Discovery of the AMC series Lodge 49 sends me back to Thomas Pynchon’s slim but not slight second novel The Crying of Lot 49, a book I read many years ago as an undergrad. This time around I’m delighted to be re-acquainted not just with the book’s heroine Oedipa Mass, but also with her shrink Dr. Hilarius, a psychotherapist running an experiment in a community hospital in the book’s version of 1960s Southern California, “on effects of LSD-25, mescaline, psilocybin, and related drugs on a large sample of suburban housewives” (17). Hilarius calls the experiment the bridge, or “die Brücke,” as in “The bridge inward” (17). At the back of the book, my twenty-year-old self had written a set of clues to the book’s decipherment, composed as if they were a type of verse: four lines, four simple statements: “lot 49 equals tristero. / tristero equals the disinherited. / oedipa awaits the crying of the disinherited. / auctioning off america … who will win?” The morning after receiving a phone call from Hilarius begging her to participate in his experiment, Oedipa experiences an altered state of consciousness, an “odd, religious instant.” Looking down a slope over a vast sprawl of houses, Oedipa discerns a pattern of sorts. “The ordered swirl of houses and streets, from this high angle,” Pynchon writes, “sprang at her now with the same unexpected, astonishing clarity as the circuit card had. […]. there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out). […]. As if, on some other frequency…words were being spoken” (24-25). I begin to wonder: is what follows an acid trip? Did Oedipa unwittingly take one of the pills Hilarius had given to her?
Once one encounters a theory of the Unconscious, once one recognizes oneself as internally divided, how does one integrate this knowledge, how does one reconstitute a sense of Self? The Surrealists arrived at one solution, the Althusserians another. Fredric Jameson absorbs the best of both of those solutions, synthesizing the insights of the whole of the Western Marxist tradition in his theory of the “political unconscious.” Once Marxism undergoes an encounter with psychedelics, however, its understanding of ideology changes, as does its relationship to language, other people, everything. Consciousness regains a degree of semi-autonomy, having pierced the veil, having escaped for a time, returning only to save the others. Capitalist economies as rendered by number-crunchers like Doug Henwood are still just a bunch of reality tunnels — and paltry ones at that. Why disabuse people of their ideologies if all one can offer in place of these is the anger and perpetual dissatisfaction of struggle against what has thus far been an unbeatable foe? I’d rather think about allegory and its relationship to the art of memory. “Allegories are, in the realm of thoughts,” wrote Walter Benjamin, “what ruins are in the realm of things.” Who put the Hermes in hermeneutics? That which is Unconscious, that which escapes knowability: the complex system, the totality. By developing new allegories to represent these, Jameson argues, one can participate again in the production of reality, or the coining of the realm. This thing around us, Jameson says, this vast social construct, “needs to be converted and refunctioned into a new and as yet undreamed of global communism” (Allegory and Ideology, p. 37). Jameson’s approach strikes me as a bit reckless, however. It makes the accelerationist wager, refusing to grant nature any kind of prior or autonomous being, viewing it rather as a thing always-already mixed with human labor and thus fit to be terraformed, transformed — humanized through collective effort.
Reading One Flew Over the Cuckoo’s Nest again with students, I find us wanting as readers to separate the book’s countercultural critique of the Combine from its racism and its misogyny. On race, as on gender, Kesey maps power-relationality ass-backwards. The novel erupts into an episode of cruel racial violence when black orderlies threaten to hose down the book’s white male patients. When one of the orderlies sprays a germophobic character named George, the book’s redheaded TV-cowboy brawler protagonist Randle Patrick McMurphy lashes out with racial epithets and starts swinging. In reality, of course, it was black children, not white men, who were sprayed with fire hoses on the streets of Birmingham, AL by racist white police officers on May 3, 1963, just one year after the novel’s publication. By teaching the book, the country’s racism lies there exposed: Oregon’s history as a white-only state, with laws forbidding black people from living in its borders upon its entry into the union in the midnineteenth century; the persistence of antiblack sentiment more than a hundred years later even among 1960s counterculturalists like Kesey. These are sobering facts, are they not? Even among those who had found the enlightenment of LSD, these ideas persisted. Granted, in Kesey’s case, enlightenment came courtesy of MK-Ultra. Not the most auspicious set and setting. Yet this, too, is part of the tale’s appeal. Kesey was there, present as a participant in events of world-historical importance, the effects of which are still being felt today.
