The Wall Street Journal on how men and women are treated differently in science. To sum it up: men are assumed to be competent until proven otherwise. Women are assumed to be incompetent until proven otherwise. Sharon Begley writes:
Ben Barres had just finished giving a seminar at the prestigious Whitehead Institute for Biomedical Research 10 years ago, describing to scientists from the Massachusetts Institute of Technology, Harvard and other top institutions his discoveries about nerve cells called glia. As the applause died down, a friend later told him, one scientist turned to another and remarked what a great seminar it had been, adding, “Ben Barres’s work is much better than his sister’s.”
There was only one problem. Prof. Barres, then as now a professor of neurobiology at Stanford University, doesn’t have a sister in science. The Barbara Barres the man remembered was Ben.
Prof. Barres is transgendered, having completed the treatments that made him fully male 10 years ago. The Whitehead talk was his first as a man, so the research he was presenting was done as Barbara.
Ann Neumann writes about William Coleman, a U.S. prisoner who has been on a hunger strike for the past five years:
There are two places in the U.S. where you can be fed against your will: a Catholic hospital and a prison.
Staff turned off the video camera typically used to record medical procedures. They strapped Coleman down at “four points” with seatbelt-like “therapeutic” restraints. Edward Blanchette, the internist and prison medical director at the time, pushed a thick, flexible tube up Coleman’s right nostril. Rubber scraped against cartilage and bone and drew blood. Coleman howled. As the tube snaked into his throat, it kinked, bringing the force of insertion onto the sharp edges of the bent tube. They thought he was resisting so they secured a wide mesh strap over his shoulders to keep him from moving. A nurse held his head. Blanchette finally realized that the tube had kinked and pulled it back out. He pushed a second tube up Coleman’s nose, down his throat, and into his stomach. Blanchette filled the tube with vanilla Ensure. Coleman’s nose bled. He gagged constantly against the tube. He puked. As they led him back to his cell, the cuffs of Coleman’s gray sweatshirt were soaked with snot, saliva, vomit, and blood.
“I have been tortured,” he would say later. And it was enough to make Coleman start drinking fluids again. For a while. When he stopped a few months later, the prison force-fed him again, and twelve more times over the next two years. By last year they could no longer use Coleman’s right nostril. A broken nose in his youth and repeated insertion of the tube have made it too sensitive.
If Hitchens was a serial plagiarist who failed to get even the simplest of facts right, was allergic to nuance, and made no scholarly contributions, one might reasonably conclude that he ought to be ignored, and that a reader’s time and Seymour’s considerable talents be put to better use. But Hitchens matters precisely because of the inverse relationship that the quality of his work has to his status. His career reveals much about the function of the public intellectual. […]
That said, Hitchens’ later years and the enormous celebrity he enjoyed during that period are a case study of just how handsome the rewards are for those willing and able to serve as attack dogs for the dominant powers of their place and time. Hitchens’ main service to the American elite was to employ a combination of innuendo and character assassination to cast aspersion on virtually every high-profile figure critical of American foreign policy after 9/11—a roster that includes Julian Assange, Noam Chomsky, George Galloway, Michael Moore, Harold Pinter, Edward Said, Cindy Sheehan, Oliver Stone and Gore Vidal.
Hitchens could never have amassed such a large following—and perhaps more importantly, such a powerful following—had he not so entirely embraced American power and its corresponding ideologies after 9/11. Would Hitchens have been invited on as many talk shows if, rather than writing fawning biographies of safely institutionalized figures like Thomas Paine and Thomas Jefferson, he had taken as his exemplary subjects two others he professed to admire even near the end of his life, C.L.R. James and Rosa Luxemburg? If, instead of levying facile criticisms of organized religion primarily at the United States’ enemies, Hitchens had selected neoliberal capitalism for his most ferocious late-career critiques, is it likely that 60 Minutes would have profiled him when he was ill with cancer, or that his audience would have been extended to readers of Newsweek, much less the Weekly Standard?
One of my old Key 23 colleagues, Tait McKenzie Johnson, is editing a new literary journal and seeking submissions:
The Rapid Eye is a new literary and arts dream journal offering writers, artists, and other dreamers the freedom to create and share high quality fiction and art drawing on dreams and other states of non-rational consciousness.
We are currently in the process of getting the first issue of our magazine off the ground. If you’ve ever had a wild and compelling dream that you’ve been dying to share with the world, please consider submitting to The Rapid Eye.
No, it’s not about Discordianism. It’s about the real world discord and human misery that is the political situation in Greece. It’s written by Laurie Penny and illustrated by Molly Crabapple, and it’s worth your time.
It’s not just political journalism, either — it touches on youth culture, the way a movement’s drug of choice reflects the zeitgeist, art, feminism and more.
