A Very Long Thing About America Really. With Photos. No, Really.

"Oh There's Nothing Like A Road Trip
... when your life is going nowhere"

                              -- Jean Shepard

Charles Cushman; Kodachrome Slide Of Golden Gate Bridge, February 1953

This post has been taking shape for months. But first -- a little digression. Sort of a Fuck You Very Much, You Orc Fucks. You know -- Because Freedom. I warn you, it's a little intense, but these are intense times. 

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The Following Is A (Not That Brief) Unpaid Political Rant

"It's A Little Angry -- And That's After The Edits."

In November, half of the United States screeched, We want Oligarchs and Fascism! And this is what we're getting. You wanted this!

There's been (so far) little cohesion on the Left. Democratic Party leadership is the party of closing their eyes and plugging their ears, and "buh buh buh some day it will all go away some day, and don't look at us, it's what all the polls say".

Meanwhile, Elmo Husk is playing with all the data stolen from government departments he's broken and bludgeoned. He bribed Crazy Donny with campaign money, so Donny let him copy databases of personal information, which Old America had spent years and billions to protect from hostile foreign states and cybercriminals. But in New Golden Age America, The call is coming from inside the house. 

So, who will Elmo sell the data to? Yakuza, Triads? Sad Vlad, the Putin? DJ Jim Ping and his CCP All Night Long Band?  Jeffy The Magic Bezos?  Peety Thiel, or Larry, or Zuck, or Sam What AI Am; Lil' Beckah Mercer and Her Daddy?  Even Rupert and Lack Lan too?  So many choices ! 

Crazy Donny can't wait to issue that Declaration Of A State Of Emergency, and Lil' Stevie Reinhard Heydrich Miller can direct protestors and critics and judges and journalists, and you and me! to be deported to Russian prisons. Or worse.  Because Freedom ! Praise Jeesuz!

Good News About Hell

And, applause! for everyone who voted I Am Lovin' me Some Crazy Donny !  I hope you enjoyed the past five months.  When all this shit really hits the fan -- and it will -- just remember: Every time you switch on Fox and Newsmax and OAN, you are sucking Joseph Goebbels' underwear. You wanted this; now you have it. How does it taste, Bobo? 

And, to Democratic party leadership: This is what you wanted, too. You are too frightened of appearing "divisive" "extreme" "radical" to fight back -- because it means you will be criticized by a dozen special MSM Beltway journalists who are busy writing their book of the moment, before the publishing houses are shut down. Why, you might lose influence, appear less relevant. Then what are you good for?

Every time you shut down Progressive voices -- you're licking Donny's adult boo-boo undies. You say only you can make special back-room 'deals' with your 'counterparts' in the Thug party -- people you know will fuck you every chance they get? And you never learn -- so what are you good for? I'd like to know.

And Oh yes Gaza: You won't say 'stop'? Won't turn off the military hardware gravy train? All because criticizing Israel is Bad? Antisemitic?? Please to be giving my dog a blow job, Chuck. Send another strongly worded note to Lil' Pastor Mikey, or Loco Marco, the nazi Ambassador. Maybe Susan Collins will even help you compose it.

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Ah; but there is good news about Hell:  You repugnant, Orc, nazi degenerates -- You neoliberal goat-fucking scumbags -- you'll all be in it with us.

Damn; if that twerp back on Bluesky wasn't right when they accused me of being an angry, ranting, Downer Dog. Well; losing your World by yards each day will do that to you, kiddo. 

[The] great age of European civilization was an edifice of grandeur and passion, of riches and beauty and dark reliance... The Old World had much that has since been lost, whatever may have been gained. Looking back on it from 1915, Emile Verhaeren, the Belgian Socialist poet, dedicated his pages, “With emotion, to the man I used to be.” 

                      -- Barbara Tuchman, The Proud Tower (1966) 

Obligatory Cute Small Animal Photo At Close Of Blog Rant

Thank You for your attention. And now, back to our regularly scheduled programming. 

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Transition Paragraphs After Blog Rant

I think about the past, more than is good for me. I think about America, that we're at yet another inflection point in our history.

It's important to remember details about where we all came from, not so long ago, and how far we've come as a society -- particularly when it's so clear there are people who want to take away everything we've been able to force our Billionaire owners to give up since the early 1930s.

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"Cushmans; Meet The Cushmans

They're a Post-Depression Family"

Historical story-telling is a really like a Spaulding Grey monologue, a step up from the campfire story, the hero's tale. If an Historian is gifted, we might understand better the world and the people who came before us. Because the value for people like us, the Little People down in the streets, really is in the details.

In a broader social and political context, the story-telling can show us who We, The People, once were -- and by comparison, where we are now. What we've gained, and stand to lose.

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Ford 1938 De Luxe Tudor Sedan

In the early 2000's, I was surfing the then-Web, and stumbled across a blog post with photos recording a trip taken by a Charles Weever Cushman (1896 - 1972) and his wife, Jean Hamilton Cushman, across the United States in 1940. 

Since I was trained as a historian, and spent a lot of time one way or another as an investigator, I wanted to know more about the Cushmans, and started digging. Much of what I know is relatively recent information; it's taken years to digitize various public sources and make them available online for all of us.

Charles Cushman was born in Indiana. He graduated from the state university; found a job as a Business Analyst at a public relations firm in Chicago in the early 1920's, where he met his wife, Jean -- the boss' daughter. 

Charles and Jean were married in 1924 -- his father-in-law, Joe Hamilton, was a nationally prominent advertising copywriter and innovator in visual media. He was wealthy, connected -- and the uncle of an aspiring writer, John Steinbeck.

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(It is, sometimes, the strangest of worlds. In 1930, Hamilton called in a favor to wrangle his nephew a newspaper reporting job in New York City. Steinbeck had published one novel, Cup Of Gold, in 1929, but after the Crash had to take work on a road maintenance crew. The newspaper job allowed Steinbeck to continue writing, and live closer to the New York publishing world.

Twenty-Eight Year-Old John Steinbeck, NYC; 1930

(In the mid-30's, Hamilton was tapped by FDR to become Director of Information for an increasingly embattled Works Progress Administration, defending the Federal Theatre Project and photographers from charges of Leftist bias by right-wing politicians.

(In 1952, Steinbeck put Joe into East of Eden, the youngest of the Hamilton family children, living in Salinas, who goes on to find his calling in advertising, "where his very faults were virtues".)

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Cushman's father-in-law Hamilton made sure he had a job (and his daughter, security) in Chicago after the Crash. In 1933, Hamilton became a principal in a new business -- a subsidiary of a Canadian distillery -- which, if Prohibition were repealed, would be positioned to make a ton of money. Hamilton made his son-in-law the business' secretary-treasurer. 

Prohibition was repealed on December 5, 1933. The distilling company, after making several tons of money, and was sold in 1938 at a substantial profit.  Aber Natürlich, the company's directors and officers -- Joe Hamilton and Charlie Cushman (and Jean) -- made bank.

