out, for “she ain’t built for going naked, so she can’t wear any new clothes, or go to the beach.” So we have in this verse another example of TMR‘s many contradictions.

“They laugh at her body,” oddly, not because she’s big and fat, but “’cause her hands are too small.” Is she “outta reach” because her hands are too small to reach us, or too small for us to reach them? Or both? Is this the real problem, not her physical appearance, but our inability to connect with anybody, while we use physical imperfections as an excuse not to reach out to other people?

“Hoy! Hoy! Is she a boy?” is an allusion to “300 Pounds of Joy,” by Howlin’ Wolf (i.e., the line “Hoy! Hoy! I’m the boy!”) As with “Pena,” the line between masculine and feminine is being blurred in Beefheart’s song, and while in Howlin’ Wolf’s song, his obesity is being celebrated, so does Beefheart’s allusion to it imply a needed celebration of Big Joan as a BBW, not a mere ‘fatso.’

As with an implied celebration of her looks, so can we hear, in Beefheart’s soprano sax soloing and in the band’s sudden, jerky stops and awkward silences, celebrations of dissonances and weirdness in general, things not normally valued, yet which perhaps should be.

XIX: Fallin’ Ditch

Speaking of being unattractive to those of the opposite sex, according to the dialogue between Beefheart and bassist Rockette Morton, which precedes the next song, it seems that one needn’t worry about the latter “with any of those girls” because, “tak[ing] off again into the wind” (like a rocket, no doubt), he “run[s] on beans,” making him not smell exactly of cologne.

The lyric of this song seems to be a repeat of the emotional conflict expressed in “Frownland”: pain is unavoidable, but one tries to avoid it all the same, of course. Beefheart won’t let any setbacks in his life break his spirit.

Accordingly, the music starts off with the usual dissonance and conflicting instrumental parts, yet by the second verse, after we hear the refrain, “Fallin’ ditch ain’t gonna get my bones,” the musical back-up is more tonally centred and up-beat, suggesting a more positive outlook on life.

We all “trip” every now and then, and “get lonesome,” and when we’re down like this, in the “fallin’ ditch, somebody wanna throw the dirt right down,” that is, there’s always somebody who wats to make us feel even worse. When Beefheart “feel[s] like dying, the sun come out,” that is, he knows that when matters are at their worst, that is when our fortune often changes for the better.

So he, defiant against all ill fortune, sings, “Who’s afraid of the fallin’ ditch?” Boasting of his optimism, he asks us, “How’s that for the spirit?”, right as the musical background is cheering up.

XX: Sugar ‘n’ Spikes

This song, like “Moonlight on Vermont” and “Veteran’s Day Poppy,” was written earlier than the other songs on TMR; in fact, “Sugar ‘n’ Spikes” was written in late 1967, just a few months after the release of Beefheart’s album, Safe as Milk. So this song sounds far less experimental than the new songs.

“Sugar and spikes” seems to reflect the dual nature of life–sometimes sweet, and sometimes painful. Similar opposition is heard “in neon nights”–sometimes light, and sometimes dark, which is also reflected in “lights in chains”: the pleasure of light vs being bound in chains. This good/bad dichotomy is further heard in “coughin’ smoke, whoopin’ hope.”

So everything is “sugar and spikes…and everything nice and crazy.” Instead of saying that ‘what little girls are made of is sugar and spice and everything nice’ (a totally unrealistic and confining way to describe the female sex), Beefheart more accurately affirms that “what little worlds are made of” is part pleasure and part pain.

Examples of such pleasure combined with pain in the singer’s “little worlds” include being what seems to be an interracial relationship (his “new Friday’s house,” as in a female Friday to Beefheart’s Robinson Crusoe), and all the pleasures that go with such a relationship; and the irritations of having no hot water (“no H on [his] faucet”), or a bed for his mouse. Nonetheless, he’s content as “king for a day with [his] lady, who look fine.” If she’s his “Friday,” I suspect that his being “king for a day” means he’s putting her in a subservient role, as Friday was servant to Crusoe; in other words, in this relationship we see yet again a combination of pleasure and pain…just as in the servile relationship of Beefheart’s band to himself.

Has he given his “honey” a Speidel wristwatch as a gift? Going to see the vicar, he plans, I assume, to marry her, perhaps in a church named after St. Paul or St. Peter.

The only experimental-sounding part of this song occurs with the drum solo after all the words are sung; it’s a frantic solo going at a much faster tempo than that of the guitars and bass, riffs heard also during the music played earlier with the verse beginning with “lies steam stale.”

The song ends with Beefheart singing high-pitched, childlike nonsense syllables that were also heard, and with the same musical backing, in the verse in which he sang “sugar and spikes and everything nice.”

XXI: Ant Man Bee

Musically, this song more directly merges rhythm and blues with more experimental elements, and the blues aspect is made clear right at the beginning, with the guitar riff.

The “Ant Man” of the title indicates that Beefheart is comparing the modern human condition with ants. The white, black, “yella,” and brown ants are obviously meant to represent all the different racial and ethnic groups of the world, who “can’t get along.” We’re all “longin’ to be free…Uhuru!”

Note how the ants are “in God’s garden.” Is this the Garden of Eden, where Adam blamed Eve for tempting him with the forbidden fruit, and she blamed the serpent for the same thing–like the ants, the three couldn’t get along. The Garden of Eden was like Beefheart’s lady’s garden, where the “sweet, sweet bulbs grow.” And it’s the garden of the house where the Magic Band rehearsed the songs of TMR…and Beefheart, in his fiery temper over their mistakes, couldn’t get along with them, either.

“That one lump o’ sugar” that the ants fight over would be the wealth of the world, hoarded by the greedy plutocrat capitalists. And because of their greed, and all the money to be made by the weapons manufacturers, war profiteers, and in the general racket that war has always been, “war still runnin’ on.”

Now, the bee in “Ant Man Bee” is the liberator of us all; he “takes his honey, then he sets the flower free”…and recall how Beefheart loves his flowers. If only the ants could “set each other be,” or let each other be.

With this understanding of the ever-fighting ants, Beefheart goes into more dissonant sax soloing, to represent that never-ending conflict. With two saxes going at the same time, he sounds as if he’s doing an impression of Roland Kirk, with Rockette Morton doing a bass line of D, E, C, A, A (an octave higher).

