Monday, March 28, 2016

DC but not DC

My best friend and I used to laugh at various comic nerds who grumbled over violations of canon, or  if a story was imaginary or not.  It was fish in a barrel, sadly, because most could not understand until thoroughly frustrated, that all stories told in comics are imaginary, except for those that biographical or factual history.  And even they require imagination to tell.  All publishers telling imaginary stories?  Does that mean nothing matters?  Or as one of the comic nerds would say, you can't have a black Spider-man and a white Luke Cage.  Well the one you could, and the other would just be stupid... still, it is still all imaginary.

WONDER WOMAN: AMAZONIA "A 19th century Wonder Woman in corset, fights Jack the Ripper, while talking like Eliza Doolittle."

The reason a publisher like DC or Marvel has an agreed upon canon and continuity, is so that the reader can be certain that what they are reading fits into the intricate story that is those publishing house's universes.  So, if Flash breaks his leg, in Flash #694 he won't be seen running with both legs in the same month or shortly thereafter.  Marvel Comics had a solid single world universe, where everyone lived and acted in the same universe.  This later changed in the late 1990s when Marvel was nearly unable to remain in print, so turned to opening up its characters, and canon to multiverse existences, and cross universe worlds.  DC on the other hand had a multiverse that had been slimmed down to a single universe.  How both use their past and present isn't about a great reward or artistic integrity, those might happen but, the real reason for multiple versions of one character or just one, or many realities or just one, is that the publishers try to keep their stories new and interesting.  Money being made or not is the engine of change or conservative views on evolution.

KINGDOM COME:  "A dark alternate future of the DC Superhero Universe. Batman, Superman, Wonder Woman, and almost every other character from DC Comics must choose sides in what could be the final battle of them all."

But, for a while, when DC had both a single world, with the characters it has, who are far more iconic than nuanced and flawed, tales could be told that showed how a different take on the character could be interesting, and show us how powerful the iconic character's mojo was.  You have a legend, then you introduce it to a different setting, or the same setting with a different version of the character.  The intention is, not to create new continuity, but to create stories without the encumbrance of having to worry if it could fit into the world as the publisher's canon would accept.

The DC Elseworlds broke the door open, and showed the world that these single stories or single series could enhance our appreciate of the main character, but showing a stripped down, or bulked up version of it.  We could see why Bruce Wayne was who he was if he lived in the 1800s with his parents still dying, or how Gotham would still need a hero, even under a religious theocracy. 

BATMAN: MANBAT  "When animal rights activist Marilyn Munro stumbles upon a lair of bizarre, bat-like creatures, she finds herself in a world of madness. And that world is about to receive another visitor: Batman."

So, here I present, 11 great Elseworld stories, that you can search for, or ignore.  What the hell do I care what you do with it.


Batman is a member of the clergy but sees troubling issues happening in the theocratic leadership's government.


Superman lands upon an earth that is beset by the Martians from HG Wells' novel, War of the Worlds.


Jack the Ripper visits Gotham in 1880s, but there is a Bat who protects the city.


Steampunk western featuring "Cowboy and Indian" templates of the Justice League.


Superman is the great son of the city of Metropolis, only this Metropolis is from the movie by Fritz Lang.


Batman is a character of a surreal nightmare, ala the Cabinet of Dr. Caligari.


Wonder Woman is a reimagined heroine in a world gone mad, chasing the infamous Dr. Marbuse, of German cinema.


Batman lives in the 1920s, fighting the beasts of the Cthulhu realms.


In Ukraine a rocket landed, a boy was found with super powers, and he fights for the workers, and the Soviet state.  He is the Red Son, Superman.


Batman is a pirate/swashbuckler known as Leatherwing, and he is in command of a ship.


Batman from Gotham by Gaslight is still active, and he is forced to hunt down a scoundrel, who is determined to destroy then rebuild Gotham in his own image.

Wednesday, March 23, 2016

Hate me.

The goal of this site has always been as much about looking at how media plays into our lives, as with how much we simply enjoy it.