To celebrate their good fortune, they decided on a road trip from Chicago to the West Coast; then, they would drive east to Florida. It was the first in what became the Cushman's annual routine -- vacations that lasted several months, driving around and across America. 

Cushman had purchased a new 35mm camera, along with rolls of  Kodak's new 'Kodachrome' color film, and was anxious to use them.

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"Happy Days Are Here (Again)

The nazis, we'll all fear again"

( Note: One U.S. Dollar in 1940, adjusted for inflation, had the purchasing power of $22 in 2025. You'll see both sets of costs as I work through the economics of this post. It's meant to give a real sense of both how well-off the Cushmans were, and living costs in America, 85 years ago.)

In 1940, the Cushmans purchased a brand-new Ford hardtop Tudor De Luxe Coupe for $665 -- that's   $14,630 today. Standard financing for a new automobile was a one-third down payment of $225 ($4,900), with the balance carried on a loan, direct with the auto dealership -- not with a bank. Including interest, the loan would be paid in $30 - $40 monthly installments ($660 - $880 now) over three years.

Charles and Jean drove their new red Ford from Chicago to the Northwest Pacific coast, then, down the length of California. After, they travelled east across the American Southwest, and finally back to Illinois. 

Charles and Jean Cushman: Portland, Oregon; September, 1938

In 1940, America's Interstates didn't yet exist. The Cushman's trip was taken on 3,000-plus miles of blacktop, gravel, or dirt roads. Many roads would be new, built through New Deal WPA / CCC / NRA projects by the kind of road crews John Steinbeck had worked on. With layovers at major stops, the Cushman's trip could easily take thirty days or more.

Their Ford Coupe ran at an average 20 MPG. Gasoline sold in 1940 for ~$0.20 per gallon. A 3,000 mile trip in the Ford would take ~200 gallons and cost forty dollars -- $880 in 2025  (At the current national average of $3.18 / Gal., two hundred gallons will cost you $635 today).

Another fact of interstate driving in the United States in 1938 were Toll Roads. They're nearly extinct, now. But once, roads -- not all, but major 'Turnpikes' -- were privately owned. Wagon, then auto drivers paid to use them. We don't know which, if any, Tolls the Cushmans may have had to pay as they drove around America, or how much.

The Cushman's Tudor Coupe,

On The Marin Side Of The Golden Gate Bridge, 1940

A moderately-priced Tourist Court or hotel room would run an average of $4.50 a night for two people, -- about $120 for 30 days. A decent breakfast, lunch, and dinner in 1940 would run $7.50 per person, per day (including beer and wine) -- altogether, lodging and food for Charles and Jean would cost ~$450 -- almost $10,000 in 2025.

40th Street At 6th Avenue, NYC; June, 1940

(Identified by the newspaper headliner,

"Nazi Army Now 75 Miles From Paris"). Note food item prices.

When you include 10-15% for inevitable add-ons and extras (not including the cost of any clothing, tchotchkes, art, tickets to museums, etc.), their vacation cost ~ $660 ($15,600 today).

Multiply that by 15 other trips between 1939 and 1954, and in 2025 dollars, the Cushmans may have spent $230K -- a quarter of a million dollars -- in their decade-and-a-half of almost continual travel. 

Given that most Americans still struggled with the Depression until 1942, then were swept up in a World War, I'm not completely sure how I feel about all this. The Cushmans were lucky about the money. They were white, upper-middle-class Americans with the relative freedom their 1938 windfall could provide. They were lucky about a lot. 

Fortunately, that has little to do with the photographs.

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OCD Can Be Good For You And Good For Me

Charles Cushman was an avid amateur photographer -- no; he was obsessive about it, starting in 1919 at Indiana University when he acted as photographer for the student newspaper. He took photos -- mostly Box-Brownie-style 120mm-film snapshots -- whenever he had the chance.

Kodak released its groundbreaking Kodachrome color film for 35mm still cameras in 1935. A single, 18-exposure roll in 1940 cost $3.50 ($77 today) -- which included developing and printing by Kodak, something they did for decades (I'm so old I can remember our family mailing rolls of Kodak film in prepaid envelopes to Rochester, New York, and within a week, prints or slides of your photos would be delivered).

In the early 1930's, Charles bought a Contax II 35mm rangefinder camera, with a basic 50mm lens, for $250 ($5,500 today). The Contax was produced by the German firm, Zeiss-Ikon, and among the most expensive 35mm rangefinders available at the time (e.g., made by Leica, Argus, and Kodak).

     

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America, America

"O Blinding Light / O Light That Blinds / I Cannot See / Look Out For Me"

Cushman shot multiple rolls on each trip, and kept detailed notebooks with entries about every exposure. They weren't just tourist snaps. Whether he realized it or not, he was recording what the United States looked like -- even more, what it felt like -- at an inflection point in history. 

The United States settled into isolation after our one, great spasm of colonial Jingoism, the Spanish-American War and the "conquest of the Philippines" in 1898. After our involvement in WW1, the country had rejected Wilson's vision of a global role for the USA and retreated into itself again.

Technology continued changing society. So did the Great Depression -- right down to our foundations. America was divided in 1938 -- Left / Right, Rich vs. Poor. Spain was the Ukraine of the 1930's, torn apart by a war between Fascism, Hitler and Mussolini, and Stalinist Communism. 

FDR had been President for six years, trying to save American democracy and economic markets. He could see the broader world was likely going to pull the U.S. into a major war -- Lindbergh and the America Firsters (some of the same people who had plotted an armed coup to remove Roosevelt in 1934) be damned.

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Cushman's photographs made a record of how people lived -- in rural communities, small towns and large urban areas; how they dressed; their posture and physical condition; where they lived. He could have enjoyed landscape photography, or older architecture studies -- but whether he consciously chose to do so or not, Cushman's real subjects were America, and Americans.

Unemployed Men Near Lower East Side Flophouse, NYC; 1940

He and Jean were in the right places at the right time. He had the right level of obsessive behavior when it came to photography. On their annual excursions, Charles Cushman shot nearly 790 rolls of Kodachrome film over 35 years. In 2025, that's $32,000 -- almost a thousand dollars a year.

And, they travelled during the war (1942-45) despite gasoline, oil, and tires being strictly rationed. Most Americans with autos severely restricted their travel ("Is This Trip Necessary?" was the catchphrase on posters and in advertising), or put their cars up on blocks "for the duration". But not the Cushmans.

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Laguna Beach, California; Sunday Afternoon, June 1940

Jean and Charles Cushman, Miami Beach, FL; March, 1939

In 1954, Charles and Jean moved from Chicago to San Francisco. Polk's City Directory shows they lived in two leased apartments over the next fifteen years. They had been mobile most of their adult lives -- that they rented flats, as opposed to putting down more permanent roots, makes sense. 

They continued making long trips -- to Europe, this time -- and Charles took more photos. The last trip he and Jean took appears to have been to Greece, Austria, and Germany in 1965. A bit later, out for a walk in San Francisco, he took pictures with his ever-present camera in the Haight-Ashbury; just a silhouette on the sidewalk.

