The Piper at the Gates of Dawn

Cover of the first edition

 

The Wind in the Willows is a children’s novel by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animals in a pastoral version of England. The novel is notable for its mixture of mysticism, adventure, morality, and camaraderie and celebrated for its evocation of the nature of the Thames valley.

In 1909, Theodore Roosevelt, then President of the United States, wrote to Grahame to tell him that he had “read it and reread it, and have come to accept the characters as old friends”.

In addition to the main narrative, the book contains several independent short-stories featuring Rat and Mole. These appear for the most part between the chapters chronicling Toad’s adventures, and are often omitted from abridgements and dramatizations. The chapter “Dulce Domum” describes Mole’s return to his home, accompanied by Rat, in which, despite finding it in a terrible mess after his abortive spring clean, he rediscovers, with Rat’s help, a familiar comfort. The Piper at the Gates of Dawn tells how Mole and Rat search for Otter’s missing son Portly, whom they find in the care of the god Pan. (Pan removes their memories of this meeting “lest the awful remembrance should remain and grow, and overshadow mirth and pleasure”.) Finally in Wayfarers All, Ratty shows a restless side to his character when he is sorely tempted to join a Sea Rat on his travelling adventures.

 

Illustration by Arthur Rackham

 

The book was originally published as plain text, but many illustrated, comic and annotated versions have been published over the years. Notable illustrators include Paul Bransom (1913), Ernest H. Shepard (1933), Arthur Rackham (1940), Tasha Tudor (1966), Michael Hague (1980), Scott McKowen (2005), and Robert Ingpen (2007).

The Wind in the Willows was the last work illustrated by Arthur Rackham. The book with his illustrations was issued posthumously in a limited edition by the Folio Society with 16 color plates in 1940 in the US. It was not issued with the Rackham illustrations in the UK until 1950.

 

The Piper at the Gates of Dawn, frontispiece to a 1913 edition by Paul Bransom

 

The first album by psychedelic rock group Pink Floyd, The Piper at the Gates of Dawn (1967), was named by former member Syd Barrett after chapter 7 of The Wind in the Willows,which contains a visionary encounter with the god Pan, who plays his pan pipe at dawn. It was one of Barrett’s favourite books, and he often gave friends the impression that he was Pan, that he was the Piper. The moniker was later used in the song Shine On You Crazy Diamond, in which Barrett is called “you Piper”. However, the songs on the album are not directly related to the contents of the book. Barrett came up with the album title The Piper at the Gates of Dawn; the album was originally titled Projection up to as late as July 1967.

 

Up-and-coming society photographer Vic Singh was hired to photograph the band for the album cover. Singh shared a studio with photographer David Bailey, and he was friends with Beatles guitarist George Harrison. Singh asked Jenner and King to dress the band in the brightest clothes they could find. Vic Singh then shot them with a prism lens that Harrison had given him. The cover was meant to resemble an LSD trip, a style that was favoured at the time.

 

Syd did his own little drawing on the back cover

 

The same chapter was the basis for the name and lyrics of Piper at the Gates of Dawn, a song by Irish singer-song writer Van Morrison from his 1997 album The Healing Game. The song The Wicker Man by British heavy metal band Iron Maiden also includes the phrase. British extreme metal band Cradle of Filth released a special edition of their album Thornography, called Harder, Darker, Faster: Thornography Deluxe; on the song Snake-Eyed and the Venomous, a pun is made in the lyrics “… all vipers at the gates of dawn” referring to Chapter 7 of the book.

 

To listen to Van Morrison’s rendition of this literary classic, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

Lennon and The Psychedelic Experience

Come Together, drawing by John Lennon

 
 

The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead (commonly referred to as The Psychedelic Experience) is an instruction manual intended for use during sessions involving psychedelic drugs. The book is dedicated to Aldous Huxley and includes a short introductory citation from Huxley’s book The Doors of Perception. Part of this text was used by The Beatles in the song Tomorrow Never Knows (1966).