Chaosium’s Lynn Willis has passed away. Ken Hite writes:
He played a key role in the refinement and balance of the Basic Roleplaying system, which makes him one of the crucial designers of RuneQuest and Call of Cthulhu, as well as the other lesser lights driven by BRP. He also co-designed the Ghostbusters RPG, which is the second-best licensed RPG ever created, and incidentally provided the die pool architecture for Shadowrun and for the White Wolf Storyteller engine.
He also played a key role as shepherd and guardian of Call of Cthulhu for its first twenty years.
Mark Fisher describes the contemporary economy and the precarity it involves as a “Time War” in which more and more work of our time is dedicated to work:
To understand the time-crisis, we only have to compare the current situation with the height of punk and post-punk in the UK and the US. It’s no accident that the efflorescence of punk and post-punk culture happened at a time when cheap and squatted property was available in London and New York. Now, simply to afford to pay rent in either city entails giving up most of your time and energy to work. The delirious rise in property prices over the last twenty years is probably the single most important cause of cultural conservatism in the UK and the US. In the UK, much of the infrastructure which indirectly supported cultural production has been systematically dismantled by successive neoliberal governments. Most of the innovations in British popular music which happened between the 60s and the 90s would have been unthinkable without the indirect funding provided by social housing, unemployment benefit and student grants.
If you’re like most Americans, you watched the Tour de France for about five minutes, and cheered when Armstrong won. You know a little about his cancer charity, and that he dated a pop star. And that’s about the extent of emotional energy you’ve expended. Since I’ve written a lot about doping in sports – and delved into how anti-doping agencies like the United States Anti-Doping Agency (USADA) conduct business – I’ve expended a lot more energy on your behalf.
So here’s the thing you need to know: The USADA takedown of Armstrong matters, and it could effect everybody. Because it will enhance the power and reach of a private, non-profit business that has managed to harness the power of the federal government in what’s quickly becoming a brand new war on drugs … with all the same pitfalls brought to you by the first war on drugs. […]
In an eerie echo of the tactics used by the American House Un-American Activities Committee during the Red Scare days, the Australian agency issued a call this past November “to anyone involved with, or has information about, doping activity in the sport of cycling to come forward and talk before someone else accuses them of doping.” If you talk first, you can get credit for snitching. If you wait, well, who knows what somebody else might say about you?
Elijah Brubaker is the writer and artist of Reich, a biography of Wilhelm Reich in comic form. Reich (1897 – 1957) was an Austrian psychotherapist known for his theory of character analysis. He fled Nazi Germany in 1938 and came to the U.S. where became obsessed with orgone, which he claimed was a universal energy. He also began developing technology based on orgone, including the orgone accumulator, which he believed could cure cancer, and the cloudbuster, which he believed could make it rain. He was eventually arrested for medical fraud and died in prison.
This interview was filmed back in 2008 for Technoccult TV, but the audio and video were too corrupted for release. I managed to transcribe most of the interview, so here it is at long last.
Klint Finley: So you do a comic about Wilhelm Reich, were you involved in Reichian therapy before you started the comic?
Elijah Brubaker: No, I wasn’t involved in the therapy at all. I had read about Reich kind of anecdotally through William Burroughs. And he just seemed like this cool crazy guy, and he’s a great thing to talk about to your friends who don’t know about him. I just like to talk about esoteric bullshit at parties. My interest kind of grew after I read several biographies of him and I started looking at him as more of a person, so my interest comes from the compassionate part of it now. It started as “Ha ha ha, there’s this crazy quack” Now I feel like I’m a crazy quack too.
That really shows in the comic. You don’t vilify him or idolize him. It’s a really human portrayal of him. I think it’s generally sympathetic towards him, was that your intent?
Yeah, just today I was reading the back of a biography of Ayn Rand. And there was a pull quote on the back that said that the people who lionize her and demonize her equally do a disservice by dehumanizing her. That’s how I feel with Reich, he’s such a controversial figure that people don’t really look at him as human anymore, he’s just this series of events that happened or a series of ideas. They either agree or disagree and everyone has a strong opinion about it, but it’s not coming from a very humanistic point of view I guess.
How long did it take you to research it before you started on the comic?
I did strict research for about a year, and then I said “I’ve just got to get something on paper.”
Were your reference materials particularly difficult to find?
Yeah, at first. This book, Wilhelm Reich vs. USA, was pretty hard to find. I actually found it at the library, and I kept checking it out and checking it out and finally found it at Powell’s. I don’t read German. I would like to find some of the papers that he wrote that are only in German, but that would be sort of pointless right now.
Do you do any original research, like interviews with family members or people who knew him?
I wish I could. No. I started out thinking this was going to be a much smaller project. I would still like to travel around and find whoever I could to talk about it now. Originally I thought this would be a way for me to practice cartooning, essentially, of telling a true story in the most truthful way that I thought I could.
Did you expect it to be so long?
Well, I deal better with long works. So yeah, I thought it would be like 300 pages, but I didn’t think that I would have a publisher. I thought I would print like 100 copies and give out to friends.
Have you heard from any Reich experts who has taken issue with any of your portrayals?
Not that has taken issue, but I recently got an e-mail from a person that was at a conference on orgone and pulled out my comic and showed it to everyone. Everyone was really skeptical but semi-supportive.
The e-mail was essentially “Please don’t think mess this up. Graphic novels are a big deal these days and you have the potential to do our work some harm if you portray this in the wrong light. No pressure though!”
Well, it’s one of the most flattering things written about him, so it seems like it could do his work a lot of good.
Well, it’s still early in his career, I’m sort of interested in how people feel about how I deal with some of his more controversial views, his ideas on aliens and what not.
So you haven’t gone through any of the therapy at all, just as research even?
Seen an orgone accumulator?
Yeah, I’ve seen an orgone accumulator, but they weren’t… I don’t know if anyone builds them professionally any more, but the person who owned it was the person who built it.
Are there any ideas of his that you’ve come to accept now, or that have affected you?
Well, since starting working on the book I think about sex in a lot less uptight way. I can actually talk about things in an open matter, where before it was like “teehee, he said the word erection.” I’m still a pretty uptight guy, I’m not going to talk about free love or anything like that.
Other than just freeing of my own language, I don’t think I’ve really adopted any of his teachings or whatever you want to call it.
I’m not exactly part of the anti-psychiatry movement or anything like that. But I’ve never been to therapy and I’m not looking to.
So you found out about Reich through William S. Burroughs — how did you find out about Burroughs?
You know, I can’t really remember. I think Naked Lunch was a book that my brother had in his apartment, just because it was a strange book and my brother likes strange stuff so he kept it around to show his friends. So one day I stopped by his apartment and didn’t have anything to read so I just picked it up. It’s not a narrative in any sense of the word, it’s almost just a collection of jokes or something. But I really gravitated towards it because everything I had read was just straight forward plot stories, and this had no plot and was just dirty and gross and was this guy’s entire brain smashed up. Ever since then I’ve looked for artists that do a similar thing, where it’s just self-expression whether you like it or not. I can’t say that my stuff is even close to that, but I hope that I’ve learned a little bit from that type of sensibility.
That actually makes sense looking at your work, that it would have been influenced by Burroughs, just the psychological aspect of it.
Right. I also like his unapologetic paranoia, because I’ve always felt a certain amount of “they’re out to get me.”
You have a really distinct style, how long did it take you to develop that, where did it come from?
I’ve always had an interest in that 20s era Weimar German Expressionism sort of stuff. And just through looking at George Grosz and Otto Dix and stuff like that, and trying to see what they were doing. I just sort of stole ideas from this person and that person.
I’ve always liked the idea of a serial killer as a boogey-man sort of thing. And Billy Gohl, there’s no movie about him, he’s not in popular consciousness yet.
His story is interesting to me, because he was accused of a hell of a lot more murders than he actually took part in. He was a braggart and a loud mouth. He said he cannibalized a man in the mountains one year.
Gray’s Harbor, Washington at the time was this rough port town where people would go missing all the time. The Christian population of the time looked down on the fact that he had a bar. Fights would break out there and they’d blame Billy Gohl.
He was made a representative of the sailor’s union and he was responsible for watching sailors’ belongings while they were out at sea. If they didn’t come back he was in charge of distributing the goods however he saw fit. Finding the families and everything. Chances were he’d usually just keep it. So his stories were “Oh this sailor I didn’t like, I just killed him and took his stuff.”
And people would show up floating in the bay. I think there was one year where the was just a little under 200 people found floating in the bay, and they referred to them the “floater fleet.” And Billy Gohl was eventually accused of every single murder that happened there, thousands of people over the time that he was living in Gray’s Harbor.
He was eventually convicted of two murders, one of which the court decided he didn’t even actually pull the trigger, he just convinced the other guy to pull the trigger. I don’t know how the legal wrangling were over that.
I think it’s a cautionary tale about how being a loud mouth and talking what a terrible person that you can be. Eventually you’re going to try to prove that and you’ll find your justice.
What’s your favorite work of your own?
Reich is the thing that I’m most proud of. I think the stories in Papercutter are a little bit more aligned with my sensibilities, I think I’m having more fun with those stories, but I think Reich is a more fulfilling story.