       

                              Intersection Of Haight and Masonic, San Francisco; 1967

In 1969, the Cushmans disappear from public records. Charles died in 1972, age 76; no record of Jean.

Charles In Retirement, Snapped By Jean;

San Francisco, Date Unknown

Cushman bequeathed to his alma mater, Indiana University, over 2,200 black-and-white photos, 14,000 color slides, and notebooks. The university had a photography department, and added the bequest to their archives.  

Twenty years later, needing space for their collection, Cushman's photos were deemed nothing more than tourist-level snapshots, and tossed Cushman's photos into a dumpster. An associate professor in the department, by chance, walked past the garbage bin, spotted and literally rescued them. 

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The Photos

Reviewing the color slides, the instructor saw their value as a unique color archive about ordinary America. They showed more than Cushman's good eye for detail and composition. They were a cultural record. You can see them all, online, here.

What stands out in these photos is how much people did not have. There was no broad Middle Class in America.  People didn't have disposable income to spend on consumer goods; it shows in the clothing, shoes, even the facial expressions and physical postures of people we know instinctively are lower on the economic ladder -- and per the 1930 and 1940 Censuses, most people in America were 'working class' or below.

The Second World War, and economic expansion, would change all that. But before 1942 the reality was, a significant number of people worked at jobs which didn't pay much money. Unemployment in 1940 was high - sixteen per cent; there were not that many jobs to be had. We were a nation of people traumatized -- by years of drought, failure, loss; good and bad politics; uncertainty and fear. All of it marked their lives, and our collective national psyche.

(It's not hyperbole. My mother came of age during the Depression and appeared to make a basic underlying assumption about the world: "You never know". Something terrible was about to happen at any moment. Superstitious ("Go outside; turn around three times, and spit. Go."), obsessively careful about money, and everything else. Little new was ever bought. Everything was repaired, resewn, to "make-do". It wasn't until forty years later, sometime in the 1960's -- that she tentatively began to believe she was relatively safe.)

Most people couldn't afford a home. Many who did had to take in lodgers to afford their rent or mortgage payments. Large pieces of furniture were inherited; there was no Ikea in the 1930s. Many rural families didn't have indoor plumbing, electricity, or hot water. 

Vieux Carre, New Orleans LA, 1940

If you rented an apartment in a city, there might be a single communal toilet on each floor; no bathtub. Many people only 'bathed' once a week, with a designated "bath night" -- tin basin to squat in; water heated on a stove, and even then it was only a modified sponge bath. Having a shampoo was a luxury.

Even in 1940, many Americans lived and died within fifty miles or less of the place they were born. Going to visit relatives in another town or state, by train or bus, was done, but flying somewhere in an airplane was unheard of. Or travelling by ship to Europe. 

It wasn't just expense. It was also having the free time from work to make a journey. 'Vacation days' granted by an employer didn't exist. Neither were mandatory rest breaks, paid lunch breaks, sick time, maternity leave, healthcare, or employee savings plans. No regulations about discrimination in hiring involving women, minorities, the disabled; the Deaf Community. Work in America of 1940 was not Woke.

Eutaw, Alabama; 1941

Americans in 2025 have high expectations of the society we live in. We have blogs and substack and Lil' Tukker Sucking Goebbels' Underwear; email and fax and .pdfs. We stream films, episodes of White Lotus, or The Last Of Us, 'South Park', or a Bill Burr special. 

Our general consciousness takes for granted all the technology at our fingertips; our ability to see almost anything, buy almost anything, travel in hours to the other side of the world. Last Thursday, I bought an item on EBay from a seller in Japan. Less than a week later, it's just been delivered as I'm typing this. And I've been listening to a long string of music and podcasts via Bluetooth earbuds, all day.

   

                     

Lower East Side, NYC; 1941

Consider: the people in Cushman's photos have completely different expectations about how their world functions. You didn't hear music unless someone had a record player, which cost $20 - $150 ($440 -  $3,300 today). The records were ~$1.25 ($27.50) each. People listened to radios (cost, new = $20 - $40; $440 to $880).  The world of these people wasn't silent, but no streaming music-on-demand.

USPS would deliver a letter in the 48 States, within days -- a little longer for the Alaskan or Hawaiian Territories. A long-distance telephone call required assistance from Operators, and could cost $0.50 to $2.50 (that's ten to fifty dollars today) -- for three minutes. 

Chicago, IL; 1941

Western Union Telegraph -- delivered by messenger -- could run you up to $20 ($440 today). You can buy clothing and other items from a physical catalog (Marshall Fields; Montgomery Ward; Sears & Roebuck) but USPS shipping could be expensive, and would take a week or more to arrive.

             

Salvage Crew, Teenaged Boys Picking Up Junk; NYC; 1941

My point: A major difference between life in 1940, and our world in 2025, is the instantaneousness of our lives. We swim in an ocean of communication; of consumerism. For the people we see in Cushman's photos, everything which makes up our collective reality, our Now -- hasn't happened yet. 

Black Women And Children On The Street; Annapolis, MD, 1941

The most obvious thing here is how much the women do not want their photograph taken. They acquiesce, because it's a white man's world. But how they feel about it is plain as day.  The children above might be alive today in their late Eighties or Nineties, but statistically it isn't likely.

Saturday-Night County Dance; MacKintosh, OK; 1939

This grabs the sense of every awkward school- or organization-sponsored dance, ever. These mostly young people are sharecropper, farm family kids. They're wearing their 'for-best', their Saturday Night clothes -- dancing in a room with walls of wooden studs, no drywall; literally papered over. 

No idea how Cushman was invited to observe this event and take a flash-photo -- but it happened in Oklahoma, one of the states literally blown away in the Dust Bowl of the Thirties. It feels like something Steinbeck could have described in Grapes Of Wrath -- just history, for us.

Most of the people in the photo were born between the mid-1910s and 1920s. Most of the men would be in the U.S. military, serving in the European or Pacific Theaters, within another two years.

Company Housing Across From A Steel Mill, Johnstown PA; 1940

(Close-Up Of Steelworker's Children, In The Photo Above; 1940)

Indiana Farm, 1941

Latino Boys; Texas, 1941

Lower Clinton Street, NYC; 1940

Not impossible for this man to have been born in the 1860's

Brand New Boeing 307 Stratoliners Being Fueled At O'Hare Airport, Chicago, 1938 

(In WW2, They Would Become The B-29 Bomber)

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MEHR, MIT ANALYSE

In 1940, per the Brookings Institution, seventy-five per cent of adults 25 and over were high school dropouts, or had no education beyond the 8th Grade. 

Only 5 per cent of adults attended college, had a Bachelor's or a graduate degree -- and the majority of them were male.

Unemployment was still high: 16%.  The census showed 53 million persons, 14 and older, as employed. Of them, ~17 million had white-collar jobs -- which typically represented a higher income, compared to 36 million 'blue-collar' workers.