 
 

Recording Give Peace a Chance. Left to right: Rosemary Leary (face not visible), Tommy Smothers (with back to camera), John Lennon, Timothy Leary, Yoko Ono, Judy Marcioni and Paul Williams

 
 

Timothy Leary once recruited Lennon to write a theme song for his California gubernatorial campaign against Ronald Reagan (which was interrupted by his prison sentence due to cannabis possession), inspiring Lennon to come up with Come Together (1969), based on Leary’s theme and catchphrase for the campaign. Leary was also present when Lennon and his wife, Yoko Ono, recorded Give Peace a Chance (1969) during one of their bed-ins in Montreal, and is mentioned in the lyrics of the song.

The original last verse of the song refers to: “John and Yoko, Timmy Leary, Rosemary, Tommy Smothers, Bobby Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Allen Ginsberg, and Hare Krishna”. In the performance of Give Peace a Chance included on the Live Peace in Toronto 1969 album, Lennon openly stated that he could not remember all of the words and improvised with the names of the band members sharing the stage with him and anything that came to mind: “John and Yoko, Eric Clapton, Klaus Voormann, Penny Lane, Roosevelt, Nixon, Tommy Jones and Tommy Cooper, and somebody.” The third verse contains a reference to masturbation, but Lennon changed this to “mastication” on the official lyric sheet. He later admitted this was a “cop out” but wanted to avoid unnecessary controversy.

To watch the music video, please take a gander at The Genealogy of Style’s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

Death to Van Gogh’s Ear

Emilia Fox, Arielle Dombasle and Annabel Brooks in Hideous Man (John Malkovich, 2002). Dresses by Bella Freud. Shoes by Christian Louboutin

 
 

