Tag Archives: drugs

Rockstars: Issue #01

rockstars_01

When I first heard about this new graphic series, I was immediately intrigued. A series about rock and roll excess, occult, and urban legend drawing inspiration from bands in the 1970’s seemed right up my alley. I added it to my pull list at my local comic store and patiently waited. This week, I finally got the first issue and it is everything I expected.

The tale is basically about two young people—a rock conspiracy theorist and a music journalist—who meet while looking into the mysterious deaths of young women, which they believe to be connected to black magic rites orchestrated by a mysterious rock guitarist.  The opening lines sucked me right in to the story.

Rock ‘n’ roll has always had its secrets. From backwards messages on classic albums, woven references to drugs and madness, or homages to fallen legends and lost friends. Hidden declarations of sympathy for the devil are as stock and trade as anthem calls to both the faithful and the damned.

Author Joe Harris credits the book Hammer of the Gods as an inspiration. I remember reading this book in my younger days and the glimpse it provided into the dark and mysterious world of rock and roll. I would never listen to a Led Zeppelin song the same way afterwards.

Already, this series makes references to some of the great rock myths: the infamous mudshark, the synching of “Dark Side of the Moon” to “The Wizard of Oz,” Jimmy Page’s obsession with all things Crowley, just to name a few. If you were a rock music fan in the late 70’s and early 80’s, you will undoubtedly catch and appreciate these references and how they are masterfully strung together with artwork that evokes the essence of that era.

I highly recommend this and eagerly await the next installment.

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“Infinite Jest” by David Foster Wallace – Part 12: Final Thoughts

InfiniteJest

LIFE IS LIKE TENNIS
THOSE WHO SERVE
BEST USUALLY WIN

(p. 952)

So what can I say about a massive 1000-page book that uses tennis and drug addiction to explain life in the millennial age? This book is probably not for everyone, but if you have the fortitude to read it, I’m sure you will gain insights from doing so. Personally, I’m glad I read it. While there were some slow parts, particularly those that gave more detail on the technical aspects of tennis than were possibly needed (similar to Melville’s lengthy descriptions of the workings of whaling ships), as a whole, the book kept my interest and there were certainly parts that I would consider brilliant.

I figured I would say a little about the writing style. Wallace is able to change voices throughout the text, and the language of the various characters is very natural and believable. For me, this is the sign of a skilled wordsmith. I particularly enjoyed the way he played with the words, altering spelling in order to capture the nuances of regional accents.

So I will close out this series on Infinite Jest with an existential question and a quote. Is our life nothing more than an ironic joke? (Note similarities between “ironic joke” (IJ) and “Infinite Jest” (IJ).) I suspect Camus would love to weigh in on this one. With that, I’ll leave you with one last quote from the book:

‘I don’t know that he ever even got a finished Master. That’s your story. There wasn’t anything unendurable or enslaving in either of my scenes. Nothing like these actual-perfection rumors. These are academic rumors. He talked about making something quote too perfect. But it was a joke. He had a thing about entertainment, being criticized about entertainment v. nonentertainment and stasis. He used to refer to the Work itself as “entertainments.” He always meant it ironically. Even in jokes he never talked about an anti-version or antidote for God’s sake. He’d never carry it that far. A joke.’

‘…’

‘When he talked about this thing as a quote perfect entertainment, terminally compelling – it was always ironic – he was having a sly little jab at me. I used to go around saying the veil was to disguise lethal perfection, that I was too lethally beautiful for people to stand. It was a kind of joke I’d gotten from one of his entertainments, the Medusa-Odalisk thing. That even in U.H.I.D. I hid by hiddenness, in denial about the deformity itself. So Jim took a failed piece and told me it was too perfect to release – it’d paralyze people. It was entirely clear that it was an ironic joke. To me.’

(p. 940)


 

Links to Previous Posts on Infinite Jest:

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Thoughts on “Infinite Jest” by David Foster Wallace – Part 8

PotLeaf

The following passage from Infinite Jest was very interesting, especially in light of recent states making marijuana legal and the wider push to legalize it throughout the United States.