The 1940 Census showed  35,087,440 families in America. 

      Average family income was  $950  ($21,000, in 2025 -- This is net income, not net assets.)

     Lower / Working-Class:  51% of families had income of $1 - $900 ($20,000) / year

     Middle Class:  23% of families made $1-3,000 ($22,000 - 66K) / year

     Upper-Middle Class: 24% of families made $3-4,000 ($66K - $88,000) / year

     Upper Class: 1.59% reported income of $5,000 or more ($100K+) / year

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Your Pre-Flight Orientation

A Brief History Of The Now

Ned Merrill (Burt Lancaster), "The Swimmer" (1968)

It's A Strange, Undeniable Fact; Out Of The Blue And Into The Black

The news of the day rolls up to that place where the bricks meet the end of the stairs. It's really a sidewalk, something urban and poured, not pieces set by hand, and the stairs are front steps of the place where I've lived -- for twenty years this month, and for now.

While the majority of America has basted and boiled through these summer months so far, San Francisco slipped its hands in its pockets, tucked its chin down a little, keeping its cool. We have beautiful sunsets beyond the Golden Gate, light gold and red across the La Nina waters, the delight of sailors. We also have fog, of course.

I'm grateful, but immediately think: Don't say that; you're tempting the Wrath of the Whoosis From High Atop The Thing, go outside, turn around three times and spit, because I've always been like that. I am the embodiment of George Carlin's Hippy-Dippy Weatherman ("Behind every silver lining -- there's a dark cloud"). Look both ways before you cross the street -- and even if you do, stuff happens.

And so while places in America are baked beneath a Dome, here in yesterday, it rained -- or, almost -- and I made my way across the City to the house of the Best Friend to join others in a low-key dinner, a rite of passage: my retirement after 25 years from, almost assuredly, the last regular job I will ever have.

One of the Last Of The Old Unit arrived. So did The Girl who Refused To Be Mrs. Mongo (now happily married, but not to Mongo); the Godson, an A.I. Robotics Wizard-In-Training who took the biography of Oppenheimer I gave him and read it seriously; the Goddaughter, just back from a Masters' program abroad with a gift from The Old Country. Mostly, we were Olds, which meant by ten-thirty it was time to say goodnight. 

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W. 40th Street At 6th Avenue, New York, New York, 1940;

"Nazi Army Now 75 Miles From Paris"; Breakfast Special, 10 Cents

I can see up ahead the grey, granite plinth by the side of the Road, the 75 Mile stone; three-quarters of a century. Physically, things are good. A short, sharp physical ailment this past January was resolved quickly but reminded me this is how it happens. As abruptly as a switch being thrown. Someone was standing in front of you, and in an instant, ein Augenblick, they're not. You were this; now, you're that.

A work friend (actually, an old boss) counseled against giving management more than two weeks' notice. She reminded me a mutual acquaintance, an Executive Director with over thirty years' tenure, had retired after giving senior leadership months of advance notice, and was shelved for most of that time, little to do. "They cut him out," she said. "It drove him crazy. They'll do it to you, too."

"And, why retire? What will you do?" This, from someone in a senior director role, 37 years with the company, who gardens but lives to work. I explained, my health issue in January reminded that life has always been a crapshoot, but after 75 years, the odds had shifted. I have no way of knowing how much longer I'll live. It's really that simple. "Well, retirement scares me," she snorted, though I sensed she was afraid of the same thing I was; work is her distraction. We each have our methods.

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"We'd like to welcome you to Styx Airways. If the flight attendants in the cabin walkway could have your attention, we would like to take a moment and review the Safety Card -- which should be in the seat-back pocket directly in front of you. The Safety Card will show you positions and items and popular songs which may assist you should an unanticipated event occur with this Boeing aircraft. Also with the Safety Card is our in-flight drinks menu."

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Every January, corporate organizations begin firming up strategic goals, setting work assignments. If I waited until the last two weeks to drop my bailout notice, the team I was part of (already understaffed, no backfilling in sight) would have to scramble.

A week after the minor health issue, I met with the Person I Report To and advised within six months, I would be retiring. Already tasked to move 1,000 tons of sand with two spoons and too few hands, she wasn't happy, but said she recognized that was not my fault.

I appreciated her saying that. However, I didn't give a shit. I was committed to leaving; and while over the next 22 weeks I would wake up thinking what the fuck am I doing, last Friday was functionally my last day; tomorrow I begin burning through a banked 500 hours of Paid Time Off. In November that stops.

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I arrived home after the dinner, stood in my living room considering the evening, listening to the silence at the top of Nob Hill. I thought of Neddy Merrill, Cheever's The Swimmer -- he did most things right, tried his best, but still discovered Stuff Happens -- and I wondered: Now What.

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Obligatory Cute Small Animal Photo In Middle Of Blog Ogg Ogg

Bark Bark Bark Bark 

The news of the day: I didn't expect Saturday, July 13th. I'd gotten up that morning, considering how utterly, deeply fucked America seemed. Biden was staying in. He had enough delegates to secure the nomination. However, our politics requires candidates for President be an avatar, able to articulate a compelling vision of the future. 

It's shitty, popularity- and gut-driven; yes -- a large number of voters don't pay attention to more than their instinct about a candidate: Uh yeah I guess I'll vote for Trump, 'cause he's strong, ya know? Seems like that, anyway. 

Biden couldn't bring it. Everything was going to end as badly as you can imagine. I looked as far into the future as I could, and it was violent, hungry -- The Shire, plundered and oppressed by Orcs. My old, self-critical persona cackled, You picked one hell of a time to retire, buddy.

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"The Captain has turned on the Fasten Seat Belts sign, and we request you remain in your seats and not move about the cabin. Please bring your tray tables to their full upright and locked position, and consult the Safety Card in anticipation of a brief period of turbulence."

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Trump Rally Site, Butler, PA: After

Trump had been absent for a while, letting the Democrats self-destruct, but had just returned to the campaign -- roaring, screeching; mumbling about battery-powered Hannibal Lecters, sharks with tasers -- America mesmerized by his swagger and brutality. Polls showed Biden's numbers falling and beginning to affect down-ballot Democratic races; Trump was having him for lunch, unstoppable; Der Fuhrer.  In fact, he was having a rally in Butler, PA, that afternoon.

I was one of those trying not to think about it but failing, as ever -- and there was Trump, reigning as the dark center of it all. It could be different, If only ... and while I'm not the only person in America to make this observation, it's not one I would share. 