Side Four

XXII: Orange Claw Hammer

This track is the third of the a cappella songs on TMR. With hard rs from his heavily rhotic pronunciation, Beefheart sounds as if he’s affecting a pirate’s voice. After all, he’s his daughter’s “peg-legged father” whose “seaman’s eyes…flow out water, salt water.”

The setting of this lyric seems to be putting us back in the Depression-era 1930s, since the pirate-singer is a hobo on trains during such economic hard times, and there are references to a Piper Club airplane (built between 1938 and 1947) and Ohio Blue Tip Matches. “The old puff horse” could be the train he’s going on (an iron horse), or it could be himself, puffing on a cigarette he’s lit with the match.

We get a vivid sense of the man’s poverty, with his “clothes in tatters,” though he has “an eagle” US $10 gold coin (issued from US Mint from 1792 to 1933) in his “hole watch pocket.” Another contradiction, in other words. He sees “a gingham girl, baby girl,” who “passed [him] by in tears.” Is this his long-lost daughter?

The song’s title is derived from the sixth verse, in which we get the surrealist lines “an oriole sang like an orange, his breast full o’ worms, and his tail clawed the evenin’ like a hammer” (my emphasis). Are the sights of the oriole and a jackrabbit meant to be omens that the girl he’s met, and willing to do “odd jobs” for, is his daughter?

He tells her he “was once [her] father,” but had to leave her to work in a “roundhouse” (a locomotive maintenance shed, or a cabin on a sailing ship). His poverty and the tyranny of having to search everywhere for work has caused his alienation from her.

She’s “a youngster” compared to him because he’s so old now. He’s so happy to have her back; he wants the “little one” to give him her hand, and (with that gold coin in his pocket, presumably) he’ll “buy [her] a cherry phosphate” (an old name for cherry soda from the late 1800s, using phosphoric acid to add a tangy flavour). Again, details like this bring the narrative back to the 1930s, when these drinks were still popular.

He’ll also take her to where his old ship was moored on “the foamin’ brine and water.” It’s designed with the wooden image of a beautiful, big-breasted goddess “with the pole out, full sail, that tempted away [her] peg-legged father.” Like Odysseus, the pirate-singer was taken away to sea and separated from his family for many, many years, and tempted into the bed of another woman (like Circe or Calypso), “a soft lass with brown skin.” Would she be the “Friday” girl of “Sugar ‘n’ Spikes”?

It seems that, after she “bore [him] seven babies with snappin’ black eyes and beautiful ebony skin,” he abandoned her and their litter, the same way he was “tempted away” to sea, and he abandoned the daughter he is now teary-eyed to see again, after “thirty years away.” Life is, indeed, full of sugar ‘n’ spikes.

Beefheart sings this song in a melody that largely suggests a back-and-forth progression of E minor and D major.

XVIII: Wild Life

“They,” or those who would “take [Beefheart’s] wild life” and “[his] wife” are presumably those in our modernized, industrialized, capitalist society. He wants to live his free, natural life “in [his] lady’s garden,” where the “sweet, sweet bulbs grow.”

Is his wife Ella Guru? Is she the “soft lass with brown skin,” the “Friday” of “Sugar ‘n’ Spikes”? Is she “Big Joan”? Are all of these women the same one, beautiful, yet fat and “too much for [his] mirror”? If she is all of them at once, we have yet more contradiction and paradox on this double album.

This toxic modern society, the spikes taking away his sugar, have already “got [his] mother’s father, and run down all [his] kin,” so he and his wife are next to be taken. To save himself and her, he’s “goin’ up on the mountain for the rest of [his] life.” He’ll find himself a cave, “and talk them bears into takin’ [him] in.” He wants nothing to do with fake modern society.

Small wonder Beefheart lived a cult-like existence with the Magic Band in that house.

As an expression of that wildness that he idealizes, Beefheart does more of his wildly spontaneous soprano sax soloing.

XIV: She’s Too Much for My Mirror

The song opens with a brief monologue by Richard Kunc, saying, “She’s too much for my, or anybody’s, mirror.” According to French, Kunc would make a little joke on every take recorded, this being the one that got included on the album.

This song seems in many ways to be a sequel to “Wild Life,” for “she” is a personification of Chicago, a city of toxic, modern, capitalist decadence that Beefhart wants to leave “for that little red farm.” He yearns for the country life, “remember[ing] the butterflies and the sweet smell o’ corn, and the bubblin’ fish in that lil’ pond.”

The city’s decadent, “floozy”-like ways are “too much for [his] mirror,” that is, they trouble his conscience and self-concept. The capitalists of the city “make a young man a bum,” for Chicago makes him “hungry and cold.” So he’s going up on the mountain, so to speak, for the rest of his life, before Chicago takes his wild life and his wife.

Speaking of her, I said above in my discussion of “Wild Life” that the wife could be Ella Guru, the dark-skinned “Friday” who gave him seven kids, and who was also “too much for [his] mirror.” If so, that he’d take her along, yet leave her (as representing Chicago) would be yet another contradiction. Maybe he loves and hates her at the same time–she’s both “sugar ‘n’ spikes.” Maybe escaping with her to the mountain “before they take [his] wife” is precisely that she is getting to be “too much for [his] mirror,” that is, she is Chicago because she is becoming too much like Chicago, and he needs to restore the Ella Guru in her.

She’s like his mother (in the sense of being an Oedipal transference, or as Mother Nature, the Earth Mother Goddess), who once “told [him he] oughta be choosy,” that is, not settle for less, and be ambitious like the money-making capitalists in Chicago. He thought she was a friend back then, but now he knows “she’s a floozy,” for she’s become a whore for capitalist greed.

So he’s lost the beautiful, natural Ella Guru he once loved. He doesn’t want to return to the Frownland of Chicago, so he longs for “Lucy,” or “Losey,” the woman he did lose to Chicago.

The song begins in E minor, then goes through a number of modulations to other keys, including a few progressions of subdominant to tonic in those new keys. It grows quite dissonant towards the end.

XXV: Hobo Chang Ba

This song is essentially a vignette of a hobo hopping from train to train, or stowing aboard boats, traveling from dawn to dusk. The song could represent someone like the solo singer of “Orange Claw Hammer,” or on “The Dust Blows Forward ‘n’ the Dust Blows Back,” a poor homeless fellow from the Depression era.

With the name “Chang Ba,” is he supposed to be a Chinese-American? If so, thankfully, Beefheart doesn’t affect a racist, stereotypical Chinese accent for his singing voice.

Apart from the usual dissonant guitar jangling, one riff that stands out in this song is an ascending power chord progression of D, E, F♯, then D-E-F♯-D-E.