I adored my mother.  And for all the ways a poet and generally outcast soul suffers, my mother suffered as often for me, and wondered how come I could not fit, and just be happy.  She worried years of her life away, and it tortured me.  I wounded me in ways I couldn't come close to explaining without making it seem her fault, which it wasn't, nor was it anyone's fault.  A parent will worry as much or little as they are inclined.  A child will fall, and eventually learn to rise up.  It is the nature of life.  But before my mom saw me succeed in life, she fell into the gray mist of Alzheimer's disease.  For 10 years I watched her helplessly fade.  And in 2012 she passed.

As a poet I could give word to the sorrow I felt, and even the guilt.  But I couldn't explain the haunting guilt that had no words.  Until the song HATE ME by the band Blue October played on my play mix.  I had actually avoided it and had skipped it previously, due to the name, I thought it was black metal, hateful and angry.  But it wasn't.  When I listened I heard the truth that was burning in my heart but couldn't be expressed.  By the end of the song I was a puddle of tears.


I encourage you to click the link.  I did not embed it because I've experience technological struggles doing so before.  Apparently not only am I am outcast and poet I am a technophobe.

I miss my mother every day, even more with every day.  But this song allowed me to feel less pain, less guilt, and less sorrow.  And finally I can dream about her when I sleep without needing to always make all my wrongs right.

Life doesn't offer us a chance to meet the dead, or speak to them.  But I have hope in an afterlife.  But this is about my present life.  And I thank the band Blue October for their insight into my heart, without knowing who I was.

Tuesday, March 22, 2016

Chuck Unleashed


Hello there.  Am I speaking to Mr. Dixon or to , um Linus Oakes?  For the record, WHO THE HELL IS LINUS?
I had this silly idea that I’d expand my publication line by writing under a pseudonym. I figured that the zombie survival genre was so popular that it was worth the risk of publishing under a name other than my own. But Linus Oakes is a dud. I really underestimated the value of my name when it comes to selling books. I was suffering from whatever the opposite of hubris is.

I always avoided pen names and pseudonyms online since I figured I'd need those to spam people I hate or go on por... umm exotic photography sites.  Do people in the present care what you call yourself?  I mean, it is the internet afterall.
I don’t think the majority of the readers of my prose stuff know or care who I am. But that core fan base of comic readers (where I’m best known) provide a launch point for new books. Without that, Linus barely got noticed on Amazon. 

I heard you had a Zombie novel brewing, why am I not reading it?
That’s between you and your god.

But the book is called Gomers.   It’s straight up zombie survival with my usual touches of bleak humor. Two geeks work out a survival plan involving forting up in one of those massive home improvement stores. But things go awry when the place is already occupied by an Afghan war vet and his K-9.

Are there stories in that setting of Zombies that are still untold?
It’s a malleable genre. I think the combinations of zombies and….whatever is endless.

So why, in general, do you self publish?  I understand fully why a schlep like me does, everyone hates me and my work, but you?  Dude, people buy your stuff...
They do but my stuff. So why do I need gatekeepers? Why do I have to ask for permission to write? The whole e-book thing is an emancipation. It’s the perfect outlet for my prolific nature.

What happens in the world when publishers disappear and there are a bajillion authors and books, with shitty standards?
I don’t think publishers will ever vanish. But the world of publishing is changing. It’s like the music business, fracturing into niches and small press and mini press and self press. Garage band literature.

If books can be self published and money can be made, why the hell do so few comics make money except for by the publishers?
There is NO money to be made self-publishing comics. Comics are too expensive to produce and the audience for them is tiny. And, trust me, most titles from major publishers bleed money. The overall audience is shrinking.

Do you, later in life, than the guy who started in comics in the 80s find that prose is a better vehicle for your ideas?  Why or why not?
I’m a comic book writer through and through. It’s in my DNA. But being able to work without pitching and re-pitching and waiting on editors who never get back to me is pure gold. Yeah, I’d rather be writing comics. But the prose stuff is very rewarding too.

