(Since literature and music are two of my biggest passions, I am naturally fascinated by rock memoirs. I find much significance within these books, and in the shadows that surround them. The Great Lost Rock Memoir is a new Literary Kicks series devoted to the art and psychology of the rock memoir, with a special emphasis on older books that may now be out of print. Today, we're examining the memoir of one of the most brilliant, innovative and courageous singer-songwriters of all time: Mr. Chuck Berry of St. Louis, Missouri.)
It's fitting that the guy who singlehandedly invented rock and roll when he recorded a song called "Mabellene" at Chess studios in Chicago on May 21, 1955 would later become an early innovator in the rock memoir field. Chuck Berry: The Autobiography was published in 1987, when the author was sixty years old. He wrote the book without a ghostwriter, and says so in the opening sentence:
This book is entirely written, phrase by phrase, by yours truly, Chuck Berry.
The prickly pride revealed in this declaration is familiar to anybody who follows Chuck Berry, who is famously irascible, contrary and unpredictable. His genius for spontaneous creativity mixed with interpersonal dysfunctionality is best shown by his typical refusal to rehearse with the backup bands hired to play behind him in concert. I've enjoyed a couple of Chuck Berry concerts, and I've seen how the edgy uncertainty of an unrehearsed band playing a headline show with a legend always adds some electricity to the room. The unpredictable liveliness of his shows is one reason that 86-year-old Chuck Berry still packs houses today (see him while you can).
He also writes an electrifying memoir, and not the superficial memoir one might expect. As a songwriter, Chuck Berry is rarely introspective or analytical. He's more of a humorist with a guitar, specializing in clever, naughty rhymes. His lyrics also reveal a warm emotional sensitivity, a breezy way with descriptive detail, and a big taste for delicious words in harmonious meters.
A few months ago, we discussed the disturbing suggestion that there could ever be a rulebook for drone warfare. Most of us are horrified by the fact that remote-control killer aircraft is now a "thing", and we should be.
But we should also be horrified by the thought of non-remote-controlled killer aircraft. A big news story broke in the United States of America last week when Rand Paul staged a filibuster in the Senate to ask whether or not a military drone could ever be used to kill an American citizen on American soil. This is a good question, but it makes no sense for Rand Paul to stop there, since there doesn't seem to be a big moral distinction between the use of a drone to kill an American citizen on American soil and the use of a drone to kill a non-American citizen on non-American soil. There also doesn't seem to be a big moral distinction between the use of a drone to kill any person on any soil and the use of a different weapon to do the same thing.
It's good that the scary new phenomenon of drone warfare is causing Americans to question the foundational principles of militarism, but this inquiry won't amount to much unless we are prepared to realize the obvious truth: militarism itself is the problem, and the entire institution of war should be the target of our protest. There are small glimmers of hope that the recent debate over drone warfare is leading a few smart thinkers to ask the bigger questions about militarism, even though many others who've heard about Paul's filibuster are missing the point.
Nobody's exactly sure when Mosaic, the first popular web browser, was released. Wikipedia cites April 22, 1993 as the date of the 1.0 release, but other sources place the 1.0 date in November 1993. Either way, this software release changed the world.
It's not surprising that the release date is hazy, because NCSA Mosaic was an open source project (not officially "Open Source" because that term hadn't been codified yet, but generally open source in that the software was openly shared and cooperatively developed). Like most open source projects, Mosaic was born gradually and irregularly, and crept into popularity via endless variations of beta versions. I remember first hearing of Mosaic at my computer programming job by the summer of 1993. One year later, every single person in the world, including my parents and grandparents, had heard of it (though few yet had access to it, instead using Compuserve or America Online, if anything at all, to experiment with the new fad generally known as "going online").
Mosaic changed everything. After Mosaic, Compuserve and America Online began their slow death spirals, because Mosaic established the public Internet -- that TCP-IP thing, based in universities, research centers and corporations -- over direct-dial alternatives. Once Mosaic took off, the web craze took off, and (as your grandparents with their Facebook accounts know) the craze has never slowed down. Blame it on Mosaic.
Ask me to name my favorite living writer, and I just might name J. M. Coetzee, formerly of South Africa, now of Australia. I think his best novels are Disgrace, Elizabeth Costello and Slow Man, and I also get a tremendous kick out of his two recent meta-fictional adventures in psychological self-deconstruction, Diary of a Bad Year and Summertime, the latter of which has sometimes been mistakenly assumed to be the third volume of his ongoing memoir, following Boyhood: Scenes From Provincial Life and Youth: Scenes from Provincial Life II. But Summertime, a fragmented third-person narrative about a dead writer named John Coetzee, is no memoir.
Strangely, I'm more likely to recommend his late period works than his most famous novels, which are his earliest ones: Waiting for the Barbarians, Life and Times of Michael K and The Master of Petersburg. These books won the author a Nobel prize, but the stone-faced dead seriousness of these downbeat parables can be hard to take. As he got older and more successful, Coetzee seemed to become lighter or warmer-hearted, and began challenging himself to write more playful, experimental and archly self-referential novels. Word is out that his very latest novel, The Childhood of Jesus, may be the most expansively allegorical, spiritually provocative and magnetically enigmatic of them all.