I stand on my back deck staring at fallen leaves, listening, building a sense of place, attending to sights and sounds generated by neighboring beings: birds, squirrels, planes, trees, automobiles. A small bird lands beside me and sings to me, dancing in rapid increments. It pecks, it eats, it leaps, flitting to and fro. Capitalism encloses us in its habitus, its time-discipline, its states and estates. Yet there in its borders and interstices, in its gutters and margins, fugitive life proceeds apace. Imaginary bagpipes drone betwixt dueling leafblowers. A sound blown in honor of comrades who died 40 years ago today in the Greensboro Massacre. Mysterious books call out to me, rise off shelves and land in my hands, ready to be read. By these means, I happen upon The Knee of Listening by Franklin Jones, aka Da Free John, sensing immediately in his use of language evidence of a fellow head. Jones began graduate study in English at Stanford University in 1961. He must have been part of Ken Kesey’s cohort. At the very least he volunteered as a subject in the same drug experiments as Kesey, MK-Ultra experiments run out of the Veterans Administration hospital in the early 1960s.
The drug experience enters cultural memory, becomes an object of philosophical investigation from the Romantic period onward — though perhaps it was already informing the thinking of the Ancient Greeks by way of the festival of Eleusis. Walter Burkert writes of these famed “experiences of ecstasy and wonder” in his book Ancient Mystery Cults, a work of “comparative phenomenology.” I think of it as a form of listening across time for psychedelic travel narratives, trip reports from wonderland written by heads possessed by a shared, singular-but-multiple “voice of experience,” a “general equivalent” allowing Being to relate to itself across time. By reading literary history as a continuous dialogue, something like a holy ghost emerges, self-consistent despite change, urging us toward happiness and freedom. Ernst Bloch called it the “Utopian impulse” or the “principle of Hope.” Jung imagined it as a “collective unconscious.” Teaching a course this way is a bit like saying, “You, too, can live allegorically. The way to do so is by reading.”
With daily practice I develop greater strength and control in my left hand. Exercised with concentration, the hand’s ability to drum shows noticeable improvement. In between these exercises I think about indigenous drum ceremonies like Powwows, and instruments like rattles. How might we account for the Christian West’s antipathy to drums and percussive noise throughout most of its history? Horns, bells, and strings have their charms, but they evoke entities different in kind from those conjured with sticks and skins. With Dustin Laurenzi’s Snaketime providing productive accompaniment, I descend back into Gerald Heard’s essay on his close friend Aldous Huxley, a piece called “The Poignant Prophet,” published in 1965, two years after Huxley’s death. Right away, I’m troubled by Heard’s Darwinian emphasis on Huxley’s heredity (the “ancestral pressures” placed upon the latter due to “the intellectual nobility of his forefathers,” etc). Yet there are also moments when Heard offers glimpses of Huxley as the latter struggled to grow beyond his early reputation as a satirist. The two kept up a tradition of “afternoon walks-and-talks.” We learn of their joint investigations of groups like Moral Rearmament and teachers like Ouspensky. The most interesting part of the account, of course, deals with the transformation in Huxley effected through the latter’s encounters with psychedelics like mescaline. “Was there any effect that was permanent, that manifestly altered his everyday character in relation to others,” asks Heard, “giving his actions a new strength of conviction and initiative of encouragement? Could he thereafter persistently see the common day in the full light of this masterly comprehension, and so go forward as a guide? I think there was evidence” (66).
I return home from work exhausted, the energy left from teaching and climate striking enough only to kick back and stare at squirrels. Though by doing so, I’m replenished. I relax, I lay back, contemplating tree-crowns teeming with life. Smoking helps me bring consciousness into accord with Nature, its correspondent other. As Shayla Love notes, psychedelics “recreate the core feeling of relatedness…the sense that nature is a part of us, our bodies, our lives, and that we are a part of it.” Ego dissolves, boundaries between self and other break down. When we emerge on the other side of that threshold, we possess new powers, new ways of seeing, a new sympathetic cosmology.