Do you still visit comic shops for comics, (rather than appearances and special events?)
Never. My next day in a comic shop is Free Comic Book Day. After that it may be six months or more before I do a store appearance. There’s nothing there for me. I don’t follow new comics.

There are fewer biases against comic writers and artists now, compared to the past, yes?  If so, how soon before we see them as rock stars or movie stars?
That’s never going to happen. Comic creators come and go. Very few have lasting popularity while people will still pay to see the Rolling Stones after over fifty years in music their his last charted single more than thirty years ago. Nobody would cross the street to meet most comic creators even when they’re at the height of their popularity.

Many of your fans appreciate your clear love for action movies/books, and history, and military aspects of your stories.  How did you become so apt for such things, did you serve in the military? How far do your related hobbies take you?
I’ve never been in uniform and never in anything but a bunch of schoolyard fights. But I think my intense study of comics as a kid taught me something about breaking down action so that it’s fluid and believable.

Lots of reading of Edgar Rice Burroughs. Man, that guy could block out an action scene. And later on the writer Ben Haas who wrote some terrific westerns under the name John Benteen. He could make even complex action scenes clear and vivid and exciting.

As far as guns go, my dad was a gunsmith. I grew up around firearms and shoot myself. So I’m conversant with how guns work. 

Your toy soldier collection evokes lovely memories with me, since I had wars and events with my own.  I'd build buildings, land commandos, and rescue the hostages, then blow up shit either with airstrikes, or offshore shelling.  Do you build panoramas now, or do just collect?

I mostly spend time painting the bins of plastic soldiers I already have. I concentrate on Victorian colonial conflicts but lately have done a lot of armies for the Russian Civil War. Once upon a time I built buildings and fortifications. There’s just no room to display them.

You have a weekend with five comics writers or artists from the past. You can talk about any comics subject, or anything regarding art, or sequential work, (i.e. film included). What five do you invite, why, and what is your most desired subject of conversation?

I’ve found that comic creators aren’t really great company. Especially the writers who are a suspicious bunch. I’d probably opt to hang out with my buddies and we’d talk about the same bullshit we always talk about. I won’t name them here so that all of them can assume they’d be among the five. But the REAL five know who they are.

I remember years ago when a bunch of us went out for dinner after Chicago con. Some wannabes (who became big names in comics) tagged along but there wasn’t room at the “big” table for them. Afterwards, one of them said to me, “Boy, we all wanted to be at your table to hear the amazing stuff you guys were talking about.” I had to break it to him that spent most of the time talking about mortgages.

I've been truly torn by the election cycle of this year.  Many complain about the sort of choices we are offered.  Why do you think the election cycle of 2016 has been so massively imbecilic, or do you, and is there a solution?
I don’t think it’s any more imbecilic than the politicians of the past fifty years have been. We’re seeing the whole establishment system being lanced like a boil. The corruption, stupidity and sense of entitlement are on display for all to see. The voting public is getting a view of how the sausage is made.  I think it’s healthy and I think it’s good. But, if the establishment gets their way, and we get another corporate sponsored chump in the White House, I can see the public turning away from the entire political process. That’s dangerous. I prefer chaos and uncertainty over cynicism and acceptance.

As many know who read what I write, and what I pay attention to, you are a person I hold in enormous esteem, and am grateful to call you a friend.  You are someone who has moved me deeply by some very kind personal acts.  And you own most of my work, including the poetry.  

Yet, there are folks who in the recent past used very charged biased words about you or in reference to you.  Is it just a small industry shorthand, is it jealousy based, or are people really convinced that differing political opinions equals, you evil, me good?
It’s not even political. It’s cliques. It’s groupthink. Not only must you hold the same political view to play the game, you need to like the same music, movies and food. It’s no longer professional or based on merit. It’s become childishly personal and based on whims. I don’t go along with it. I choose not to participate.

What is your definition for a fun week or weekend away from the computer/ typewriter?  How often do you get away from work for purely fun events?
I’m so immersed during the week that weekends are for catching up on chores for the most part. While not ‘fun’, it’s something to take my mind off the work for a while. But, being a freelancer I can take advantage by doing things on weekdays like the shooting range or bike trail. Less crowds.

