R.E. Prindle


Adventures In The Unconscious

In the attempt to put together a historical puzzle the missing piece or pieces, the clarifying pieces, appear from time to time. Thus with the release of the movie, Captain America this year a significant piece of the puzzle falls into place that clarifies the role of Edgar Rice Burroughs and his literary creations in the panorama of the twentieth century- the fabulous twentieth century.

It is difficult today to conceive of how the early twentieth century was perceived as a complete break with the Victorian nineteenth. One only has to compare the streamlined Santa Fe Chief in this picture alongside a nineteenth century locomotive to see how the Twentieth Century was perceived as the century of absolute exciting progress. The time certainly justified General Electric’s motto: Progress is our most important product.

Twentieth Century Unlimitied. Santa Fe Super Chief Alongside Nineteenth Century Locomotive- San Diego Calif. Back when the future was something to look forward to.

Burroughs role in this fabulous century is essentially the story of how Edgar Rice Burroughs created the concept of the super hero on the cusp of the emergent movie and comic book industries. It is in the latter two industries that the super hero found his definition.

Photographing The Past- Edgar Rice Burroughs

Just as in the days of yore mankind projected its needs in the psychological projection of Gods so the twentieth century saw the beginning of the demise of the old gods and the birth of the new. While the creators of the Old Gods have disappeared into the mists of time, and there must have been human creators of the Gods, the creators of the new gods can be easily traced.

The predecessors of the Superheroes can be found in the rise of the mega intellects of the nineteenth century detectives such as Monsieur LeCoq, Sherlock Holmes and arch fiends such as Dr. Moriarty and the French Fantomas. Influenced by such as these Edgar Rice Burroughs created the actual prototypes of the mid-century superheroes in the characters of John Carter of Mars and Tarzan The Ape Man. While John Carter is less well known than Tarzan, who became a household word within a half dozen years of his creation, Carter truly had super human powers having been transported from the higher gravity of Earth to the lower gravitational field of Mars, or Barsoom, as Burroughs renamed the planet.

While not able to leap over tall buildings his saltational powers functioned at a level of efficiency unattained by any other Barsoomian. For a decade or so Burroughs had the superhero field to himself while his lessons sunk in to the minds of those following him.

The Shadow Knows

The two most significant men of extraordinary if not super human powers to follow Tarzan and John Carter were Maxwell Grant’s superb character, The Shadow and Lester Dent’s Doc Savage. Preceding the comic book character Superman by a few years Doc Savage was actually advertised as a superman, undoubtedly in reference to Nietzsche.

Then in the early thirties in addition to movies, in which Tarzan was a stellar attraction, the modern comic book or magazine came into existence. Of course newspaper comic strips had been developing from the turn of the century but the actual comic book was a development of the thirties.

As fate would have it the comic book industry like the movie industry became a province of the Jews.

Doc Savage- The Man Of Bronze And Crew

Thus two streams of influence formed comic book heroes. On the one hand the Jewish writers and cartoonists were influenced by John Carter, Tarzan, The Shadow, and Doc Savage and on the other by a fifteenth century Jewish super creature known as the Golem. This was a creature fashioned from clay, as per Adam of the Old Testament, by a Prague Rabbi named Loewe who breathed life into his creation as God had breathed life into Adam. The Golem was created to wreak vengeance on Jewish victims as a sort of avenger as would be the status and role of the latter day Jewish superheroes of the comic books.

First out of the box in 1938 was the prototype of the rest of the comic book heroes, Superman. Like Burroughs with his creations the two Jewish creators built Superman’s origins from the Biblical story of the Exodus. Tarzan of course was born to noble English parents in Darkest Africa who then died or were killed by the Great Apes while the she ape, Kala, snatched him from the cradle and raised him as an ape.

Superman was born of noble parents on the planet Krypton which was about to be destroyed, and sent on a rocket ship to Earth while his parents died. On Earth he was raised by kindly goy Earth people. Thus we have two different versions of Moses in the bullrushes. Superman, then, combined John Carter and Tarzan.