I haven't written as much about Coetzee as about other writers, though I have brushed past his great works here, here and here, and have also discussed his vegetarian principles here. There is something forbidding about Coetzee's stern countenance that always makes it feel unseemly to gush about his work. An admiring review of Childhood of Jesus in Coetzee's hometown rag The Australian says something smart about the difficulty of writing critically about a writer who seems to plumb such mysterious and deep sources of emotion and meaning with his stark, minimalist texts:
On Monday, March 25th, I'll be schlepping out to Massapequa Park on the Long Island Railroad with some of my kids in tow, off to Bubbe and Zayde's for Passover. We'll have a great time -- games, food, talk -- and then at some point during the ritual Pesach dinner there will come the moment when I'll whisper to whoever is sitting next to me (probably my sister Sharon, because everybody else is tired of hearing me complain). Here's what I'll say, what I say every year: "I really don't like this part."
I'm talking about the celebration of the ten plagues, which apparently God inflicted upon the families of the Egyptian ruling class in order to help Moses and the Jews escape to Israel. There's a whole lot of weird ritual at this point. We recite the list in unison, dipping our fingers into red Manischevitz wine (grape juice for the kids), flinging the drippings onto our plates as we recite. Yes, we do this, and it always brings uncomfortable laughter. Here's the top ten list, straight from Exodus and the Haggaddah:
I've been trying to develop a theory on this blog -- a theory that I'm finding difficult to explain because the basic idea is so obvious that it barely merits the lofty term 'theory'. And yet it must be a theory, because its implications are important, and stand in surprising contrast to the way we tend to think about global conflicts.
I'm talking about the idea, previously described here in blog posts titled What Militarism Does To Our Brains and The Trauma Theory, that the primary cause of current and future war on our planet is current and past war. War is a self-perpetuating phenomenon, a feedback monster.
I went through a weird sequence of emotions when I spotted a new history book, Tombstone: The Great Chinese Famine, 1958-1962 by Yang Jisheng. First, I felt a flash of excitement: this will be the book that will help me to understand this unimaginable episode in history.
But, I quickly realized, I've already read (and blogged about) two thick books that told the horrific story of Mao's manufactured famine: Mao's Great Famine by Frank Dikotter and Mao: the Unknown Story by Jung Chang and Jon Halliday. I already know the facts. What am I expecting a third book about the same subject to tell me that I don't already know? Did I think I would find new answers to my questions? Was I hoping for Yang Jisheng to come up with a happy ending?
Well ... some truths are so hard to comprehend that it takes three heavy books to pound them into our heads. The truth of what happened in the Chinese countryside between 1958 and 1962 probably falls into this category. The tragedy began as "The Great Leap Forward", an optimistic and progressive experiment in farm collectivization, invented by Mao and eagerly championed by countless government leaders and regional cadres. The ambitious government program quickly descended into a sadistic holocaust, destroying between thirty and thirty-six million lives, before a few sane politicians managed to break through Mao's grip and force an end to the madness. The level of cruelty, illogic and wastefulness that fed this debacle for four painful years is difficult to grasp, and the results are hard to picture. Here's a typical description from Frank Dikotter's Mao's Great Famine:
The news that the remains of England's King Richard III have been positively identified in a car park in Leicester is a big deal for historians. It's an even bigger deal for Shakespeareans.
A great Shakespeare character has been found! Richard III was one of the playwright's most infamous villains, along with Iago and Edmund. The ancient rivalries between the House of Lancaster and the House of York are long forgotten, but the historical King Richard's reputation has been completely sealed: he is the smarmy, sarcastic hunchback who hisses "Now is the winter of our discontent made glorious summer by this sun of York" to open his eponymous play. For centuries, Richard III has been one of the major Voldemorts of the popular imagination.
I've just thoroughly enjoyed (and learned much from) a graphic novel biography of Bertrand Russell. Logicomix: An Epic Search for Truth was written by Apostolis Doxiadis, Christos Papadimitrio, illustrated by Alecos Papadatos, Annie Di Donna and published in 2009. It was recommended to me by a young and voracious reader of comic fantasy/adventure novels who thought the subject matter would appeal to me. He was absolutely right.
This book breaks my pattern of slight prejudice against Bertrand Russell, which was grounded in two things. First, like many enthusiastic Wittgenstenians, I've been all too aware of Bertrand Russell's role as the straight man to the curvy-thinking Ludwig Wittgenstein during the height of the analytic philosophy craze at Cambridge University just before the First World War.
Russell was the hard-headed mentor, according to this well-known narrative, and Wittgenstein was the brash young student who surpassed the teacher, blowing Russell and Alfred North Whitehead's pretentious Principia Mathematica apart by revealing the naturally obvious fact that, all blackboards of incredibly complex scribbled formulas aside, logic is actually not based on deeper foundational truths at all, but simply is. (I'm sure Wittgenstein would have said it better, but it was Wittgenstein's revelation that turned Russell's years of hard work from a live theory into a museum piece.)
An epiphany (from the ancient Greek epiphaneia, "manifestation, striking appearance") is an experience of sudden and striking realization. Generally the term is used to describe breakthrough scientific, religious or philosophical discoveries, but it can apply in any situation in which an enlightening realization allows a problem or situation to be understood from a new and deeper perspective. Epiphanies are studied by psychologists and other scholars, particularly those attempting to study the process of innovation.
Epiphanies are relatively rare occurrences and generally follow a process of significant thought about a problem. -- Wikipedia
In the comments following last weekend's blog post about militarism, I mentioned that I believe we'll see world peace in our lifetimes. Yes, real world peace -- not perfect, but enduring. And soon. And, yes, on planet Earth.
Why would I believe such a thing? Well, I guess any person's degree of optimism or pessimism must be rooted in that person's life experience, and I have observed many examples of sudden positive change since I was born. Here's one example that may appear trivial in light of the horrors of war, but it does provide a real illustration of the kind of rapid, sweeping cultural change I'm talking about.