With your knowledge of history and military events, what period of time, or specific battle or war would you love to see in depth, in book form, or well made movie, that has largely been ignored?
That’s a good one! So many to choose from. They don’t really make those kinds of movies anymore. By that I mean straight-up war movies. But I love stories of sieges and the siege of Rhodes would make an incredible movie. 1522. The Knights of St John holding the massive fortifications on the Isle of Rhodes against the Ottomans under Suleiman. It’s a hell of a story. There’s a great novel called The Shadow of God, by Anthony Goodman, that details the entire campaign. Really brings it to life.
Did you ever turn down a job in the comics industry that you now regret?  How do you recover, as a professional, from bad choices or, good choices at the moment, that turned out to be bad by virtue of outside forces?
Time heals all careers. I’ve never made a decision I regretted. But I’ve made a few that I still wonder about, what would have happened if I’d taken the other road? What if I’d accept the offer to become Batman group editor at DC Comics? What if I’d accepted Frank Darabont’s invitation to come out to LA and be shown around? What if I’d taken that assignment to write a movie about Vikings for Dolph Lundgren?

I know some rather big named writers who have told me that they cannot read fiction from others due to the constraints of time and work.  They read but it is in the form of research and news articles. Do you find time to read for pleasure?  If so, what do you most often find yourself reading?
Thanks to the Kindle I’ve been able to immerse myself in men’s adventure novels from the 70s. I used to read piles of them but I’m going back now to re-introduce myself to the genre. John Benteen. The Destroyer. Charles Whiting. All the lowbrow classics and ripping yarns. For serious reading it’s often audiobooks while I’m driving. Though, when I’m deep into the guts of a novel I can’t concentrate on someone else’s writing. As for non-fiction, I cherrypick through dozens of history books at a time. Oddly, for sheer escape, I’ve been reading biographies of film stars of the past. Just finished a Buster Keaton book. I read bios of Burt Lancaster and Bob Hope recently too.

With prose, do you use the same mental gifts and skills as you do when writing sequentially, ala comics?
I think it’s an entirely different part of my brain. Honestly. At first it felt like I was riding someone else’s bike. It’s crazy because I am a writer and I’ve read so many novels and short stories. I’m a compulsive reader. But moving to the opposite side of the counter was hard for me. I had to get over my self-consciousness and just tell the damn story! With comics, for me, it’s like getting behind the wheel of my truck and taking off. But prose is coming easier and I’m starting to enjoy the whole process.

I am aware from our chats that you met and spoke with Walter Gibson.  You could well be thought of as a current day version of him I think.  Did you learn a great deal from him, or were you already on your present path towards your world now?
I was 19 and clueless and nowhere NEAR getting on the path I’m on now, I couldn’t even find the on-ramp. But I learned a lot by talking to him. The guy was entirely ego-free and willing to share about how he approached writing. Though it was a talent and a passion, it was also a job. I was an obnoxious kid and asked blunt questions and he answered them all. I don’t think I’m a current day version of any of the writers I admire. I just  have an itch I need to scratch and fortunately can make a living at.

What creates a writer?  Are you born to be one?  Do you have environmental factors that guide you to that place?  While watching movies as a kid were you awestruck in rapt attention, or were you scratching your then beardless chin thinking, they wouldn't have done that?... You write, do you know why you do?
I’ve been told that writing comes from some alienating experience early in youth, and event or circumstances that distances one from what’s going on some ways. Some kind of element that turns one from a participant to an observer. That may not be true of every writer but it’s certainly true of a lot of writers. Victor Hugo and Rudyard Kipling come to mind. And I believe that it’s true of me. I spent a LOT of time in the hospital as a kid from the age of five weeks until I was seven. I spent long periods of time separated from my family. That absolutely had an effect on me. It made me look at the world from the perspective of an outlier, a bit of a sense that I was never totally at home even in my home.