Superman was a good thing in commercial terms being the equivalent of a literary best seller. Imitation is the sincerest form of flattery so that while Superman imitated Burroughs’ great characters a host of comic book superheroes soon trod in Superman’s footsteps. Next in 1939 there was Batman, probably the most successful of the Jewish superheroes, and then in 1940 the temporarily successful Captain America, really the product of WWII, losing his popularity with the end of the war. The most successful of all the superheroes was the strange goyish creation, Capt. Marvel but he doesn’t concern us here.


From Out Of The Unconscious Depths


The above is very interesting I’m sure but what significance does it have; what is its meaning; what is going on? Well, the back story is very interesting indeed. One must remember that our lives are not lived in a social vacuum of unrelated incidents. All is part of a continuum that does not just happen but is created by the participants. All is a drive to attain a desire. The question is who are the participants? As has already been indicated, the Jews and the Gentiles or goyim. From what do those desires arise? Suggestion. Suggestions having been received, when a body of suggestions have been ingested, our minds begin to digest those suggestions. One then interprets the suggested reality according to one’s temperament which itself has been built on a body of suggestions.

All society is education, indoctrination and conditioning, in other words hypnotic suggestion. Burroughs was born in 1875 as the scientific revolution was in an advanced stage of development; by 1893 when Burroughs was seventeen the whole of human knowledge and scientific advances was put on exhibition at the Chicago Columbian Exposition. The Expo was probably the high water mark in Western Civilization or, at least, its confidence in itself. The Expo was an unparalleled achievement of human endeavor far surpassing all expos of the nineteenth century with the possible exception of the 1851 London Exposition. Interestingly both were burned to the ground by anti-civilization elements. The Columbian Expo of 1893 was the most powerful element of Burroughs’ education.

Shortly before the boy’s birth in 1875 the character of immigration changed. In 1871 Jews from the eastern European Pale of Settlement began to flood the country until in 1914 possibly half of European Jewry had been transferred to the United States. The great immigration myth is that the immigrants were assimilated into the ‘Melting Pot’ of the United States; nothing could be further from the truth. The immigrants merely transferred their national cultures to the United States where because they were compelled to speak English it appeared that they had been assimilated. In reality the immigrants came to the sparsely populated United States where they established an outremer population on the New Island as the Irish had it, a new Sicily, a new Zion etc. They came in such numbers that they actually were colonists. The old cultures were merely adapted to the new realities and developed along side the Native peoples.

These alien or invading cultures then shaped the development of the United States in their image as much as possible. Thus they were able to blame their cultural shortcomings on ‘America’ while emphasizing their virtues as their own. Hence ‘America’ developed into a sort of dirty word, a catchall for the crimes of the immigrant cultures. This state of affairs was masked until the Great War when the social conflicts came into the open and were immediately subsumed into the Communist ideology after 1917.

Young Burroughs observed this immigration phenomenon or suggestion with misgivings associating himself with Nativist views although he remained independent to our knowledge of association with Nativist organizations. Thus while interpretations of these social suggestions are found through out his early writings the conflict didn’t come to a head until after the 1917 Bolshevik Revolution in what became the USSR as Russia disappeared from the map. With all the national dissidents operating under the rubric of Communism the world was divided into us and them- ostensibly Communism and Capitalism. The dichotomy was created by the Communists. However each national culture could function with representatives in each camp while furthering their parochial objectives.

It was a new world the morning after the Bolshevik Revolution. Burroughs immediately came into collision with the new realities. As this new world was us and them it was possible to hate Communism while retaining virtue in the Capitalist camp. However one couldn’t detest national, religious or racial components even though they may have been Communists. As Communists always denied being Communists one was always dealing with cultural groups that dissembled their Communism.

When Burroughs began his career in literature even as he wrote the movies began to assume a transcendent place in US and world culture. By the end of the second decade it was evident that movies were where the big money was. That’s when Burroughs’ troubles began.

He quickly ran afoul of the Communists who controlled publishing and the Jews who controlled the movies. The Communists wished to suppress all non-Communist writers who refused to put out the Communist message. The Jews wished to discourage all criticism of their activities. Burroughs was marked out as one to be destroyed.