XXVI: The Blimp (Mousetrapreplica)

We can hear Zappa’s voice at the beginning and the end of this track, in the form of a phone call. Instead of the Magic Band, we hear three of the Mothers of Invention–Roy Estrada on bass, Don Preston on piano, and Art Tripp III on drums, playing a riff in 7/8 time.

The bass is playing sixteenth notes of C-C (then a sixteenth rest), C-C (sixteenth rest), C (sixteenth rest), C-C-B-B-A (sixteenth rest), with the piano playing a C major triad with the fifth going up to a sixth to make a C sixth chord during the bass notes of C-C-B-B-A. The drums are playing a beat to parallel exactly the bass and piano.

Over this music, we hear Antennae Jimmy Semens reciting Beefheart’s poetry, which is an account–of sorts–of the crashing of the Hindenburg (“the blimp”). Semens’s hysterical reciting might remind us of the news reporter, Herbert Morrison, and his emotional, eyewitness response to the disaster (“Oh, the humanity!”, etc.). Semens is addressing Zappa, calling him “Frank,” as he speaks.

The comical nature of this track suggests that the crashing of the Hindenburg is just a metaphor for a “blimp” like Big Joan, or some other such “bulbous” person.

XXVII: Steal Softly Through Snow

This song begins with a guitar riff in 3/4, then a few dissonant chords, and Beefheart begins singing.

He is saddened to have both his reflection in a mirror and the moon obscured from his view. In other words, he is being prevented from engaging in introspection and from contemplating his Jungian anima, as represented in the moon goddess: recall how in a number of the previous TMR songs we’ve looked at, Beefheart derives happiness from such objects as the moon, the sun, and flowers.

He would “steal softly through sunshine” and “snow,” that is, he’d move stealthily through all of life’s happy and unhappy moments, or to be able to cope with life successfully. He wishes he could escape “the winter of our discontent” the way a goose can just fly away from it, but sadly, of course, he can’t. So all he can do is “steal softly through” life’s ups and downs.

Swans, which are largely monogamous throughout their lives, “live two hundred years of love, they’re one,” so he is saddened “to see them cross the sun,” that is, to see them enjoy its light, warmth, and love, knowing he can’t go and enjoy it, too, for he has to stay in a loveless, alienating world in which relationships break up all too often.

There’s more of Beefheart’s wordplay in “grain grows, rainbows,” expressing more of his delight in nature, “up straw hill.” It “breaks [his] heart to see the highway cross the hill,” that is, to see the destruction of nature in the paving and tarring of the ground. Man has lived for millennia, “and still he kills.” Beefheart “can’t go” into a state of introspection in front of a mirror covered with “black paper.” All he can do is sneak about between the happiness of sunshine and the sadness of snow.

XXVIII: Old Fart at Play

This track, originally intended as an instrumental, was to have the title, “My Business Is the Truth, Your Business Is a Lie.” Zappa, however, insisted on adding vocals to the track, and made Beefheart relent, so the latter recited a narrative over the music.

Beefheart is likely referring to himself as “the old fart,” wearing “his wooden fish-head,” a “very intricate rainbow trout replica”…hence the title of the album and the cover, on which Beefheart is holding a fish-head mask in front of his face. “The old fart was smart,” for “only he noticed” things that others can’t, the trout mask apparently helping him see better.

“The fish-head broke the window” to the kitchen where “mama was flattening lard with her red enameled rolling pin.” So his insight into the world, given to him through the trout mask, breaks into our normal world, where people like mama engage in domestic drudgery, and shakes up the established order.

His sense of smell is improved, too, thanks to “his important breather holes” on the mask. It’s odd that he is “now breathin’ freely” through “the nose of the wooden mask,” just as it is odd that he’d see better with the mask on his face, noticing things better than other people can. Yet such is the contradictory, paradoxical nature of TMR, and why the title and cover for the album are so fitting.

With this better insight into the nature of things thanks to his mask, “an assortment of observations took place.” Mama, who had originally just been doing the usual domestic servitude that women have traditionally been doomed to because of the patriarchal family, is now engaging in odd, but creative and liberating behaviour: she’s “licked her lips like a cat [enjoying pleasure, for once], pecked the ground like a rooster [a male fowl, symbolically implying a switch from the female to the male role, liberating her from her role’s limitations], pivoted like a duck [moved around and shifted away from her old ways, that is, she’s trying new things],” etc. His fish-head having broken the window, like breaking the glass ceiling, has freed mama from her traditional sex role.

“The old fart smelled this” liberation, and he, too, is liberated, “now breathin’ freely.” When you free others, you free yourself.

XXIX: Veteran’s Day Poppy

This is the third of the three earlier-composed-and-recorded tracks on this album, along with “Moonlight on Vermont” and “Sugar ‘n’ Spikes.” And as I said above, like the other two, this song is less experimental than the rest of the music on TMR…except for a few dissonant chords during the second half of the song, a plaintive instrumental section in 3/4.

The first half of the song sounds more upbeat and blues-rock oriented, more in keeping with Beefheart’s pre-TMR style. While Beefheart is singing the brief verse, one of the guitarists is playing a melody Gene Autry sang in the song, “El Rancho Grande,” a cheerful little tune.

Beefheart is singing about a mother who is mourning the death of her son, who died in WWI, and so she doesn’t want to wear a poppy on Veteran’s Day. So this song is another antiwar one, like “Dachau Blues,” and one opposed to all the hate and competition between different ethnic and racial groups, as in “Ant Man Bee.” This sadness, nonetheless, is heard over–as I said above–such an upbeat groove as to be yet another paradoxical, contradictory moment on TMR.

XXX: Conclusion

When I speak of the contradictory, paradoxical, and incongruent nature of the themes of TMR, I’m not trying to be disparaging of the album. On the contrary, these elements are among what’s crucial to what makes TMR great, for they reflect what life is all about. Everything, properly understood, is in dialectical contradiction. To understand something fully, one must be willing to see it from all perspectives, for reality is incongruous, never clear-cut.

TMR, therefore, is a great album not just because it is so advanced in its musical experimentation, but also in its joyful embrace of paradoxes. It’s musically advanced, yet it has a wonderful, childlike quality about it. It’s “awful-sounding,” yet it’s musical genius. It’s sugar ‘n’ spikes, and everything nice and crazy, for that’s what little worlds are made of.

Great art of any kind has a universal quality to it, and TMR, with its paradoxical embrace of both sides of everything, has that universality.