But thinking in that vein reminded me of a passage in Furst's Dark Star -- August, 1939; Hitler and the nazis rattling sabers at Poland. Everyone knows what will happen on September the first. Andre Szara is a Soviet journalist and intelligence operative in Paris, involved with de Montfried, a member of the French aristocracy, to move Jewish refugees to Palestine. The men meet at de Montfried's club:

When Szara entered the library de Montfried was reading a newspaper. He looked up, his face flushed with anger. "He's going into Poland. Do you know what that means?" ... "I was born in Poland," Szara said. "I know what it's like."  "But, why this man, this Adolf Hitler? Why is he permitted to live?" [de Montfried] folded the newspaper... "I don't know," [Szara said].  "Can nothing be done? ... An organization like yours, its capacities, its resources for such things... Forgive me," [de Montfried] said. "What I feel is like an illness. It will not leave me."  "I know," Szara said.

The events in Butler occurred four hours later. I wasn't expecting that on my bingo card -- but having idly considered, If only ... just that morning, was I picking something out of the ether? Is that how it all works? It did seem oddly coincidental.

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I watched the videos. Once Trump could hear his protective detail saying, "Shooter's down", the Slug instinctively understood what a gift he'd been handed. He delayed the agents, twice, as they were trying to push him off the stage, so he could pump his fist and mouth fight fight fight ! And the agents let him.

Later, at the Rethug convention, Trump basked in great waves of adulation, praise and -- dare we say it? -- love from the Mob. He sported a bandage over one ear. His mob roared, an ecstatic frenzy,  fight fight fight fight !  Ah, what Leni could have done with that.

Trump, at his Zenith. He was the Chosen One, head of House Harkonnen, eager to hurt that Mumbling Old Man Biden and seize control of his prize, his America -- there for the taking. Feared and bigger than his daddy at last.

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Somewhere in there, Federal Judgy Aileen Cannon dismissed in full the classified documents case against Trump in Florida. It seems that Special Prosecutor Jack Smith was improperly appointed and funded. It's already been appealed to the Florida 11th Circuit, and who knows what happens next. 

Of course she did. Of course That Court, a judiciary packed with judges hand-picked by Leonard Leo, would back Trump, the flawed but necessary Leader who can help them realize Project 2025. My response is fuck all of you fucking motherfucking fucks. Not to put too fine a point on it or anything.

"PULL UP   --   PULL UP   --   PULL UP   --   PULL UP"

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Then, two announcements on Sunday, July 21st. 

I didn't expect Biden to leave. If he did, I assumed a bloody, dramatic bar fight, in public, would follow among the various factions and personalities of the Democratic party. The national convention would showcase just how churned and divided and you-can't-trust-us the Dems are. 

(And oh, the MSM, whose two main themes are Dems In Disarray and Biden Old, were expecting a long, ugly contest, too. They were hoping for it, because (to quote the Mango Mussolini) "you can be the worst person in the world -- but if you have the ratings, it doesn't matter." It's all about clicks and likes and audience and revenue. It's Capitalism and the Free Market, baby. News? Facts? Ha ha; no.)

But It didn't happen. Biden stepped away. He passed the torch to Harris, and (even putting aside knee-jerk hyperbole) -- the explosive response from Democrats measured in contributions to Harris' shiny new campaign in just the first 24 hours was record-breaking, staggering. It was like putting a tiny sponge in the shape of a dinosaur into a dish of water and watching as it became hideously large. And nationally, 48,000 new, first-time campaign volunteers were signed up -- in those first 24 hours.

I'm one of the most cynical people I know -- but all this tells me Left / liberal voters seemed desperate for almost any Democrat who could articulate a consistent message, stand up to the bully in public and kick his ass. The Democrats have pressed the message that Democracy Is On The Line in this election; and guess what? People believe it.

Something else stood out which hasn't been mentioned enough: The Dems weren't in disarray. If anything, the transition from Biden's campaign to Harris' was rapid and (from the outside, at least) seamless. Endorsements from major Democratic players and even potential rivals, from the Clintons, the Obamas, were quick to line up. 

Harris has all the delegates needed to clinch the Democratic nomination -- it will be either by acclimation, or a first-ballot win. But it's all been disciplined, with few if any rough spots. For a party traditionally seen as too factionalized for its own good, the transformation, discipline and organization was impressive.

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I'm cynical, but I want to hope. I don't want everything to go back the way it was in the late 50's of my childhood. I don't even want a return to pre-Trump, pre-Covid America (Harris' campaign has already settled on a slogan that resonates: We're Not Going Back). What I'd hope for is a country with an actual future. There is no future in an authoritarian America -- and that will determine my vote. 

I live in the Bluest of cities in a Blue State, so my vote is not critical -- except to me. How and what I choose matters, to me. I suspect that's true for many people, even living in a 'battleground' state. I won't support our nation-state becoming a dictatorship of native nazis and so-called 'christians'. I'm too old to do what I did, age 19, in one war; but as an Old, there are other ways to resist. I hope that's not another choice I'll be faced with.

The Democrats have to deliver on a demand from The People -- that they prove their ideals, their policies are better than Trump's within the context of a culturally-saturated political contest.  Harris has a slightly easier road -- she's younger; can articulate the Democratic message. And, Trump is a bloated, raving monster.  But whether she can maintain momentum, really bring it to the bully and kick his ass -- whether she can win this absurd personality-contest of an election -- I hope, but no one knows. Not yet.

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"We have arrived at Big Airport in Your Town. Before you deplane, please take a moment to look around and make sure you have all of your personal belongings. Local time is 0800 Hours, or Eight A.M., and the temperature is 65 degrees Fahrenheit. On behalf of Captain Mongo and our flight crew, we'd like to thank you for flying Styx Airways, and wish you a pleasant trip."

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I Lift Up Mine Eyes To The Hills, Not Disposed To Mercy

 Yet One More Barking Rant To Begin An End-Times Laugh Riot Week

Mikey Johnson Reminds: Church Attendance Is Mandatory

This Might Replace Rodin's 'The Thinker'

This post seems incomplete, like two relatively unconnected essays thrown up on the wall which stuck, barking about the Middle East, and the omnipotent, they-are-always-with-us Rich. You may think this is low-hanging fruit, but it's not.

Not that it's important; if this blog's observations had any impact in the public discussion of serious issues, then this post would have more meaning. But, it's only unsourced opinion by one individual with no agency beyond their own existence. 

I am as singular as, and no more important than, any of the dead uncovered at Pompeii whose names we'll never know, all events and actions and experiences in their lives -- for what? -- unknown, lost.

Some of my observations offered will, in all probability, cause the few readers of this blog to say yeah, eyeroll, whatever the fuck, but this is what happens here in downtown Earth. Be well.

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   I Have Wanted To Say This

Listen to me:  Fuck all you motherfucking fucks; you murdering fuckers you.

The Middle East's history is woven in the interactions of generations -- families, clans, tribes; all part of religious sects, now become modern political movements and governments. This geography is steeped in misogyny, cruelty; art, science and spirituality; and blood feuds millennia old.

Comedian Don Rickles inadvertently summed it up on his first album, a live recording of his heckling standup routine in Las Vegas, which I heard in 1969: "What's your name, sir -- Habib? ... You got to laugh about people, Habib. I've met you before, haven't I? That's right, you hung my uncle." 