As for movies, when I was a kid I LIVED at the local movie theater whenever I could get there. I’d stay all day and into the evening. Science has proven that an absorbing movie activates the same areas of our brains as dreaming. These days, it takes an extraordinary movie to draw me in to that degree. But as child, I was in another world at the movies.

And I can identify the day I decided I wanted to be a writer. It was 3rd grade and we were asked to choose a photograph cut from magazine and write a story about it. I asked if I could have more than one picture and came back the next day with a story that used four photographs to tell a story about a little boy on a farm. I got big laughs from the teacher and the kids in class, intentional laughs. That was it for me.

As a writer and history dude, do you often find that you wish that you'd been born earlier, later or in a specific era?  Which ones if so?
Oh, hell no. As much dental surgery as I’ve been through, I’m happy right where and when I am.

What is the best environment for you to write in? Loud music, quiet house, no humans present?
Anywhere. Anytime. When I got to CrossGen there was no office for me. The only computer available was one of two community PCs set up for the artists to use. I wrote my first dozen or so scripts there surrounded by all the noise and tumult of a great big space full of comic book artists. They used to come and whisper and point. “He’s writing.” I was like a zoo animal.

What is your favorite food?
Anything my wife cooks. The woman is astounding. I can see literally nothing to eat in the fridge and she comes up with some delicious creation that’s also good for me.

BONUS Question:  We all have bad experiences in the world, and hopefully we are able to grow from them.  What bad experience do you give the most credit for making you a better writer or person today?
An epically bitter divorce when I was younger. It was the ice cold bath of reality I needed to get my ass moving. It also led to my current marriage which has been the making of me.

Thursday, March 3, 2016

The Heroes of Dakota

Of the flurry of aspiring comics companies created in IMAGE's image during the 1990s, I think the most interesting was an outfit called Milestone Media. It was established by a group of black creators who wanted to form a more racially-diverse comic book universe. Although the Milestone line of comics only lasted a couple years, the characters which came out of them have been far more enduring.

Unlike the other start-up comic book universes of that era, Milestone did not set itself up as a challenger to the Big Two comic book companies. Instead, they set up an agreement where Milestone existed as an imprint of DC Comic, distributed by DC but separate from the DC Universe. Milestone Media retained all rights to their characters and creative control over their books. This was an unprecedented arrangement at the time.

The books were based in Dakota, a large city located presumably somewhere in the Midwest. For that reason, the Milestone Universe has sometimes been called “The Dakotaverse”. The company started out with four core titles, and a bang. A Big Bang, to be specific.

The biggest street gangs in the city were gathering for one ginormous fight. The cops got word of the event and planned to raid the rumble and round up every gang-banger in the city. To do this, they used an experimental riot control gas provided by a local industrialist, which, this being a comic book, had unforseen results, killing many of the victims outright and mutating some of the survivors.

Many of the principal characters in the Dakotaverse were “Bang Babies”, survivors of “The Big Bang”; and all of the characters were affected by it in some way. Most significantly were the characters of BLOOD SYNDICATE. They were members of various opposing gangs, who had become warped by the mutagenic gas. Before the Big Bang, they were deadly enemies, from different neighborhoods and different ethnic groups. The only thing they have in common is that now they're mutated freaks, and they need each other to survive.

I never read BLOOD SYNDICATE; it did not particularly appeal to me; but it was easily the grittiest and most “street-level” of the Milestone core titles.

At the other end of the economic spectrum, we have HARDWARE. Curtis Metcalf is a brilliant engineer working for Alva Industries. He has a nice home, a large salary, and his own personal lab. Metcalf owns a pet canary that he lets fly loose in his apartment. But when it does, it beats its wings against the windows. As far as the bird is concerned, it's still in a cage; just a slightly larger one. Metcalf comes to realize that his own situation is not that different: his cushy job with Alva is just another cage and he's nothing but a wage slave.