Poet is Priest
Money has reckoned the soul of America
Congress broken thru the precipice of Eternity
the president built a War machine which will vomit and rear Russia out of Kansas
The American Century betrayed by a mad Senate which no longer sleeps with its wife.
Franco has murdered Lorca the fairy son of Whitman
just as Mayakovsky committed suicide to avoid Russia
Hart Crane distinguished Platonist committed suicide to cave in the wrong
America
just as Million tons of human wheat were burned in secret caverns under the White House
While India starved and screamed and ate mad dogs full of rain
and mountains of eggs were reduced to white powder in the halls of Congress
no Godfearing man will walk there again because of the stink of the rotten eggs of America
and the Indians of Chiapas continue to gnaw their vitaminless tortillas
aborigines of Australia perhaps gibber in the eggless wilderness
and I rarely have an egg for breakfast tho my work requires infinite eggs to come to birth in Eternity
eggs should be eaten or given to their mothers
and the grief of the countless chickens of America is expressed in the screaming of her comedians over the radio
Detroit has built a million automobiles of rubber trees and phantoms
but I walk, I walk, and the Orient walks with me, and all Africa walks
And sooner or later North America will walk
Einstein alive was mocked for his heavenly politics
Bertrand Russell driven from New York for getting laid
immortal Chaplin driven form our shores with a rose in his teeth
a secret conspiracy by Catholic Church in the lavatories of
Congress has denied contraceptives to the unceasing masses of India.
Nobody publishes a word that is not the cowardly robot ravings of a depraved mentality
The day of the publication of true literature of the American
body will be day of Revolution
the revolution of the sexy lamb
the only bloodless revolution that gives away corn
poor Genet will illuminate the harvesters of Ohio
Marijuana is a benevolent narcotic but J. Edgar Hoover prefers his deathly Scotch
And the heroin of Lao-Tze & the Sixth Patriarch is punished by the electric chair
but the poor sick junkies have nowhere to lay their heads
fiends in our government have invented a cold-turkey cure for
addiction as obsolete as the Defense Early Warning Radar System.
I am the defense early warning radar system
I see nothing but bombs
I am not interested in preventing Asia from being Asia
and the governments of Russia and Asia will rise and fall but
Asia and Russia will not fall
The government of America also will fall but how can America fall
I doubt if anyone will ever fall anymore except governments
fortunately all the governments will fall
the only ones which won’t fall are the good ones
and the good ones don’t yet exist
But they have no being existing they exist in my poems
they exist in the death of the Russian and American governments
they exist in the death of Hart Crane & Mayakovsky
now is the time of prophecy without death as a consequence
the universe will ultimately disappear
Hollywood will not rot on the windmills of Eternity
Hollywood whose movies stick in the throat of God
Yes Hollywood will get what it deserves
Time
Seepage of nerve-gas over the radio
History will make this poem prophetic and its awful silliness a hideous spiritual music
I have the moan of doves and the feather of ecstasy
Man cannot long endure the hunger of the cannibal abstract
War is abstract
the world will be destroyed
Monument to Socco & Vanzetti not yet financed to ennoble Boston
Vachel Lindsay Secretary of Interior
Poe Secretary of Imagination
Pound Secty. Economics
and Kra belongs to Kra, and Pukti to Pukti
crossfertilization of Blok and Artaud
Van Gogh’s ear on the currency
no more propaganda for monsters
and poets should stay out of politics or become monsters
I have become monstrous with politics
the Russian poet undoubtedly monstrous in his secret notebook
Tibet should be left alone
these are obvious prophecies
America will be destroyed
Russian poets will struggle with Russia
Whitman warned against this “Fabled Damned of nations”
Where was Theodore Roosevelt when he sent out ultimatums from his castle in Camden
Where was the House of Representatives when Crane read aloud from his Prophetic Books
What was Wall Street scheming when Lindsay announced the doom of money
Where they listening to my ravings in the locker rooms of
Bricksford Employment Offices?
Did they bend their ears to the moans of my soul when I struggled
with market research statistics in the Forum of Rome?
No they were fighting in their fiery offices , on the carpets of
heart failure, screaming and Bargaining with Destiny
fighting the Skeleton with sabers, muskets, buck-teeth,
indigestion, bombs of larceny, whoredom, rockets, and pederasty,
back to the wall to build up their wives and apartments, lawns,
suburbs,
fairydoms,
Puerto Ricans crowded for massacre on 114th St. for the sake of an
imitation Chinese-Moderne refrigerator
Elephants of mercy murdered for the sake of the Elizabethan birdcage
millions of agitated fanatics in the bughouse for the sake of the screaming
soprano of industry
Money-chant of soapers – toothpaste apes in television sets – deodorizers on hypnotic chairs –
petroleum mongers in Texas – jet plane streaks among the clouds –
sky writers liars in the face of Divinity–fanged butchers of hats and shoes,
all Owners! Owners! Owners! with obsession on property and vanished Selfhood!
and their long editorials on the fence of the screaming negro attacked by
ants crawled out of the front page!
Machinery of a mass electrical dream! A war-creating whore of Babylon
bellowing over Capitols and Academies!
Money! Money! Money! shrieking mad celestial money of illusion!
Money made of nothing, starvation, suicide! Money of failure! Money of death!
Money against Eternity! and eternity’s strong mills grind out vast paper of
Illusion!

Allen Ginsberg

The Half Life of Gregor Samsa

 
 

Insect Dreams: The Half Life of Gregor Samsa is a sequel to Franz Kafka‘s short-story The Metamorphosis, written in 2002 by Marc Estrin.