Rickles' joke was a rough equivalent of the history of Palestine and Israel, which was just 20 years old, then. It hadn't even been a year since the 'Six-Day' War, where Israeli troops occupied the West Bank, the Golan, East Jerusalem, the Gaza Strip and the Sinai.

The casino crowd on the Strip laughed at Don's joke -- but Habib might easily have pointed the same joke at Rickles ("Yeah; didn't you hang my uncle when you took his house and orchards?"), and few would have understood. It was all happening so far away, and Vietnam had everyone's attention. Including mine.

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Everyone knows what happened in Israel on October 7, 2023. It was more than a massacre by Hamas; it was an obscenity. And everyone knows what happened next in Gaza, and what is still happening; more monstrous brutalities. War crimes were committed and are still being committed.

And all the participants -- Hamas, Hezbollah; Islamic State, Iran; the Houthis, the Saudis; the IDF, the Israeli government; the United States government; Netanyahu, Biden; members of Knesset and Congress -- are guilty.  No one is clean. 

I condemn every threat, every act of violence, of thuggery, viciousness; every calculated political decision allowing more violence and more suffering to continue: No one is clean. To argue that one side is more monstrous, more brutal than the other, is the comparative mathematics of lunacy.

It has to stop. The maiming and the killing, the abuse and enforced suffering. Stop bombing, stop launching rockets, stop seizing territory, stop starving refugees. You are all complicit. And questions of land, of statehood, of security, can't be addressed so long as anyone raises their voice or a hand in any way against any Other.

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During the 2006 Israeli incursion into southern Lebanon, I wrote a post on a still-new Daily Kos, then republished it here six years later during another spate of regional violence. You may consider its conclusions simplistic and naive. I would argue the horror in Israel and Gaza passed beyond nuance, rhetoric and sophistication long ago.

There is a point where the amount of death and misery is so great that nothing matters, except that it ends. And damn anyone willing to sacrifice more children, use all the blood-feud deaths of generations, to justify more violence.

... look into that child's eyes. ... Look at the expression written there: Where are you taking us? Why are you doing this? What will happen to me?

Will you tell them, when you put your pistol to their head, burn them alive, drop your 500-pound bomb on their encampment, kill their siblings and friends in front of them, that it's for a greater good? For the glory of a faith? Because your wife or husband, brother or sister, your parent or cousins or friends, were killed and revenge demands that now this child's life has to end?

I do not care about the political or religious "dimension" in all this. I swear to you because I know: a dead child is an utterly final answer to all the puking, screeching human argument justifying our species' ability to commit murder. It all must stop -- followed by a final resolution to all questions of Palestinian statehood and Israeli security. Period. 

No one is clean; and It has to end. Stop killing the children, then make peace --  because the alternative is nihilism and obscenity, the blood-feud, forever. Agree and then act. It really has to be that simple, because every other convoluted attempt at peace has twisted around the axle of pride, history and hate. Enough.

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   Bring My Car, And Be Quick You Fucking Proles

I'll just say it: American / Western society is essentially owned by a vicious, arrogant layer of wealth -- call them the 0.001 % -- principally Old Wealth, maintained in the same families for generations. I've actually been around these folk, a bit, and they are just as venal and clueless, as well of course I should have this as I wish it arrogant, as if you'd lifted a cultural stereotype from a comedy-of-manners and dropped them into Real Life. They truly exist.

They own multiple homes, in neighborhoods which, if you don't live in them, you'd better have a verifiable reason to be there. They move in a cyclical progression from home to home, seasonal vacations at resorts and private hotels. Their children attend preparatory schools, a tight circle of European and American universities; eventually, sliding into sinecures at law and investment firms. They are members of clubs we wouldn't be allowed to join. They do not know how to build a fire, make coffee, set up a tent or cook a filet of sole: they hire others to do that sort of thing.

Most families know (or are at least aware of) each other. They intermarry. Their children grow up with each other. They are supported by accountants, financial and investment advisors, personal assistants, tax and estate attorneys, physicians and surgeons, tailors, chefs and valets. Their children walk in comfort and anonymity along the same private, manicured paths as their predecessors in generations before them.

Within their class, maintaining their family's fortunes is the critical priority ("You don't love it as I do," Lord Grantham explains to his cousin as they regard Downton Abbey. "But I am merely a steward of all this"). There's also a certain amount of social Darwinism between players, a jockeying for position: It's Edith Wharton and John Cheever with a touch of Voltaire (see "Discrete Charm Of The Bourgeoise", and The Ruling Class).

They tolerate the Zucks, the Musks, the Jobs' and Bezos' and Thiels and Andreesens; all the Tech Bro billionaires, as nouveau riche arrivistes; pool boys, waiters and office workers who somehow struck it rich. Not the right sort -- no history, no breeding- -- but, they can afford to live well, and, if the past is any guide, eventually they and their money will disappear. Or, they'll be around for a few generations and finally become acceptable. 

They have serious class solidarity: depend on it.  Even if Claus von Bülow appeared to have attempted to murder his wife, members of their class might disapprove, but would "support the side", "maintain common cause" against a greater mass of humanity: We are the Owners, and Fuck the Peasants (see 'The Draughtsman's Contract').

These persons are not accountable under any law in the same way, or to the same extent, that you or I are. They don't wait in line, don't submit to passport control or customs checks; aren't required to appear in court for all but the most serious charges (if they appear at all). They are anonymous to all but each other.

And collectively, they own you whether you believe it, accept it, or not.

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   You Are Pwned -- A Dream Coda

Years ago, I had a dream which stands out in memory -- because I don't often dream with details that I recall so completely. 

I was some kind of mountaineering guide, taking wealthy persons up -- not Everest, but some similar peak. I was "inside" myself in this dream (sometimes dreams allow you see yourself in 'camera view'), looking out on a snow-covered slope -- a right triangle of pure white, from upper left to lower right -- against a sky of deep Cobalt blue.

A man in his late twenties / early thirties stood a few feet in front of me, wearing an orange parka with the hood pulled back. He had a light stubble of beard, curly, reddish-blonde hair, and wore a pair of aviator-style sunglasses. He was completely at ease, smiling, and spoke with an accent (French, I remembered). He wasn't arrogant or emphatic with his delivery, but matter-of-fact, as if describing the weather.

"I will tell you how it is," he said. "My family is thirteen hundred years old. One of my ancestors was  knighted by Charlemagne. We've survived plagues, wars, financial collapse, revolutions, occupation. We've had our black sheep, our idiots -- but mostly, we have made fortunes and passed them down to the next generation. We've been good at it, and lucky. 

"If you can't trace your family back more than a few generations? I don't care. You've always worked for pay -- but maybe you get lucky, win some lottery, and your children inherit that money? I don't care. In one, maybe two generations, it will be gone, absorbed into banks, financial houses, and by taxes. Perhaps my family owns some of those financial houses.