Rabbi Silver- A History Of Messianic Speculation In Israel, 1927

Behind the Communist outrage and obscured by it was the Jewish attempt to realize the Messianic age which assault was begun in Europe and the United States in 1913 and was to continue to 1928 according to Rabbi Abba Hillel Silver. While the assault was violent in Europe emanating from the transformation of Russia to the USSR, in the United States it was more peaceable after the violent year of 1919 while being conducted on a propagandistic and social level buttressed by the doctrines of Sigmund Freud as executed by his nephew and disciple Edward L. Bernays and others. You should become acquainted with Edward Bernays if you aren’t already.

Among the first of these propagandistic efforts was the promulgation of a ‘Jewish Bill Of Rights.’ This document along with a questionnaire was sent to the prominent men and women of America to discover their ‘anti-Semitic’ propensities. Burroughs failed this test so that he was black balled in Hollywood after 1922. The blacklist was broken by Joseph Kennedy and his FBO Studios in 1928. MGM then stepped in with a different approach from blacklisting. They bought the movie rights to Tarzan from Burroughs for much less than a song. Burroughs then was essentially neutralized in 1931 while MGM acquired the supreme super hero Tarzan to shape or mishape as they pleased. Within a few years there were not many who remembered that there was a literary Tarzan. My amazement when I learned there were Tarzan books when I was twelve in 1950 was a revelation of the first order.

The movies were able, of course, to shape all the goy literary heroes from Frankenstein to Sherlock Holmes into their own intellectual mold from then into the present while comic books added Jewish superheroes to displace them.



Tired Old Man- Easy To Manipulate

The planned Jewish revolution hadn’t succeeded by 1928 but the groundwork had been laid leaving the future promising and open. While in the US the Jews were able to sweep all opposition aside even to the extent of putting their creature, Franklin Delano Roosevelt, into the White House for an unprecedented four terms, in Europe unexpected opposition occurred when Wolf Hitler was elected chancellor of German in 1933. While having their creatures Joseph Stalin as Premier of the USSR and FDR in the USA with Popular Front governments if office throughout Europe with the exception of Germany, Italy and Spain, the Jews seemed to be in a position to realize their millennium.

Indoctrination and conditioning was still important in the US thus when sound movies were introduced at the very end of the twenties and the comic book in the early thirties the Jews had two of the most powerful propaganda tools available under their ownership and control.

Their need in the thirties was to isolate and marginalize the Nativist opposition. This would be achieved in the forties wartime conditions when FDR had the prominent Nativists arrested and charged with sedition. At that point the Jews had succeeded in capturing the government and mind of the country although a long mopping up process would be necessary into the fifties and sixties. Thus while Wolf Hitler rounded up Jews in Europe, Jews were rounding up Nativists Americans in the US while advising any dissidents to keep their heads low.

The movies and comic books would play a big role in indoctrinating Americans to believe that the Nativists were Fascists and/or Nazis and not true Americans. It was at this time that Edward L. Bernays succeeded in changing the definition of Democracy from that of individual opportunity to recognition of groups having rights to a share of government based on group identity rather than individual identity. This would be a key concept as the century developed.



After the Bolshevik Revolution the American reaction to Communism was strongly against it. The Communist Party was even outlawed for a time until the Fellow Travelers and Parlor Pinks had the ban lifted. The silent movies of the twenties then were not heavily influenced by the Reds although as indicated the Tarzan movies of Edgar Rice Burroughs were blacklisted. By the thirties the Reds were better organized while with the arrival of sound playwrights capable of producing dialog were needed. The Red exodus to Hollywood began.

The US Communist Party as with all national Communist Parties, was a majority or plurality Jewish affair to the point where an attack on one was an attack on the other. Thus as the thirties advanced the drum roll for US involvement in a war against the Nazis began. This would involve the formation in the US of an opposition led by the America First Committee which was opposed to any involvement in foreign wars as a reaction. As this was opposed to Jewish wishes the America First Committee was designated as Fascist while its putative leader, Charles Lindbergh was designated Hitler’s stooge.

Samuel Dickstein- Congressman From Hell

In order to discredit the opposition, no sooner was FDR sworn in than Samuel Dickstein, a Jewish representative from New York, began to agitate for a House Un-American Activities Committee to stamp out Nativist opposition. As Dickstein was a Soviet agent this meant that the Nativist opposition was un-American while the Jewish Roosevelt government were the true Americans. So, the Jews were well on the way to usurping the American identity which the comic book superheroes represented. Dickstein was successful in establishing his HUAC committee in 1938 but the chair eluded him and went to a real American, Martin Dies of Texas, who then used the committee to harass Communists as well as ‘Fascists’ much to the dismay of Dickstein and FDR.