He's made millions for Edwin Alva, but gets no credit for his inventions, and no share of the profits. He can't even look for another job in his field because of a non-competition clause in the fine print of his contract. Metcalf learns that Alva has numerous criminal, or at least sleazy operations growing out of his legitimate business. It was Alva who provided the experimental riot gas used the night of the Big Bang. But because of his connections and power, Alva is virtually untouchable by the law.

So Metcalf works subversively within the system. He pilfers Alva Industry resources to build a suit of powered armor, and as Hardware, strikes against his boss by attacking Alva's criminal enterprises.

The best-known of the Milestone titles is STATIC, which enjoyed a second life as an animated series after the comics line ended. Virgil Hawkins is a bright but geeky high school student with the normal problems of adolescence: awkwardness with girls, annoying family members, trouble with a bully, and pressure to join a street gang. It's because of the last that he finds himself in the wrong place the night of the Big Bang. The mutagenic riot gas gives him the power to wield powerful electric blasts and to “fly” by riding on pieces of metal (originally a garbage can lid) that he levitates using electromagnetic force. Virgil is a wise-cracking hero in the Peter Parker mold.

Each of the main Milestone titles could with some justification be called black versions of iconic comic book superheros. BLOOD SYNDICATE was X-MEN, re-imagined as a street gang; HARDWARE was IRON MAN; and STATIC was SPIDER-MAN. What might be regarded as Milestone's flagship title, ICON, made no attempt to disguise the fact that it was, essentially, SUPERMAN; but like the other titles, it was Superman with a twist.

An alien being crash-lands on Earth. In order to protect him, his survival pod reconfigures his appearance to resemble the first native he encounters. Which happens to be a black slave in the antebellum South. He is raised as a slave and keeps his extra-human powers a secret, biding his time and waiting for earth technology to progress to the point where he can repair his spaceship. A century and a half later, he has come Up From Slavery and is now a successful lawyer in Dakota, calling himself Augustus Freeman IV. He still keeps his powers hidden, until a teenage girl named Raquel Ervin learns his secret and persuades him to use those powers to the benefit of society as a super-hero.

The dynamic between these to characters, Icon and Rocket, is what I find most interesting about this comic: the older, conservative Freeman and his outspoken, radical sidekick. I've read one critic sniff that Icon is a liberal's idea of what a black Republican is like, but that's only a superficial reading. The writer, Dwayne McDuffy, said that in the two characters he was trying to reflect a dialogue that has been going on in the black community about civil rights for over a century. Early civil rights pioneer Booker T. Washington emphasized education and hard work as the path for blacks to earn respect in society. His rival, W.E.B. DuBois insisted that blacks would not gain equality with whites unless they fought for it. Washington was the safe face of black civil rights, the one whites felt more comfortable with and the first black man invited to the White House for any reason other than to say “Dinner is served.” DuBois was the dangerous radical who criticized capitalism and embraced socialist causes. Several decades later, these differing philosophies were embodied by Martin Luther King and Malcolm X.

Augustus Freeman has good reason to be a Republican. After all, it is the Party of Lincoln, and since he was alive when Lincoln emancipated the slaves, to him that counts for a lot. And perhaps more relevantly, having worked his way from being a slave to becoming an affluent lawyer, he has little sympathy for poor blacks who remain in poverty. To which Raquel replies that it's easier to pull yourself up by your bootstraps when you can fly.

Yes, the writing showed a discernible political bias, but Icon never seemed to me like a Strawman Conservative to be punctured by the Good Gal Liberal. I felt his character was treated with respect with a legitimate point of view. Much as Steve Ditko tried to do with his HAWK & DOVE and Denny O'Neil attempted with his use of Hawkman and Green Arrow in JUSTICE LEAGUE OF AMERICA, in ICON the conversation between the two was more important that scoring which side wins.

Milestone's comics line lasted for a few years; longer than some other independent comics lines of the same era; and added a few more titles, most notably XOMBI and SHADOW CABINET. It was widely-perceived as a “blacks only” line of comics which limited its sales. Even a big cross-over event with the mainstream DC Universe, WORLDS COLLIDE, didn't help.