Everybody who raised their hand to share concurred on the insidious ways marijuana had ravaged their bodies, minds, and spirits; marijuana destroys slowly but thoroughly was the consensus. Ken Erdedy’s joggling foot knocked over his coffee not once but twice as the NAs took turns concurring on the hideous psychic fallout they’d all endured both in active marijuana-dependency and then in marijuana-detox: the social isolation, anxious lassitude, and the hyperself-consciousness that then reinforced the withdrawal and anxiety – the increasing emotional abstraction, poverty of affect, and then total emotional catalepsy – the obsessive analyzing, finally the paralytic stasis that results from the obsessive analysis of all possible implications of both getting up from the couch and not getting up from the couch – and then the endless symptomatic gauntlet of Withdrawal from delta-9-tetrahydrocannabinol: i.e. pot-detox: the loss of appetite, the mania and insomnia, the chronic fatigue and nightmares, the impotence and cessation of menses and lactation, the circadian arrhythmia, the sudden sauna-type sweats and mental confusion and fine-motor tremors, the particularly nasty excess production of saliva – several beginners still holding institutional drool-cups just under their chins – the generalized anxiety and foreboding of dread, and the shame of feeling like neither M.D.s nor the hard-drug NAs themselves showed much empathy or compassion for the ‘addict’ brought down by what was supposed to be nature’s humblest buzz, the benignest Substance around.

(pp. 503 – 504)

I do not want to get into a deep debate about whether marijuana should be legal or not. For me, that is not the issue and not what is important about this passage in the text. For me, what is important is the insidious nature of addiction, and the focus should be on the fact that people can become addicted to anything, provided that thing effectively changes the way one feels and thinks.

Some people fail to recognize the obvious: if you do something on a regular basis and then stop doing whatever it is that you are doing, you will experience a form of withdrawal. If you exercise every day for years and one day stop, it will have a physical and mental effect on you. If you drink soda every day and suddenly stop completely, you will go through withdrawal. If you meditated every day for most of your life and then quit, it would impact you physically, mentally, and spiritually. To think that you can use a drug every day and not suffer withdrawal when you stop is naïve and foolish.

I’ve heard plenty of people argue that marijuana is not addictive. I don’t believe it. Almost everything is addictive. I’m sure we all know people who are addicted to watching certain 24-hour news stations.

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Thoughts on “Infinite Jest” by David Foster Wallace – Part 5

InfiniteJest

Addiction is a devastating disease, and in our society, it is almost impossible not to be affected in some way by addiction, whether it is to substances, obsessive thoughts, or self-destructive behaviors. We all know someone who has struggled with addiction. And one thing seems to be consistent—no addict can begin the recovery process until he or she hits bottom and becomes desperate enough to seek help.

There is a great passage in this book where Wallace describes what it is like for an addict to hit bottom and become ready to take the first step in the recovery process.

—then vocational ultimatums, unemployability, financial ruin, pancreatitis, overwhelming guilt, bloody vomiting, cirrhotic neuralgia, incontinence, neuropathy, black depressions, searing pain, with the Substance affording increasingly brief periods of relief; then, finally, no relief available anywhere at all; finally it’s impossible to get high enough to freeze what you feel like, being this way; and now you hate the Substance, hate it, but still you find yourself unable to stop doing it, the Substance, you find that you finally want to stop more than anything on earth and it’s no fun doing it anymore and you can’t believe you ever liked doing it but you still can’t stop, it’s like you’re totally fucking bats, it’s like there’s two yous; and when you’d sell your own dear Mum to stop and still, you find, can’t stop, then the last layer of jolly friendly mask comes off your old friend the Substance, it’s midnight now and all masks come off, and you all of a sudden see the Substance as it really is, for the first time you see the Disease as it really is, really has been all this time, you look in the mirror at midnight and see what owns you, what’s become what you are—

(pp. 346 – 347)

Throughout my life, I have known many who have suffered from addiction; some have hit bottom and sought help, some have continued on in denial and justified their behavior, and others ended up in institutions or have died. My experience has shown me that only when someone hits an intense bottom, then and only then do they become willing to seek help. And sadly, many who reach this point are still incapable of recovery. Addiction is a powerful, insidious, and destructive disease. I hope that those who suffer manage to find help.

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Thoughts on “Infinite Jest” by David Foster Wallace – Part 3

InfiniteJest

One of the signs of a great writer is the ability to use multiple voices and to make them sound fluid and natural. Wallace certainly accomplishes this. So far, I’ve been very impressed with his ability to shift voices and styles. One great example of this is when a junkie is describing his friend dying from shooting heroin that was laced with Drano. The language is real, and the scene is viscerally gut-wrenching. When I finished reading it, my heart was racing. I had to stop reading for a little while to process it. As I was reflecting on what I read, I could not help but wonder whether Wallace had witnessed something like this. Is it possible for a writer to describe something so vividly and realistically without first-hand knowledge? I don’t have the answer to that.

Anyway, the passage had such an impact on me that I figured I would include it in the post. Let me know if you find the writing as powerful and intense as I did. Be warned; some might find this disturbing.

Laced. It started the instantly C undid the belt and booted up we knew allready, yrstrulyI and PT thearized it was Drano with the blue like glittershit and everything like that taken out by subservant slopes it had that Drano like effect on C and everything like that it was laced what ever it was C started with the screaming in a loud hipitch fashion instantly after he unties and boots and downhegoesflopping with his heels pouning on the metal of the blowergrate and hes’ at his throat with his hands tearing at him self in the most fucked up fashions and Poor Tony is hiheeling rickytick over over C zipping up saying he screams sweety C but and stuffing the feather snake from his necks’ head in Cs’ mouth to shut him up from hipitch screaming in case Bostons’ Finest can hear involvment and blood and bloody materil is coming out Cs’ mouth and Cs’ nose and its’ allover the feathers its’ a sure sign of Drano, blood is and Cs’ eyes get beesly and bulge and hes’ crying blood into the feathers in his mouth and trying to hold onto my glove but Cs’ arms are going allover and one eye it like allofa sudden pops outof his map, like with a Pop you make with fingers in your mouth and all this blood and materil and a blue string at the back of the eye and the eye falls over the side of Cs’ map and hangs there looking at the fag Poor Tony. And C turned lightblue and bit through the snakes’ head and died for keeps and shit his pants instanly with shit so bad the hot air blowergrate is blowing small bits of fart and blood and missty shit up into our maps and Poor Tony backs offof over C and puts his hands over his madeup and looks at C thru his fingers.

(p. 134)

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Jim Morrison’s Last Poem?

Image Source – AP

Image Source – AP

I am a huge Doors fan, so when I saw an article about the auctioning of what may be Jim Morrison’s last poem written while he was in Paris, I had to check it out.

According to the article, it’s not sure whether this was his last poem, but it is the last poem in the notebook that was found among his possessions.

“Obviously, we don’t know if it’s the last thing he ever wrote … but it was among the last things he ever wrote – certainly.”

“What stands out is the fact that the one on page 152 was indeed the last page of the notebook,” said Lipman. “I actually saw the notebook when it was intact years ago and I remember seeing that last page and those last words and thinking, ‘Wow, this is pretty powerful stuff.’“

What stands out the most for me in this poem is the line: “I have drunk the drug of forgetfulness.” Morrison was a very heavy drinker and one can assume he drank as much as he did as a way to escape the pressures of fame. There were also rumors of heroin use during his last days in Paris, certainly another drug of forgetfulness. But personally, I think Jim, who was always obsessed with death, sensed that he was nearing the end. As such, I see the drug of forgetfulness as symbolic of the river Lethe which runs through Hades. According to Greek mythology, the souls of the dead were required to drink from the river Lethe in order to forget their earthly life. I suspect Jim was ready to forget his earthly life before breaking on through to the other side.

Last words, Last words
out

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“Odyssey” by Homer: Book IV – The Red-Haired King and his Lady

Proteus

In this episode, Telemachus and Pisistratus go to Sparta and meet with Menelaus and Helen to inquire about the fate of Odysseus. Over dinner, the king and queen share stories of Odysseus’ feats at Troy, and Menelaus recounts how he made it back after the war. Also in this book, the suitors discover that Telemachus has left Ithaca and they plot to murder him upon his return. Mendon overhears the plans and informs Penelope who grieves that she may lose her son as well as her husband. She prays to Athena, and Athena sends a phantom to let Penelope know that Telemachus will be protected by the goddess.

There is a lot that takes place in this book and it would be easy to write a long post analyzing all the various tales and symbolism, but instead I will focus on one small section that I found to be the most interesting, which was Menelaus’ encounter with Proteus.

Menelaus tells how he was stranded in Egypt and could not figure out how to please the gods and gain favorable passage to leave the region. Proteus’ daughter, Eidothea, takes pity on him and agrees to help Menelaus capture Proteus and thereby acquire the information he needs to escape the doldrums.

I’ll put it for you clearly as maybe, friend.
The Ancient of the Salt Sea haunts this place,
immortal Proteus of Egypt; all the deeps
are known to him; he serves under Poseidon,
and is, they say, my father.
If you could take him by surprise and hold him,
he’d give you course and distance for your sailing
homeward across the cold fish-breeding sea.
And should you wish it, noble friend, he’d tell you
all that occurred at home, both good and evil,
while you were gone so long and hard a journey.

(Fitzgerald Translation: p. 64)

Before continuing, it is important to note that Proteus is a symbol for the unconscious mind. The god is also associated with Mercury in alchemy.

The German mystical alchemist Heinrich Khunrath wrote of the shape-changing sea-god who, because of his relationship to the sea, is both a symbol of the unconscious as well as the perfection of the art. Alluding to the scintilla, the spark from ‘the light of nature’ and symbol of the anima mundi, Khunrath in Gnostic vein stated of the Protean element Mercury:

“ our Catholick Mercury, by virtue of his universal fiery spark of the light of nature, is beyond doubt Proteus, the sea god of the ancient pagan sages, who hath the key to the sea and …power over all things.”

—Von Hyleanischen Chaos, Carl Jung, vol. 14:50

In modern times, the Swiss psychologist Carl Jung defined the mythological figure of Proteus as a personification of the unconscious, who, because of his gift of prophecy and shape-changing, has much in common with the central but elusive figure of alchemy, Mercurius.

(Source: Wikipedia)

Eidothea lays out the plan to Menelaus. It is a fairly long passage, but one that I find rich with symbolism and worth including in this post.

I’ll tell you this, too, clearly as may be.
When the sun hangs at high noon in heaven,
the Ancient glides ashore under the Westwind,
hidden by shivering glooms on the clear water,
and rests in caverns hollowed by the sea.
There flippered seals, brine children, shining come
from silvery foam in crowds to lie around him,
exhaling rankness from the deep sea floor.
Tomorrow dawn I’ll take you to those caves
and bed you down there. Choose three officers
for company—brave men they had better be—
the old one has strange powers, I must tell you.
He goes amid the seals to check their number,
and when he sees them all, and counts them all,
he lies down like a shepherd with his flock.
Here is your opportunity: at this point
gather yourselves, with all your heart and strength,
and tackle him before he bursts away.
He’ll make you fight—for he can take the forms
of all the beasts, and water, and blinding fire;
but you must hold on, even so, and crush him
until he breaks his silence. When he does,
he will be in that shape you saw asleep.
Relax your grip, then, set the Ancient free,
and put your questions, hero:
Who is the god so hostile to you,
and how will you go home on the fish-cold sea.

(Fitzgerald Translation: p. 65)

First off, the depths from which Proteus will emerge represent the mystical realm which is the source of archetypes and forms, the unseen source of divine emanation. The seals are symbols of the forms which are emanated from the depths of the creative consciousness. The fact that the seals emerge from “silvery foam” suggests the alchemical connection to mercury.

Proteus is described as having “strange powers.” While these could be the powers of transformation, I suspect that the powers also have something to do with the ability to manipulate the emanated forms into corporeal manifestations.

Finally, Menelaus must wrestle with the god of the sea, and must hold onto the god no matter what. This is very similar to Jacob wrestling with the angel, which is symbolic for man wrestling with the concept of the divine. So essentially, Menelaus must grapple with the unknowable aspect of the god-consciousness in order to acquire the knowledge he seeks. He must struggle to keep hold on that which is fluid and ever changing.

As I said, there are many other rich aspects to this book: Menelaus’ comparison between earthly riches and spiritual wealth; the mystical knowledge of herbs and drugs that Helen acquired from the magicians in Egypt; and Telemachus’ voyage to sea as a symbol of a rite of passage. As always, feel free to share any thoughts or comments below, and thanks for stopping by.


 

Further Reading:

Fascinating Mythical Creatures: Proteus

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