Hollywood in support of Dickstein began turning out anti-German movies and by implication anti-Nativist well in advance of American involvement in 1942. Involvement in the European conflict was of course brought about by forcing Japan to declare war on the US in late ‘41.

The comic book industry forming about 1932 was becoming real by 1938 when the two Jews from Cleveland devised their Golem character Superman followed by Batman and Captain America. The comic book heroes fell in with the anti-German propaganda. If the Jews, British and FDR were not yet openly promoting the war against Germany the tendency was well formed in that direction.

All those comics were openly anti- German with Capt. America socking Hitler on the cover of the first issue. Capt. America was a creation of two Jews from Brooklyn, Joe Simon and Jack Kirby. To quote the Rabbi Simcha Weinstein from his book Up, Up, And Oy Vey!: How Jewish Culture And Values Shaped The Comic Book Superhero:

Rabbi Simcha Weinstein

Kirby and his partner, Joe Simon, worked at Martin Goodman’s Timely Comics, where the mostly Jewish staff openly despised Hitler. When Goodman saw the preliminary sketches for Captain America, he immediately gave Kirby and Simon their own comic book. The character was an instant hit, selling almost one million copies an issue. “The U.S. hadn’t yet entered the war when Jack and I did Captain America, so maybe he was our way of lashing out at the Nazi menace. Evidently, Captain America symbolized the American people’s sentiments. When we were producing Captain America we were outselling Batman, Superman and all the others.” Simon later commented.

Well, not quite all the others, as Whiz Comics Captain Marvel was the best selling comic of both the war years and later forties. Certainly my favorite. As in the years before the war the America First Committee enjoyed overwhelming popularity amongst ‘Americans’ I would question Simon’s notion that Captain America overwhelmingly represented American opinion. As there were six million Jewish ‘Americans’ in the country I might suggest that the response from that culture of ‘Americans’ was more overwhelming than elsewhere. Jews might easily have accounted for sixty to eighty percent of sales.

It is also probable that no real American would ever have invented a corny jingoistic persona like Captain America, in fact, none did. The image was certainly repulsive to me as a child. My prime comic reading years were from 1947 to 1950 and I and my entire generation rejected Captain America while embracing Captain Marvel. Even then Superman was a distant competitor to Captain Marvel which is why DC comics sued Whiz for copyright violation.

Rabbi Simcha Weinstein- The Story Of Jewish Comic Books.

All the Jewish comics were openly anti-German, thus the FDR administration, the movies and comic books were fighting for the Jewish ‘good war.’ When Charles Lindbergh pointed this out he was immediately portrayed as an agent of the Nazis whereas he was merely telling the truth while being an ideal American. Philip Roth in his 2004 novel, The Plot Against America, recounts the Jewish atmosphere of the time while he postulates that Lindbergh was elected president in 1940 as a satrap of Hitler. Thus the Jews became the real Americans and the real Americans were totalitarians out to destroy the Democracy the Jews had created.

In his essay in the New York Times of 9/19/04 titled: The Story Behind The Plot Against America Roth says that he is recreating America as it really was in 1940 but that is not so. As Roth lived in a New Jersey Jewish colony he and his family was out of touch with the real America as his fictional brother who had gone to Kentucky tries to tell him.

In fact in the America of the time in which Samuel Dickstein was an evil presence the American Jewish Committee and The Anti Defamation League were paramilitary organizations conducting spying operations against the non-Jewish public. Numerous agents unaffiliated with any government agency crisscrossed society looking for any activity that might be considered against Jewish interests. These forays were gathered together in 1943 under the assumed name of John Roy Carlson and published as an indictment against Jewish ‘enemies.’ Many of them were arrested and tried as ‘un-Americans in 1944. So, Roth’s paranoia is at best unbalanced.

Roth says the idea of Lindbergh’s having been elected occured to him while reading Arthur Schlesinger’s autobiography:

     I came upon a sentence in which Schlesinger notes that there were some Republican isolationists who wanted to run Lindbergh for president in 1940. That’s all there was, that one sentence with its reference to Lindbergh and to a fact about him I’d not known. It made me think, “What if they had?” and I wrote the question in the margin.