The Tanah: Crests–Chapter Three

[The following is the forty-sixth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, here is the twenty-eighth, here is the twenty-ninth, here is the thirtieth, here is the thirty-first, here is the thirty-second, here is the thirty-third, here is the thirty-fourth, here is the thirty-fifth, here is the thirty-sixth, here is the thirty-seventh, here is the thirty-eighth, here is the thirty-ninth, here is the fortieth, here is the forty-first, here is the forty-second, here is the forty-third, here is the forty-fourth, and here is the forty-fifth–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]

Translator’s Introduction

This chapter is the last of the Crests. It is also the last of the texts of the Tanah to be translated…for now, until more have been discovered, to be translated and commented on when the time comes.

As has been explained in the commentary on earlier chapters, this crest is an ambiguous one. What is to become of humanity after the third and most terrible trough? Is man to be reborn in a new, peaceful world, or is he to exist only in a spiritual, nirvana-like state in the oneness of Cao? The elders of the tribe who saw the vision of this final crest do not know. The reader will have to decide for him- or herself.

Chapter Three

The last vision that we elders had, the final crest, was difficult to interpret. What was the true nature of the peace that we saw? Was it the quiet of man no longer fighting his brother, or was it the quiet of man no longer in existence, since death is often the highest peace, the one true escape from pain? Our uncertainty was chilling.

We saw flatlands with no plants or animals. We saw only barren desert waste and rock. Total silence. Not a single man, woman, or child could be seen anywhere, near or far, to populate the land.

Still, we could feel humanity; the souls of all people were a vibration throughout the air. These souls were all one, united in peace, with no bodies to make them seen or heard. Still, that collective soul was there, all in harmony.

Finally, after a long wait, what seemed like years, maybe hundreds or thousands of years, we saw the beginning growth of green, a tiny plant. Our vision thus ended.

We asked each other many questions about what we saw. Will the Pluries fall again, animating the rain with divine spirit and life? Would this plant we saw be the first of many more to come? Would new animal life come after the plants? And then, at last, would man reappear, to live in peace and harmony with his brother?

We can only hope so.

If not, may the united souls of man, in that vibration in the air, remain in peace by always being at one with Cao.

Billionaires Should Not Exist!

Photo by Markus Winkler on Pexels.com

I: Introduction

A couple of weeks before I started writing this post, I came upon a short video posted on Twitter (I refuse to call that social media website by its moronic renaming!) on which Elon Musk was complaining about having to pay too much in taxes. Good God: who would imagine the richest man in the world, a centi-billionaire, upset about that? The super-rich would never go on campaigns to lower their taxes, would they?

Well, of course, such complaining is only to be expected of him and his ilk. But matters get worse when we encounter ordinary people defending these plutocrats, which I promptly found myself having to deal with after replying to the video by saying that people like Musk pay far too little in taxes, which of course they usually do–that’s how they became centi-billionaires in the first place.

Musk’s defender was someone who calls him- (or her-) self “chronically based” (“chronically bird-brained” is more like it). The person in question replied to my comment by saying that Musk pays “absurdly” high taxes, “in the billions.” I took a quick look at the defender’s Twitter page, which included, under the name, what probably shouldn’t be all that surprising–a Bible quote: “With man this is impossible, but with God, all things are possible” (Matthew 19:26). Right-wingers are often fond of their feel-good Christian quotes.

I responded to all of this by pointing out the oft-noticed link between Bible-thumpers and billionaire-simping right-wingers, adding that this person ought to read this quote from Matthew–25:31-46, which shows a concern for the poor, something right-wingers routinely ignore.

Well, I suppose this person got a little upset by my reply. First, he or she wanted to know if I’m any better when it comes to caring about the poor (by not defending the super-rich, I’m already better without a need to do anything else!). Then, after citing a few more debatable statistics about the tax rates of the rich vs average-income Americans, which I consider neither here nor there, he or she claimed that higher taxes would just drive the super-rich out of the country, leaving the US government to default, since average-income Americans wouldn’t be able to carry the burden of such high taxes.

Let me deal with these objections one by one. There was no point in my saying any of the following in a reply on Twitter, since I’ve no need to prove myself to this nitwit (who probably wouldn’t listen to me, anyway), and my claims of charity couldn’t be verified independently, anyway. But suffice it to say, for years, I donated money monthly to World Vision to a boy in Nicaragua named José Eliel Angulo; and as a leftist, I constantly advocate for the poor. This right-winger said nothing of helping the poor; just billionaire-simping. I’ve already done leaps and bounds more, even with my modest charity as a chronically-underemployed worker (ever since covid), than he or she.

Photo by Tima Miroshnichenko on Pexels.com

II: Musk’s Wealth and Taxes

Next, we should look at the claim that Musk pays an “absurdly” high amount in taxes, “in the billions.” Let’s start with some context: Musk‘s net worth, as of this writing in May 2026, is $788 billion, according to Forbes; his net worth was $800 billion in February 2026. In 2021, his net worth, again, according to Forbes, was $300 billion. His total in net worth billions rose by a billion yearly, if not almost monthly, from 2024 to 2026. Since November 2025, he’s been expecting a Tesla pay package of $1 trillion, if approved, over a period of ten years, if he meets specific goals.

Note that net worth is, of course, after taxes. In 2021, he had to pay about $11 billion in taxes (while Tesla paid none), yet his net worth had been $300 billion. Given his gargantuan wealth at the time already, I think he could handle a tax on 28.27% (311/11) of his wealth–it doesn’t seem all that “absurdly” high to me. It was also just one year. He paid no federal income taxes in 2018, by the way. From 2014-2018, he paid $455 million in taxes on $1.52 billion of income.

As much of his wealth is in stock rather than salary, his tax liabilities often arise only when he sells shares, allowing him to defer taxes. In 2026, he said he’d have to pay a combined federal and state income tax rate of around 45% when selling stock. Well, don’t sell the stock, then, Elon, if you hate taxes so much.

Incidentally, Tesla paid 0% in federal income taxes, in 2025, on $5.7 billion of US income. Indeed, in spite of high profits, Tesla has utilized tax breaks, resulting in a low effective tax rate in recent years.