Rather than being thrown away like trash, Gregor Samsa was secretly sold to a Viennese sideshow by the Samsas’ chambermaid. He then met various figures like Ludwig Josef Johann Wittgenstein, Oswald Spengler and Albert Einstein and witnessed American Prohibition, the Scopes trial, was involved in Alice Paul‘s feminist movement, encountered the Ku Klux Klan, and conferred with U.S. President Franklin D. Roosevelt, and Robert Oppenheimer. The novel made allusions to post-World War I Vienna through the Manhattan Project in Los Alamos, New Mexico. Reciting Rainer Maria Rilke and discoursing on Spengler’s Decline of the West, Gregor attracts the attention of writer Robert Musil, who tells him that although western humanity is finished, that “Society…is in a larval state. What it needs is a larval model to lead it onward, upward, and out of the corral,” and Gregor is that larval model, his ironic task being to teach us what it means to be human.

Estrin was born in Brooklyn, New York. He attended Queens College, studying chemistry and biology, then studied theater directing at UCLA. Estrin came to novel-writing late. In the fall of 1998, he and his wife Donna were on holiday in Prague and decided to visit the grave of Franz Kafka, whose work had always been important to him. His father had challenged him to read Thomas Mann‘s The Magic Mountain during the summer before he attended college. He left a note on the grave, inviting Kafka to drop by if he ever found himself in Burlington. Estrin said that the concept, an outline and the opening episodes of Insect Dreams arrived in Vermont one morning at 3 AM, three weeks after he visited Kafka’s grave. Insect Dreams appeared from BlueHen/Putnam in 2002. Since then it has been re-released (by Unbridled Books). Through the 1960s he worked in various repertory theaters in the United States, including the Pittsburgh Playhouse and the San Francisco Actor’s Workshop. But the Vietnam War and Bertold Brecht inspired him to become politically active.

Norman Rockwell’s Thanksgiving

The Four Freedoms theme was derived from the 1941 State of the Union Address by United States President Franklin Delano Roosevelt delivered to the 77th United States Congress on January 6, 1941. During the speech he identified four essential human rights (Freedom of Speech, Freedom of Worship, Freedom From Want and Freedom From Fear) that should be universally protected. Roosevelt’s message was as follows: “In the future days which we seek to make secure, we look forward to a world founded upon four essential human freedoms.”

This series is a cornerstone of a retrospective of the career of Rockwell,who was the most widely known contemporary commercial artist of the mid 20th century, but who failed to achieve critical acclaim commensurate with his popularity. These are perhaps Rockwell’s most well-known works of art, and they were the most widely distributed paintings ever produced by some accounts. At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings. Critical review of these images, like most of Rockwell’s work, has not been entirely positive. Rockwell’s idyllic and nostalgic approach to regionalism made him a popular illustrator but a lightly regarded fine artist during his lifetime. These paintings generally are viewed with this sentiment. However, he has created a niche in the enduring social fabric with the Freedom from Want image which is emblematic of what is now known as the “Norman Rockwell Thanksgiving.”

 
 

Freedom From Want, Normal Rockwell.  Published in the March 6, 1943, issue of The Saturday Evening Post with a matching essay by Carlos Bulosan as part of the Four Freedoms series.

 
 

Poster Version

 
 

The painting was included as the cover image of the 1946 book Norman Rockwell, Illustrator, written when Rockwell was “at the height of his fame as America’s most popular illustrator.” Although the image was popular in the United States it caused resentment in Europe where the masses were enduring hardship at the time.

Rockwell had sketched the Four Freedoms in charcoal and sought a commission from the Office of War Information, but was denied, “The last war you illustrators did the posters. This war we’re going to use fine artists men, real artists.” However, Saturday Evening Post editor, Ben Hibbs, recognized the potential of the set and encouraged him to produce them right away. Rockwell claimed to have painted the turkey on Thanksgiving Day, and said that unlike Freedom of Speech and Freedom of Worship, this painting was not difficult to execute. He depicted the setting of his own living room with the painting and relied on neighbors for advice as well as critical commentary and their service as his models.

 
 

 In The Walt Disney Company film Lilo & Stitch (Chris Sanders and Dean DeBlois, 2002) , a montage of images prior to the end credits includes an homage of Freedom from Want featuring the characters of the film