"We own forests and mines. We own companies" -- he waved at me with one hand -- "Maybe you have even worked for us. But some day, you will be dead, and that will be the end for you. Your name will be forgotten, as if you and everyone in your family line before you had never existed. My family will still be here.

"And if that's unhappy for you, if it makes you angry, I don't care," he said, and smiled again. "And that is how things are."

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Welcome To Your Crude Societal Metaphor Weekend

Imagine This

Q Believers Featured On 'Nightline'; August 2018

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Let me tell you a story. It won't be short -- but it's a good story, and it has a point. You may even Get It before the end. 

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In 1994, director John Carpenter released In The Mouth Of Madness, his take on one of H.P. Lovecraft's short stories. Carpenter's career includes films like Carrie, Starman, "Big Trouble In Little China", They Live, "Assault On Precinct 13"; Escape from New York and "-- From L.A.".

Madness was the final film in Carpenter's 'Apocalypse Trilogy' -- The Thing (1982), "Prince Of Darkness" (1987 -- whose posters should state: "This film will not just frighten you; it will fuck you up for life"), and ended with In The Mouth of Madness. 

Its script was written by Michael DeLuca (Fright Night; Moneyball; Captain Phillips), and its cinematography by Gary B. Kibbe (Robocop 3; Village of the Damned; Escape From L.A.). 

Rotten Tomatoes gives it a 58% rating. In the years since its release, Madness has achieved cult status.

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It's worth an aside to note that almost at the same time as Mouth of Madness' release, a new cable network began broadcasting in the United States. It used the twelve-year-old, Ted Turner / CNN news-as-entertainment model, and also offered coverage of sports, even a new 'cartoon for adults' program on Sunday evenings.

It was the brainchild of an Australian media boss who aggressively managed a fleet of tabloid newspapers on three continents. He claimed the network would be "fair and balanced" in its presentation of news (a swipe at the "liberal bias" of the other networks), and it would be known as Fox News.

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John Trent (Sam Neill) is being transferred into a huge mental asylum outside New York City. He's admitted by a Dr. Sapperstein (John Glover) and struggles with a pair of attendants, shouting "I'm not insane!!"  In the background, a radio report of "an epidemic of violent psychotic behavior spreading across the country and indeed the world".

Trent is placed in a padded cell, still wearing a straitjacket, still shouting that he is Sane. As other residents of the ward shout back ("Yeah! I'm not crazy either!"), music begins to play on the PA system: The Carpenters' We've Only Just Begun.

Later the same day, a Dr. Wrenn (David Warner) appears to interview Trent, and may work for the government (Sapperstein says nervously, "It must be getting serious out there, if they're sending you guys in").  Did Trent ask for anything? Wrenn says. Yes -- only a single, black crayon.

Wrenn finds Trent has decorated his cell with thousands of crosses -- drawn on the walls, floor, his institutional jumper, and himself, with the crayon. Telling Trent he "wants to help", Wrenn sits down to listen as Trent begins to tell his story.

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Trent is a Phillip Marlowe style, freelance insurance investigator in New York City -- cynical, watchful; always suspicious. After exposing the victim of a warehouse fire as an arsonist looking for a payout, he lunches with the insurance attorney -- who makes a pitch to assist with another client, a publishing company.

Trent accepts -- just as a bald man with an axe (Conrad Bergschmeider) smashes through a restaurant window and stands over him. "Do you read Sutter Cane?" he asks; looking up at the man's face, Trent can see he has two irises in each eye. The man raises the axe; police appear and shoot him down.

Trent meets the publisher, Jason Harglow (Charlton Heston). His company's multi-mega-hit horror writer, Sutter Cane, has disappeared, and blown a deadline to produce his seventh, final book in a series. No one knows where he is. Near-riots have occurred at bookstores across the country over the delay in publication.

Cane's editor, Linda Styles (Julie Carmen) joins the meeting. His six previous books had sold nearly a billion copies, been translated into eighteen languages. Harglow wants Trent to find Cane and bring the manuscript back; Trent agrees.

Styles tells him there's something different about Cane's writing -- it's "been known to have an effect on less stable readers... disorientation, memory loss, a paranoid reaction... 

A year ago, Styles says, Cane's work became erratic -- "More bent, more bizarre than usual. He became convinced his work was real, not fiction."  Trent chuckles; This shit really sells? "Are you surprised?"

Trent responds, "Lady, nothing surprises me. We fucked up the air, the water; we fucked up each other -- why don't we finish the job by flushing our brains down the toilet?"

So where is Cane? The manuscript? "I don't know. His agent was the last person to see it."  Then let's talk to the agent, Trent says. "You already met him," Styles replies. "He attacked you with an axe."

_____________________________

Styles convinces Trent to actually read Cane's novels. At a bookstore, Trent sees a man staring at him, whose face seems -- bruised; he's wearing plastic-framed glasses repaired with adhesive tape. "Do you read Sutter Cane?" the man asks Trent, then says, "He sees you."

At home, Trent reads the novels, while a TV commentator asks: "Horror writer Sutter Cane: A harmless pop phenomenon? Or a mad prophet of the printed page?

"... Police believe recent riots started because stores could not meet the demand for advance orders of Sutter Cane's latest novel, 'In The Mouth Of Madness'. When does fiction become religion?"

Trent dozes, dreaming he's walking home, posters advertising Sutter Cane horror novels on nearby walls. He sees a cop in an alley, viciously beating a kid who had been tagging a wall. The cop sees Trent and barks, "You want some too, buddy?"

_________________________________

Trent realizes each Cane novel has a shape, outlined in red over the cover art. Clipped into puzzle-pieces, they form the shape of New Hampshire -- where Hobb's End, fictitious setting of Cane's novels, is located. 

Hobb's End isn't shown on any map of the Live Free Or Die state -- but Trent convinces Harglow and Styles that it may be real, "another vanished town in America". Harglow agrees to allow Trent, and Styles, to travel to New Hampshire, locate the town, the author, and the manuscript. 

________________________________

Trent again has the dream of the cop, beating the kid in an alleyway -- only now, a crowd of people appears behind Trent, with axes, blocking any escape. At its center is Cane's agent. 

"He sees you," the agent says; the crowd hacks him into pieces. The cop stops beating the kid long enough to look at Trent -- his face mottled, diseased, malignant; "You want some too?" he bellows.

... and, Trent wakes up at home, having fallen asleep on his sofa over one of Cane's novels, relieved to find it was just a dream... until he turns to see the diseased cop sitting next to him, and wakes up, again; a dream within a dream.

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Trent and Styles drive on two-lane roads through endless late-Summer cornfields; Trent singing "America The Beautiful". Night falls. Styles tells Trent she's attracted to Cane's fiction because it scares her. And she likes being scared. Trent is amused. "What's to be scared about? It's not like it's real." Styles says:

"It's not real from your point of view -- and right now, reality shares your point of view. Reality is just what we tell each other it is. What scares me about Kane's work is, what happens if reality shared his point of view? ...Sane and insane easily switch places if the insane were to become the majority. You'd find yourself locked in a padded cell, wondering 'What happened to the world?' "

"It wouldn't happen to me," Trent says. "Oh, it would, if you realized everything you knew was gone," said Styles. "That'd be pretty lonely, being the last one left."

After an unsettling encounter with a kid on a bicycle - who becomes an old man on a bike ("I can't get out," he moans. "He won't let me out") - Trent lets Styles drive while he sleeps. On the radio, a talk show host asks, "Doctor, what are you saying? That there's this disease spreading across the country?"

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As Styles drives, the yellow centerline in the road disappears. Below the car, she makes out thick  clouds illuminated by lightning -- then, suddenly, she's driving over the road planks of a New England covered bridge and out into late afternoon daylight.  A sign nearby announces: Welcome To Hobb's End / The Heart Of New Hampshire / Enjoy Your Stay. 

The town has a Pepperidge Farm-style quaintness, but seems completely deserted. Trent and Styles drive to a rustic hotel, which features in Cane's novels, run by a Mrs. Pinkham -- who figured in Cane's novels as an axe murderess. They check in.

Trent keeps looking for the con. If it were a Cane novel, they should see a huge, black church from the hotel ... and they can. They drive there. Trent reads from one of Cane's novels, 

" 'This place had been the seat of an evil older than mankind and wider than the known universe... pain and suffering beyond human understanding. ... [inhabited by] a murderous race of creatures whose vile existence contaminated time itself, affecting history..."

Suddenly, cars roar up; a group of men with shotguns climb out -- one demanding Cane release his son from the church. Its doors open to reveal a little boy, then close. When they open again, a man stands just inside -- Sutter Cane (Jurgen Prochnow). 

The boy's father comes forward, but the doors bang close. A large pack of Dobermans appear, and attack. Styles and Trent are able to get to their car and flee back to the hotel.

Styles finally admits Trent was being played in a publicity game. "Only, you and I weren't supposed to find Hobb's End, but we didn't stage any of this. It's all in Cane's book. That's how I know it's real."

What's the new book -- 'In The Mouth Of Madness' -- about? Trent asks. "It's about the end, to everything," Styles says. "And it starts here, with an evil that returns and takes over, piece by piece... It's about people turning into creatures that aren't human anymore."

_______________________________

Styles runs off, taking the car and driving to the church, where she finds Cane typing the last page of manuscript. "It's funny; for years, I thought I was making all this up," he says. "But They were telling me what to write -- giving me the power to make it all real. And now it is. All the Things, trying to break into our world." 

Cane holds her head over the title page of the manuscript. "See the instrument of their homecoming -- the new bible -- that starts the change... helps you see..."  He slams her head forward; she absorbs the entire book in a few seconds. Her eyes bleed.

_______________________________

Styles returns to the hotel; Trent can see she's clearly altered -- "I'm losing me!" she shouts. Power in the hotel flickers. Trent is barely able to get to the car; he tries to leave town, but can't. Knocked unconscious, he wakes up in one side of a confessional at the Black Church. On the other side is Sutter Cane. "Want to know the problem with religion?" Cane asks.

"No one's believed enough to make [a new reality] real... My books have sold a billion copies; I've been translated into 18 languages. More people believe in my work than are reading the bible... When people begin to lose the ability to know the difference between fantasy and reality -- then The Old Ones can begin to make the journey back. The more people who believe, the faster the journey." 

Cane tells Trent he wants him to deliver the manuscript for "In The Mouth Of Madness" "You take it back to the world," Cane says. "This town wasn't here before I wrote it -- and neither were you. I made all this. I made you. I am god now !"  Trent tries to run, chased down a long tunnel by a pack of Old-One monsters...

-- and, Trent suddenly finds himself back in The World, on a gravel road in the middle of somewhere, New Hampshire. He drops the manuscript as if it were a box of plutonium, hitches a ride to a town, takes a motel room.

The next day, an unnamed someone has delivered a package for him. A large envelope. "But nobody knows I'm here," Trent says; the motel clerk smiles. "Well, somebody does." In the envelope is Cane's manuscript. Trent burns it in the bathroom sink of his motel room, a page at a time.

Back in New York, he meets with the publisher, Harglow, and describes everything that had happened to him and Styles over (what to him have been) the previous ten days.  Harglow says, "That's a hell of a story" --  But Trent already located Cane and the manuscript, and delivered it -- a month ago. And Linda Styles? "I've never heard of her". 

Trent, who knows Cane's novels are altering reality -- that Trent himself may be nothing more than a character in Cane's imagination -- is horrified that Madness has already been published; Harglow shrugs. "The movie comes out next month," he says.

Trent becomes increasingly paranoid. Finally, he appears at a bookstore, where huge lines of customers wait to buy Madness. He's dressed identically to Cane's agent, earlier, and carrying an axe. He asks a man in line, "Do you read Sutter Cane?", kills him with the axe, and is taken into custody.

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In the asylum, Trent has come to the end of his tale. Declared mentally incompetent to stand trial, he's been institutionalized -- "and, it's safer, these days, being in here," Trent tells Dr. Wrenn. "In ten years, maybe less, there will be no people. The human race will just be a bedtime story for their children. Nothing more."

Wrenn walks out of the cell. Dr. Sapperstein asks if he believes what Trent has been saying, and Wrenn slowly walks away without a word.

Conditions in the world outside the asylum begin to break down. Then, some Things begin rampaging through the wards; Trent can't see them clearly, hiding in his locked cell. The next day, his cell door magically opens, and Trent walks away from the asylum and into a world as deserted as Hobb's End had appeared.

A radio in an abandoned ambulance announces: the world appears to have been overrun with monstrous creatures, including mutating humans, and that outbreaks of suicide and mass murder are commonplace. Trent walks into a nearby urban area, sees a theatre showing the film version of Cane's novel -- the marquee mentions him, specifically, by name -- and goes inside.

Trent finds a seat in the empty theatre, carrying a super-sized tub of popcorn. The movie is precisely the film that we've all been watching, so far, and Trent begins laughing hysterically. He has ended up exactly as Styles had said ("That'd be pretty lonely, being the last one left"). 

Trent starts laughing as he watches himself self on screen, insisting he isn't a puppet, and that reality is concrete, knowable; the Truth. But Cane's version was believed by enough people to make Styles' description come true -- "Reality is just what we tell each other it is." There is no concrete truth; everything can be altered, with enough collective belief. 

Cane allowed The Old Ones to break through into this dimension and destroy it, just for the pure gibbering delight of destruction. Was Trent ever an actual person, or just a character in Cane's novel?  What is real? As the end of humankind sinks in, all Trent can do is laugh.

The central plot of In The Mouth Of Madness is the social construction of reality -- what we collectively agree is real -- and Magical Thinking: if enough people surrender to a belief in artifice and fantasy, can unbelievable things be made concrete and real, just from a sheer act of will?

What the film does not do is show what happens when that kind of magical thinking is translated -- from the personal to the societal and political. 

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