Furthermore, ever since Trump‘s second term, the super-rich have seen huge increases in their wealth, up roughly $1.5 trillion in 2025, about 22%, from $6.7 trillion to $8.2 trillion. Musk, Jeff Bezos, Larry Ellison, and Mark Zuckerberg made up about a quarter of the total gains. Much of these gains were, of course, because of Trump’s tax cuts to the rich. A study last year showed that, in spite of the super-rich paying an overall larger share of taxes than ordinary Americans, the former pay a lower tax rate than the latter. The super-rich are not paying their fair share.

Ultimately, though, who pays how much in taxes is neither here nor there when you consider how everyone ends up after the taxes are paid. Oligarchs like Musk, Bezos, et al are still obscenely wealthy, while millions of working-class Americans are struggling to make ends meet. We all know where far too much of that tax revenue goes–to the military, to Israel, to the US/NATO proxy war against Russia (using Ukraine as a stick with which to hit Putin), and the like, in disproportion to how much should go there…if any of it. Far too little of that money is going out to help the poor.

And the rich won’t leave the US if taxed more…they own the country! They simply won’t pay. We cannot legislate them out of their wealth. That’s why I advocate forcible expropriation (via socialist revolution), and not taxation, anyway.

A huge part of the reason that so many of the super-rich (the tech-bros in particular, like Musk et al) are supporting Trump in his second term is surely because of those delicious tax cuts his administration has given them. When Musk is in a video talking about how ‘awfully high’ taxes are in the US, what he’s really trying to say is that he simply wants to get them even lower than they currently are.

Musk currently has ambitions of being the world’s first trillionaire, as Tesla’s pay package, mentioned above, may make him. We have a word to describe such ambitions: GREED.

This leads me to take a proper look now at the psychology of the super-rich.

Photo by Guillermo Berlin on Pexels.com

III: Billionaires Are Different from the Rest of Us

Yes, the title of this section is ridiculously obvious in its truth, but I need to state it in reaction to something that chronically bird-brained said in one of his or her comments Apparently, the rich are the same as the rest of us and ought to be treated the same as us.

lol wut?

It doesn’t take a genius to realize that acquiring huge amounts of wealth changes you psychologically, and in a profound way. You become more selfish, acquisitive, narcissistic, entitled, and you lose much in empathy for others. It’s easy to see why people like Musk want even lower taxes than they currently have to pay.

Several years ago, I wrote an article on how those benefitting from capitalism tend to exhibit narcissistic personality traits. Many of the super-rich are so devoid of empathy and basic decency that they can be reasonably called sociopathic.

Consider how Jeff Bezos’s company, Amazon, has pressured their workers to deliver products so quickly that, lacking time to go to the bathroom, they have to piss in bottles as they’re driving to deliver! Then there’s Musk himself, who in response to 2019’s fascist takeover of the Bolivian government (with its accompanying violence to those Bolivians opposed to the new right-wing government) and the left-wing protests against it, he said, “We will coup whoever we want. Deal with it!”

Finally, there’s that billionaire psychopath Alex Karp, CEO of Palantir, whose AI is currently used to help the IDF kill Palestinians and Lebanese, and which will also be used in data centres for mass surveillance of everybody. He’s spoken bluntly of the ‘superiority’ of Western civilization and the need to defend it, necessitating scaring our ‘enemies’ so we can “on occasion kill them.” Such notions are in Palantir’s 22-point manifesto. And Palantir co-founder/Trump supporter Peter Thiel speaks out against democracy.

We all have dark, selfish thoughts deep down: Freud‘s id, and Jung’s Shadow. What distinguishes us from the super-rich is that they can afford to fulfill their darkest desires. That’s why billionaires shouldn’t exist. This is just common sense.

Those guilty of the disgusting and highly disturbing Epstein crimes weren’t and aren’t necessarily billionaires, but they’re certainly rich enough to have partaken. They, who raped and sexually exploited underage girls, among other atrocities, clearly regard common people as mere toys to be played around with, mere meat, not as human beings.

This sort of wickedness is why people like me are opposed to the whole idea of being born into a lower class, a middle class, or an upper class. One tends to stay where one is: those at the bottom generally cannot escape poverty, those in the middle are driven to work like slaves out of a fear of falling to the bottom, and those at the top, never learning what it’s like to struggle to live, go through life entitled, thinking they should be able to have anything they want and never be held accountable for any wrongdoing.

Such an entitled attitude is easily seen in people like Trump, who’ll “grab ’em by the pussy,” and never release the Epstein files, in which his name is mentioned tens of thousands of times. Billionaires are people who can buy a home, a private plane, cars, etc. quite fast and easily, as compared with how the rest of us would struggle, scrimp, and save to afford any one of those things. One billion is a thousand millions: people need to use their imaginations and think about what one can do with that much money. If a million dollars were seconds, they would add up to a little over 11.5 days. If a billion dollars were seconds, they would add up to about 31.7 years; and if a trillion dollars (Musk’s current ambition) were seconds, they would add up to about 31,710 years. I hope these calculations help the skeptics understand why we call such amounts of money obscene levels of wealth.

No, billionaires are not the same as the rest of us. We aren’t even in the same league as they are.

Some may try to defend billionaires by referring to their acts of ‘philanthropy.’ Their ‘charitable’ acts, however, require closer scrutiny. Only a small amount of that money actually goes to helping the poor; when donations are given to schools, for example, they usually go to elite ones. A lot of the motive behind the giving is for tax breaks and an improved public image. Most importantly, this ‘charity’ only serves to justify keeping the class system as it is instead of properly addressing the real root causes of poverty–those of capitalism.

The Bill and Melinda Gates Foundation may have done a lot to reduce the problem of polio, but that was far from the biggest problem of the local people, to give one example. That foundation is also not all that noble in its agenda: among other things, Gates’s ‘giving’ allowed his net worth to go up every year since 2009 to $72 billion as of 2014. It’s currently at $102-108 billion. Some charity.

If expropriated, billionaires’ wealth could help end world hunger, build schools and hospitals in the Third World–ones that are fully equipped and with well-trained staff–it could provide affordable if not free housing for everyone, and could be used to clean up the planet. All their combined wealth is around $16 to $20 trillion: don’t tell me it couldn’t at least make huge strides at achieving, if not completely achieve, the above goals.

Instead of even trying to achieve those oh, so worthy goals, however, what kinds of things do the super-rich do with their wealth, besides hoarding it in offshore bank accounts to avoid taxes (i.e., the Panama and Paradise Papers), to pushing for even more tax breaks, lobbying for Israel, etc.? Well, in the case of Musk, Bezos, and Richard Branson of the Virgin Group, they go into private space exploration! What do we need that for, when we have NASA?

What good are fantasies about colonizing space when we won’t even solve the ecological problems of this planet? Even if we achieve the technological miracle of science fiction’s terraforming, isn’t it true that we’ll just mess up the environment out there on those planets, too, sooner or later?

The motives of these three private space explorers is obvious: it isn’t out of altruism: it’s just a glorification of their already bloated egos. No, billionaires are not the same as the rest of us. They are, in fact, monstrosities.

Photo by Brett Sayles on Pexels.com

IV: Billionaires Buy Power and Kill Democracy

The idiotic dogma of the market fundamentalists is that with minimal-to-no government intervention in the economy, the “free market” as a ‘natural,’ ‘organic,’ and ‘self-regulating’ way of doing things will set everything right. Lower taxes, deregulate business practices, and businessmen’s “rational egoism” will motivate them to produce the best quality goods to satisfy customer demand, resulting in a healthy economy with lots of jobs for everyone. Wealth will “trickle down” to the poor, and everyone will be happy.

The last fifty-or-so years have shown that the truth is anything but the nonsense described above. When taxes are lowered and the economy is deregulated to maximize profits, far from resulting in the right-wing libertarian’s “free market” utopia, millionaires become billionaires and their private property balloons, requiring the super-rich to protect it all the more through the very state that they claim they want to minimize. Hence all the rich’s lobbying of American politicians through super PACs, resulting in legislation to benefit the rich at the expense of the poor. Hence the proliferation of militarized police. And hence, when markets dry up here and need to be developed abroad, the need to export capital to other countries, fueling imperialism and war.

As I explained here years ago, the “free market” doesn’t result in “small government”; it results in huge government (i.e., the bloated military-industrial complex). As Tupac once said, “They got money for wars, but can’t feed the poor.” When right-wing libertarians talk about “small government,” what they really mean is cutting social programs; spending absurdly high amounts on the military, though, as if there were no tomorrow, is perfectly acceptable to them. Their notions of being “frugal” and not wasteful with government money is pure hypocrisy. It’s not “small government”; it’s capitalist government.

This is why the US has a multi-trillion-dollar deficit because of such things as military spending that’s through the roof, resulting in a “need” to raise the debt ceiling, yet there are all these cuts in education and the like. Landlords have raised rents, resulting in a rise in homelessness to an epidemic level, exacerbated recently by the inflation caused by Trump’s tariffs and his needless war of aggression on Iran (spiking oil and gas prices).

Tariffs, of course, are taxes on imported goods. While Trump has lowered taxes on the super-rich, hence the backing of his reelection campaign by Musk et al, the poor are being burdened with the taxes of these tariffs, and the poor in the US are already having difficulty making ends meet as it is. All of these injustices are the result of allowing the super-rich to have too much political influence, making them get richer and richer, while the rest of us get poorer and poorer.

Real democracy means giving power to the common people, not this sham we see of voting for whoever the oligarchs allow us to vote for every four or so years, and yet the pro-rich, anti-poor policies continue unchecked. In these ways, we can see how, in buying political power, the billionaires are killing democracy.

Any candidate offering a real alternative to the system gets marginalized. Scant media attention is ever given to the Green Party, for example, and even the modest social-democrat reforms proposed by Bernie Sanders, AOC, etc., are stopped before they can even be seriously considered. Sanders can be counted on to bow down and endorse yet another corporate whore of the Democratic Party during the lead-up to any election because he is just a sheep-dog for the left. He and AOC, in spite of the lip service they pay to criticizing Israel, are Zionists: any American politician who wants to have a successful career must be firmly Zionist, as Israel has always been crucial in helping protect the interests of Western imperialism.

This is all why, outside of revolution and expropriating all of the billionaires, the poor will never have a hope of improving their lot. The super-rich will never pay their fair share in taxes, and they’ll continue to lobby for even lower taxes. They do this because they own the country. They are killing, if they haven’t yet already fully killed, democracy.

The fact that Trump recently visited China accompanied by oligarchs like Musk and Jensen Huang of Nvidia is telling. Trump is one of these oligarchs, and he serves the oligarchs, who truly rule the US. They are caving into China because they know that China, home to many of the coveted rare earth minerals and other natural resources essential to propping up American industries like AI, etc., has the upper hand.

The link between billionaires and AI leads me to my next point.

Photo by Oktay Ku00f6seou011flu on Pexels.com

V: Billionaires Want to Surveil Us

Along with the idea that today’s US government is a big, capitalist one is the fact that this state is getting increasingly fascistic and totalitarian. As I discussed in this article, what is feared of communism is here in capitalism: attacks on freedom and democracy–touched on in the previous section, but I go into more detail in this other article; cults of personality (i.e., Trump), police brutality, concentration camps, and mass murder (again, see my article for details); and finally, surveillance, which is what I want to get into here now.

As the working class gets more and more frustrated and desperate, they will start lashing out and thinking about revolution. The super-rich, naturally, are getting nervous about that, as we can see from such things as Luigi‘s shooting of the health insurance billionaire, the burning down of warehouses, and Sam Altman’s house being hit with a Molotov cocktail.

The tech bros among the billionaires have been setting up AI data centres in places all over the US, which apart from using up needed water and energy are also being used to collect data and info on everyone. So anyone who, as the AI finds out from all of this personal information, is in any way involved in organizing resistance to the capitalist, imperialist system, who is agitating and educating (as I try to do here), and/or is planning anything of a revolutionary nature has thus made him- or herself a target. Big Business is watching you.

Note that at least one of these oligarchs, Larry Fink, billionaire CEO of BlackRock, has vocally expressed his concern about “domestic terrorism” in the event of a possible civilian use of drones to strike these data centers, an act of resistance against the growing totalitarian capitalist state. Note also that Fink was one of the oligarchs who went with Trump, Musk, Huang, et al to China. And note further that BlackRock, along with Vanguard and State Street, is one of those giant, multinational investment companies that own and control just about every business on the planet.

These billionaires are becoming truly scary people. Taxing them more doesn’t even begin to address the need to rein them in. Why do you think Musk brazenly did a Nazi salute on TV at the time of Trump’s inauguration? Was he just being foolish or ‘socially awkward’? Doing such a thing thirty years ago would have been political suicide. Now, at worst, Musk has received something of a public shaming (like most of the Epstein criminals), but there haven’t been any real harsh consequences to his life and career. He did the salute because he knew that with the ascent of Trump, fascism has arrived fully formed in the US, and Musk figures there’s nothing any of us at the bottom can do about it.

This helplessness of ours brings me to my next point.

VI: Genocide as Suppression of Resistance

The “terrorism” of Hamas and Hezbollah should be understood as resistance against the ongoing Israeli settler-colonialism, occupation, and oppression of the Palestinians. The UN has acknowledged that armed resistance against an occupying force is legitimate self-defense. To the extent that the events of October 7th, 2023 were the acts of Hamas, as opposed to the Hannibal Directive, we can see those events as part of that resistance; for as those of us who have read the history know, this conflict didn’t start on Oct. 7.

While the Zionists have made life for the Palestinians an unending hell ever since the foundation of Israel in 1948, the ethnic cleansing of those in Gaza and the West Bank has been particularly shocking to watch on live-streamed video and photos since Oct. 7. Bodies buried under the rubble of destroyed buildings all over Gaza, children having lost limbs and their bodies torn apart, traumatized survivors everywhere, people dying of starvation, a lack of housing and medical care…all because the IDF looks on the victims with a Hitler hate.

Now of course, the international reaction from ordinary people like me to all of these horrors has been one of sheer outrage, but apart from protesting and attempts to bring food and medical relief to the victims, we cannot stop the Israelis, the great majority of whom support Netanyahu and his thugs in their non-stop murder, which has now extended itself to southern Lebanon. The people in power who really could have stopped Israel–such as, first, Biden and Harris, and now, the Trump administration–have done nothing. They have all been perfectly content to allow the killing to continue. Again, as with Sanders and AOC, they may pay lip service to how awful the violence is, but they’ll do nothing of consequence to stop the violence.

Note that this support of Israel is not limited to the United States government. The former prime minister of my country, Justin Trudeau, proudly called himself a Zionist while this killing was going on; like so many others, he was more concerned with “antisemitism” (never mind that many Jews are anti-Zionists, and many non-Jews are Zionists). Similarly, you can find video of German police beating the shit out of pro-Palestine protestors, who include women.

The Middle East is geostrategically very important to the US and the rest of the Western Empire, as I went into here...all that oil! It’s extremely vital to the imperialists to have an ally–Israel–to kick ass in the region, as then-senator Biden said in a speech back in 1986 (not with my choice of words, of course, but the same idea).

Photo by Monirul Islam on Pexels.co

Therefore, not even protests against Israeli brutality against the Palestinians–and now against Lebanese–is acceptable to the Western powers-that-be…to say nothing of a military intervention from those powers to stop the Zionist slaughter. And so the accusation of “antisemitism” is such a convenient excuse for those powerful people to use to stifle the protests (and so it’s important that we protestors not fall into the trap of generalizing about “the Jews” when we protest the evils of Zionism…such generalizing only gives those powerful people more ammunition against us).

When we consider how Israel–apart from a public shaming–is continuing their persecution of the Palestinians with impunity, we must also consider another, even scarier idea: the ongoing genocide of Gaza, the West Bank, and now southern Lebanon is clearly a template for how all resistance–anywhere in the world–will be dealt with.

Consider the current situation in Cuba. The island has already suffered an economic embargo since 1960 for committing the unforgivable sin of kicking out the capitalists on New Year’s Day, 1959, and embracing Marxism-Leninism. Now, the Trump administration has been cutting off Cuba’s acess to vital materials for its people’s survival–no fuel or oil, widespread blackouts, difficulty in securing the financing and logistics to import basic food, medicine, and agricultural inputs. There are even Cuban fears of a US military invasion. If the American government is allowed to have its way in these acts of aggression, this will mean yet another genocide.

So what’s happening in Palestine, southern Lebanon, and Cuba is adding up to a dangerous set of precedents. Genocide will be the punishment for resistance against capitalism, imperialism, and settler-colonialism. Imperialism has always been violent, cruel, and bloodthirsty, but not on such a brazen level. And who do these imperialists ultimately serve? The capitalist class, at the top of whom are the billionaires…which leads me to my next point.

VII: The Rich Fuel Imperialism

In Imperialism, the Highest Stage of Capitalism, Lenin explained how the interlacing of bank and industrial capital, creating a financial oligarchy, has financial capital generate profits from the exploitation colonialism inherent in imperialism. Note that these imperialist wars and coups d’état are not just “government stuff.” The bourgeois government merely manages the affairs of the capitalist class. In other words, it’s really the rich who fuel imperialism.

Photo by Saifee Art on Pexels.com

Consider again Musk’s tweet in response to protests over Áñez‘s far-right takeover in Bolivia in 2019: “We will coup whoever we want! Deal with it.” He said the quiet part out loud here: it was his coveting of Bolivian lithium (and that of other oligarchs–including those among Western carmakers and investors [including U.S. firms], and various private technology corporations) that motivated at least some of them to aid in the right-wing coup and removal of Evo Morales from power.

Then there’s the real motive behind the kidnapping of Nicolas Maduro and his wife: not that nonsense about arresting him on bogus charges of drug trafficking, but to steal Venezuelan oil, which is what Trump has been doing (making his claim that it was Venezuela that was stealing from the US pure projection). The US government and the capitalists it serves have been coveting that oil for years, since Venezuela has the largest oil reserves in the world.

On top of all of this, the Big Three asset managers–BlackRock, Vanguard, and State Street (note the extent of their influence on corporate America)–have substantial investments in the defence sector, including Lockheed-Martin, Raytheon Technologies, and Northrop Grumman. We don’t know exact numbers here, but estimates suggest the Big Three’s combined holdings could be in the hundreds of billions of dollars. These defence contractors are profiting from wars like the one in Iran.

While oligarchs like Musk, Bezos, Gates, Mark Zuckerberg, and Warren Buffet don’t hold significant direct public stock portfolios in legacy defence contractors like Lockheed-Martin or RTX, Musk’s Starlink, for example, has been used to help Ukraine in the US/NATO proxy war on Russia; Starlink has also been used to help Israel. Amazon, under Bezos, secured a massive contract (Project Nimbus) to provide cloud services for the Israeli government and military. Gates’s Microsoft has a notable cybersecurity and technology footprint in Israel. Buffett, a strong supporter of the Israeli economy, is heavily invested in Israeli businesses like Iscar. The fact that the super-wealthy have, in one way or another, been involved in imperialism and Zionism is all the more reason to be opposed to the very existence of billionaires.