But although the comics line faded, Milestone and its characters remained. Some years later, STATIC was adaped into a successful Saturday Morning cartoon which lasted four seasons, and the character made appearances in the animated DCU in the JUSTICE LEAGUE UNLIMITED cartoon. More recently, Milestone and DC made a new agreement to fold the Dakotaverse into the DCU. With the subsequent re-shattering of the universe with the “New 52”, the Milestone world is its own alternate earth, designated “Earth-M”, and there are plans for new stories set in Dakota. The echoes of the Big Bang reverberate still.

Wednesday, March 2, 2016

Wow! Edward Hopper!

Did more than just the painting Nighthawks

 But that NIGHTHAWKS is a damn perfect work. 


INTERVIEW with Edward Hopper

Hopper's works are still covered by his copyright, and owned, presumably by the Hopper estate or whoever owns the rights to such.  So none of these images are presented for anything except educational and fair use purpose.

Tuesday, March 1, 2016

Ezra MFing Pound

Over the last two months for various reasons I've had a number of days of waiting rooms, office visits with doctors and other health professionals, and time to read, since I cannot work in the deadzone of public space.  In such time I've read a couple dozen books, mostly poetry, and mostly about or by Ezra Pound.  1933 Time magazine called Pound "a cat that walks by himself, tenaciously unhousebroken and very unsafe for children."

While it would be true to suggest that I go in bursts of interest in subjects, this person, Ezra Pound has captured me.  He was a naive midwestern poet, outspoken, found his peers among outsiders and people from other countries, and when he witnessed the travesties of the First World war he cracked.  He began to search for the inner workings of why men go to war, and deduced, wrongly or rightly, that it came from the people who own most of the world desiring to own more of it.  He saw bankers and by extension Jewish bankers and Jews in general as being responsible, and when FDR was unable to immediately rescue the economy, he believed that the US would use war as a means of reviving the economy.  He believed that the fascist nations were organizing labor to fairly distribute the wealth, and had to be powerful to keep the capitalists out.  His personal hero changed from the founding fathers of America to Benito Mussolini, the leader of Fascist Italy.  And when war came, as Pound surmised, he cracked again, believing the West to be acting to steal the opportunity to renew their economies, while using the Fascists as convenient enemies.

I point this all out so that no thinks I am reading Pound and thinking him perfect.  But his views outside of the treason, his poetry, his outlook on society, in general, he burned with a fire that I admire.  And his treason trial ended up breaking Pound.  First he was held in cages where the setting made him "go mad" and then in a Mental Hospital cell prior to being taken to court for treason for activities by a citizen against the US, he was found to be Insane/Mentally Ill.  He was a person who given enough rope would hang himself.  He had very little filter between his views and his ability to speak.  And if an audience was present, he availed himself of that time to share his thoughts.

There are poetry critics who cannot separate the poem from the treasonous person.  They see him as a bad human being, and not worthy of artistic excellence and consideration.  And then there are people like me, who will be called apologists, because we try to understand why he became what he did.  His views were repented, late in life, and especially so the anti Semitism.  But once you've been bad, some people believe you are always stained.  And so there it is.

Anyhow, I am going to share some of his quotes, with images of his books, his face, and the cages that changed him.  Look closely, you might be looking at my future.  OK, I hope not, but who knows.

“I desired my dust to be mingled with yours
Forever and forever and forever.”


“Good art however "immoral" is wholly a thing of virtue. Good art can not be immoral. By good art I mean art that bears true witness, I mean the art that is most precise.”

“Real education must ultimately be limited to men who insist on knowing. The rest is mere sheep herding.”  

“Nothing written for pay is worth printing. Only what has been written against the market.” 

“It ought to be illegal for an artist to marry. If the artist must marry let him find someone more interested in art, or his art, or the artist part of him, than in him. After which let them take tea together three times a week.” 

“Any general statement is like a cheque drawn on a bank. Its value depends on what is there to meet it.”

"All great art is born of the metropolis."
All great art is born of the metropolis.
Read more at:
All great art is born of the metropolis.
Read more at: