What does it mean in allegorical terms to be either “on the bus” or “off the bus” among Ken Kesey’s group the Merry Pranksters during their cross-country acid trip, the one Tom Wolfe reconstructs for readers in his “New Journalism” classic The Electric Kool-Aid Acid Test? It’s the difference between riding with experience, perhaps, and resisting it. Kesey wanted people to ride with it. “No one was to rise up negative about anything,” writes Wolfe, “one was to go positive with everything — go with the flow — everyone’s cool was to be tested, and to shout No, no matter what happened, was to fail” (Wolfe 84). No more uptight, defensive reactivity. Each of us, instead, like the bus a recording device traveling the open road of what Wolfe calls “the true America” (Wolfe 85). Judgment under these conditions appears an arbitrary imposition, as when I set aside Wolfe and peek into Michael Davidson’s “Tale of Cybernetic Buddhism,” The Karma Machine (1975), a novel I discovered while perusing the shelves of used bookstores during a recent trip to San Francisco. This is a book in which the whole world sleeps, a group of revolutionaries called the Geneva Society having bombarded their fellow humans with “Delta-waves,” so as to prepare a critical operation, a utopian intervention to cure the species of “the disease which afflicts it: mortal fear” (Davidson 104). The revolutionaries pitch this as a “democratic exercise,” as they gather “representatives of the common people” to determine the cure. Heads of state are kidnapped and made to carry out the directives of this “people’s assembly.” One of the revolutionaries, a scientist named Strastnik, tells those gathered, “You are absolutely secure, but you are also completely confined. In brief, you are back in the womb, the womb of history! And you are a new conception! May you prove an immaculate one” (Davidson 105). Before reading further, I set down the book, sit Indian-style and meditate. Vibrant experiences of reciprocity are what I seek in order to feel in a new, delightfully intense way. Experiences of ecstatic contact between self and world. Let love lift us through enlargements of perspective, revealing in this way “the pattern that connects.” Eros, a longing both individuated and attached, free and determined simultaneously. Touching the world and being touched by it in return.
How did Ken Kesey and his psychedelic community the Merry Pranksters re-imagine reality through their use of the phrase “the current fantasy”? How does one determine one’s fantasy? Surely it’s by performing these fantasies collectively — in groups, with others. In today’s performance, let us imagine ourselves as psychedelic detectives, researching Michael Bowen and Gary Goldhill, figures Tom Wolfe references as members of the League for Spiritual Discovery in his book The Electric Kool-Aid Acid Test. Goldhill was an English head who worked for the BBC, Wolfe says, until he took some magic mushrooms in San Miguel de Allende, and in so doing discovered “the Management and gave up all, all the TV BBC game and dedicated himself to The Life” (Wolfe 361). Time to dive back into this thing, no? Symbols trigger recollection of forgotten knowledge. They cure us of our amnesia. We realize reality is a hologram — Philip K. Dick’s “Black Iron Prison.” A military coup d’état occurred on 11/22/63. Our duty now is to unravel belief in the frame.
I perform a mind game wherein I imagine a psychoanalytic interpretation of Ken Kesey’s One Flew Over the Cuckoo’s Nest, a novel not just seen through the eyes of its half-Native American narrator, Chief Bromden, but somehow also set in the character’s head, his paranoid delusions causing him to hallucinate — by which I mean “literalize,” or “externalize” — the internal struggle between his Superego and his Id as a struggle between the characters of Big Nurse and Randle Patrick McMurphy. Then again, instead of psychoanalysis, we could sub in Marxism as our master discourse and read the novel as a Cold War allegory and/or a satire of the postwar order. Like all good political allegories, the work can be read on several levels or scales of being: the personal, the spiritual, the national-historical, and the world-historical all somehow homologous. The Nurse’s effort to cast aspersions on McMurphy’s motives resembles the progressivist critique of industrial robber-baron capitalism, just as the incident in the shower room represents the Zoot Suit Riots. If interpretation of this sort places me in the camp of the novel’s wheelchair-bound WWI veteran Colonel Matterson, so be it.
We can heal ourselves by placing ourselves in the presence of beautiful aesthetic objects like the new Dire Wolves cassette, Shootout at the Dildo Factory.
Or even better, given our mood at the moment, how about the new cassette from Lake Mary & Talk West on Cabin Floor Esoterica? Lo-fi improvised folk by a midwestern American guitar duo.
What I settle on, however, in my restlessness, in my hunger for uplift, is The Magicians Saw by Alex Meets Sand.
I see sand, fuzz, whiskers, sliced grapefruit, etchings of a state from memory. Bars of sunlight atop a grey carpet. While listening, I begin to eye Ken Kesey’s One Flew Over the Cuckoo’s Nest as an American adaptation of Plato’s allegory of the cave. McMurphy shows up, a new Admission to the cave, with pants and shirt from the Pendleton Work Farm “sunned out till they’re the color of watered milk” (12). Dude’s been out in the SUN. The Cave has been updated; it’s far more brutal than it was for the philosophers of ancient Athens. They’ve added a “brain-murdering” room called the “Shock Shop.” And the freed individual, the one who ascends and returns — he, too, has changed. Where once he was a philosopher-king, now he’s a psychopathic “fights too much and fucks too much” capitalist. The men in the cave, we’re told, are like sleepwalkers “wandering round in a simple, happy dream” (16). From the moment of arrival onward, however, McMurphy charms them and helps them wake.
The hypno-therapeutic invocation at the start of the new Netflix series Babylon Berlin works as would a spell cast to ensure suspension of disbelief. It sinks the show’s audience immediately into a weirdly liminal, malleable state. The camera mimics, externalizes, makes public a property of mind, the power of the negative. Amid a non-place housing an infinity of potential signs, the mind invents for itself improvised picture-events. Mirror images evolve together like the reflecting surfaces of a kaleidoscope. Culture unfolds this way, too. Ken Kesey’s One Flew Over the Cuckoo’s Nest, workshopped in Wallace Stegner’s creative writing seminars at Stanford, prompted Stegner’s angry rebuttal, All the Little Live Things. The Kesey novel imagines escape from the Combine (AKA the White Christian Settler-Colonialist Superstate) through cross-racial alliance between figures representing Native Americans and working-class whites. Kesey stages this alliance by rewriting and altering the outcome of the moment of cultural encounter, with character types and lines of dialogue borrowed from Hollywood Westerns. Kesey himself attempted in the years that followed to live out and embody this imaginary resolution with his cohorts, The Merry Pranksters. Stegner, having been there at the birth, so to speak, of this logic informing Kesey’s self-fashioning, acknowledges as much by linking Jim Peck, the Kesey character in All the Little Live Things, with Shakespeare’s Caliban. The one who forges this equation is none other than the Stegner novel’s narrator-protagonist Joe Allston. Where Kesey staffs the Combine with Nurse Ratched, Stegner places on the throne of All the Little Live Things’s California Eden a hot-tempered patriarch, a stern father intent on nipping hippiedom in the bud. Stegner’s novel, remember, comes out in 1967, the same year as the Summer of Love, the same year California vowed to “clean up the mess at Berkeley” by electing Ronald Reagan as its governor — the story of Oedipus thus given a new ending, with the attempted patricide quelled and the rivalry prolonged into the future.
I coach myself to smuggle more dreamtime into daytime along my daily walk. As I do so, a squirrel falls from a tree branch a good 15 feet onto the street below several yards ahead of me, only to then run off unfazed into the shade of a parked car. Sarah and I marvel at the strangeness of a dream of hers from the night before involving a student who, despite her protests, insisted upon blowing a dog whistle during class. The conversation turns toward a German TV series she’s been watching recently, Babylon Berlin. I reflect upon the left critique of bourgeois decadence and the Nazi attack on “degenerate art,” both conjured by their association with the show’s use of “Babylon” in its title. Both formations, I tell myself, emerged as critiques of liberalism. A large dog, however, stirred by my approach, awakens me from these thoughts with its bark and its yelp, a dark blur spied between the panels of a neighbor’s fence. Afterwards I find a copy of All the Little Live Things, a 1967 novel by Wallace Stegner featuring “Jim Peck,” a character modeled after Stegner’s former student at Stanford, Ken Kesey. The book’s first-person narrator, a retiree named Joe Allston, spends the bulk of the novel venting about the Peck character once the latter, described on the book jacket as “a bearded young cultist,” moves in next door, builds a treehouse on Allston’s property, and proceeds to start “a University of the Free Mind, complete with yoga, marijuana, and free-wheeling sex.” That’s when it hits me. Wild Wild Country, All the Little Live Things, Babylon Berlin: they all explore the same basic narrative, the culture war imagined in miniature, with variable sympathies and variable scales and stakes.