VIII: Conclusion

All of the above reasons should demonstrate that there is no sound reason to regard billionaires as anything like the rest of us, or that we should treat them as we would anyone else…except that they should be reduced in wealth to that of the average citizen, at least. Billionaires need to be much more than merely taxed heavily: they should be expropriated–they should not exist as such. Reduce them to the status of multi-millionaires at the very most…and that is already being very generous to them. (I would, incidentally, extend this reduction to Chinese billionaires, too. Fair is fair.)

Another thing worthy of mention–though I won’t go into detail about it here, since I already did so in section III of this article–is the undue influence of the super-rich on the media. You can go to the link for the details.

Of course, forcible expropriation of the super-rich is easier said than done. In fact, with AI surveillance data centres keeping tabs on all of us, militarized police and ICE ready to beat the shit out of us, as well as those scary robot dogs, etc., the achievement of the needed expropriation seems bordering on impossible. Still, we can’t just sit on our hands and wail in despair. Things will continue to get worse if we let them. We have nothing to lose but our chains.

Elsewhere, there is hope in the decline of the American empire and de-dollarization. As Rosa Luxemburg once said, “Before a revolution happens, it is perceived as impossible; after it happens, it is seen as having been inevitable.” Let’s find comfort in those thoughts.

‘Just Beneath Your Boat,’ the Horror Anthology with My Short Story, ‘Scylla,’ Has Been Published!

Just Beneath Your Boat: Tales of Aquatic Terror Edited by: Thomas Folske, has been published on Amazon today, May 17th. Presented by Dark Moon Rising Publications, the anthology has my short story, ‘Scylla,’ in it.

My story is about a family going out in a yacht, but the father works in a big company that is polluting the ocean to cut costs and maximize profits. Certain supernatural forces in the ocean, however, want to take their revenge not only on him but also on his whole family, using the plastic dumped in the ocean to construct a huge…abomination…to kill them.

Other great writers in the anthology include the following:

Stephen A. Roddewig
Jeff Parsons 
Lillian Csernica
Rob Tannahill
Claire Davon
LJ Jacobs
Milan Simić
Justin Carlos Alcala
Denise Landry 
Blake Hoss
David McDonald 
CJ Hooper
Pip Pinkerton 
Dino Parenti
Don Anelli
Matthew Chabin
Kasey Hill 
DJ Tyrer 
Miguel Fliguer
Thomas Folske
Michael Mortimer
Margaret Eve

Also, there is artwork from:

Alhiya Hoffman
Amelia Folske
Ben Merk
Blake Hoss
Kelsey Grimmell
Michelle Hanson 
Milan Simić
Olivia Davis
Sidney Shiv 
Todor Gotchkov
Warren Muzak

So, go get yourself a copy of this great book! Its’ also to be published on Kobo and OverDrive libraries, possibly also even on hoopla. I mention these alternatives for those who’d like to buy the book, but who don’t want to give Jeff Bezos their money. 

😉

My Short Story, ‘Cao,’ in the ‘Beast Under Your Bed, Vol. 1’ Anthology, is Published!

Beast Under Your Bed, Vol. 1: A YA Horror Anthology, from Dark Moon Rising Publications, has my short story, ‘Cao,’ in it. The book has been published on Amazon. Because the stories are written for teens, there are no naughty words or other adult content.

My story is about Timmy, a sensitive boy who feels a mystical connection with Cao, the unifying energy field of the entire universe. It keeps telling him it is going to take him away. He’s terrified of it…but will going away really be a bad thing, given his abusive parents and the bullying he suffers at school? Will being taken away be his damnation, or his salvation? Read and find out!

There are lots of other great writers in this anthology, one of whom is Megan Guilliams, the curator of the book. All of us writers are as you can see below:

You can also see other publishers of the anthology, if you don’t want to give Jeff Bezos your money. Go get yourself a copy of this great book as soon as you can! 🙂

The Tanah: Crests–Chapter Two

[The following is the forty-fifth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, here is the twenty-eighth, here is the twenty-ninth, here is the thirtieth, here is the thirty-first, here is the thirty-second, here is the thirty-third, here is the thirty-fourth, here is the thirty-fifth, here is the thirty-sixth, here is the thirty-seventh, here is the thirty-eighth, here is the thirty-ninth, here is the fortieth, here is the forty-first, here is the forty-second, here is the forty-third, and here is the forty-fourth–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]

Translator’s Introduction

This chapter, too, seems eerily prophetic. It seems to predict not only the French Revolution and the rise and fall of Napoleon (or are our researchers letting their imaginations run wild here?), but also the end of the Commons due to enclosure, forcing English farmers to enter cities to work in factories. We’ll let you decide if our researchers’ speculations are correct.

Chapter Two

The next crest we saw in our visions would be a short one–so short as almost to seem non-existent. Indeed, this crest seemed almost to overlap with a trough, and to overlap almost fully.

Those who wore the bracelets came to hate them, suspecting rightly that it was the bracelets that were the creators of their woe. So when the time came that the bracelets would no longer stick to their skin, and the wearers were to feel compelled to pass them on to be worn by the next generation, the wearers, having finally become able to remove the bracelets from their wrists, resisted giving them to their sons and daughters. They felt a terrible headache from their resistance, but they prevailed all the same, not knowing the Crims or their divine power in the bracelets.

This unwitting disobedience to the Crims–the people’s not knowing that it was to be the Crims who decided when the wearing of the bracelets would end, and not the people to decide–would result in good and ill fortune at nearly the same time. True, the ill fortune of servitude to the lords of the land would end, the curse of wearing the bracelets, but a new ill fortune would creep up on the unsuspecting people, their punishment for rejecting and discarding the bracelets before the time the Crims deemed a fit one.

The people with naked wrists rejoiced at the cutting off of the heads of their oppressive kings and queens. They rejoiced no longer to have to work on land owned by lords who took most of the food they produced. They were delighted that a new state, with men to represent the needs of the common people, was born…almost still-born, they would soon learn.

Indeed, new evils were soon coming to replace the old ones–new evils that followed like toes of boots stepping on the heels of the feet of the old ones.

A great new leader, once thought to be a liberator of the people, would soon call himself “emperor,” and would conquer many nations–though he would be defeated soon enough.

More significantly, while those farmers who now lived off the land in relative peace, without lords to have to give most of their food to, were happy in this state for a time, new masters would come. These would buy off the land and force the farmers off of it, making them move to the cities to find work in filthy, smoky buildings, castles that blew fumes into the skies.

The people would work for a pittance, barely enough to live on, and thus would begin a new trough, the worst of them all.