While this may be how Roth came upon the notion his was not the first such idea. As Paul Buhle and Dave Wagner in their Radical Hollywood of 2002 point out, Donald Ogden Stewart in his script for 1943’s Keeper Of The Flame, Charles Lindbergh is posited as a plotter of a coup to replace FDR in alliance with Hitler. This would have been propaganda to indict Lindbergh for the upcoming trial of the Nativists. I don’t know whether Roth saw the movie as a boy but if he did perhaps the idea festered in his brain for several decades until he was reminded by Schlesinger’s book while his mind was half prepared.

So the actual plot of the Jews to take over the American government was displaced to Lindbergh and the Nativists. The Jewish coup was represented in the comic book character of Captain America. This situation is made clear in the current (2011) movie Capt. America: The First Avenger. Thus Philip Roth and Stan Lee of the comics recapitulate and clarify Jewish activities in the 1933-43 era. Captain America is actually Jewish assuming an ultimate American identity.

The origins of Captain America then emanated from the Jewish dream subconscious of Jack Kirby which was quite different form real Americans. He therefore, as all writers must, made Capt. America in his comic book existence from his own dream fantasies. Thus giving his creation the goy name of Steve Rogers he nevertheless gave him a Brooklyn Jewish origin. As Rabbi Weinstein also a Brooklyn Jew explains, Jews have a sort of dual identity as powerless Jews posing as goys in a powerful goy world. Thus the sickly ineffective Rogers undergoes a scientific experiment that turns him essentially from a 98 lb. weakling into an all powerful goy Charles Atlas without the hard work of body building. I’m sure Kirby saw those ads growing up.

Rogers having now been turned into a Superman had to have a name. Superman being taken Super Jew was out for obvious reasons, or even Super Hebrew, there was no Israel at the time, so Kirby settled on Captain America. Rabbi Weinstein again:

Of course a more literal reading of the costume is that it is the American flag brought to life. Captain America’s star is, after all, five pointed, not six pointed like the Star of David. The flag-as-costume [this is what used to make we boys puke] notion reinforces the ideal of assimilation [Jews ‘becoming’ Americans.] By literally cloaking their character in patriotism, Kirby and Simon became true Americans.

In 1940 there was a desperate struggle going on between the Jews and America First who the Jews styled as American Fascists, I.e. actual Hitlerites. By that line of reasoning the Jews became the true Americans, creators and protectors of genuine American Democracy while Anglo-Americans or Native Americans or America Firsters were out to destroy the great American Dream the Jews had created. This is the theme of Philip Roth’s novel The Plot Against America backdated to this period. The current movie Captain America could easily be subtitled The Plot Against America Foiled.

Rabbi Weinstein again:

Despite the patriotic appearance, Captain America’s costume also denotes deeply rooted [Jewish] tradition. Along with other Jewish-penned superheroes, Captain America was in part an allusion to the golem, the legendary creature said to have been constructed by the sixteenth century mystic Rabbi Judah Loew to defend the Jews of medieval Prague. “The golem was pretty much the precursor of the Superhero in that in every society there is a need for mythological characters, wish fulfillment. And the wish fulfillment in the Jewish case of the hero would be someone who could protect us. This kind of storytelling seems to dominate in Jewish culture,” commented Will Eisner.

According to tradition a golem is sustained by inscribing the Hebrew word emet (truth) upon its forehead. When the first letter is removed, leaving the word met (death) the golem will be destroyed. Emet is spelled with the letters aleph, rem and tav. The first letter, aleph, is also the first letter of the Hebrew alphabet, the equivalent of the letter A. Captain America wears a mask with a white A on his forehead- the very letter needed to empower the golem.

I hope this makes clear that Superman, Batman and Captain America are Jewish in identity and what their purpose is in American society.


 Having created a competing line of Jewish superheroes the problem then became how to discredit and supplant the goy super heroes. As should be clear by now what we have going on is a religious war but fought by propagandistic means. In other words the battle field was literature, comic books and the movies. As in all religious conflicts the goal is to displace the religious icons of the other; thus, in early Christian times churches were built on the sites of pagan temples while sacred groves were cut down. Nothing has changed; nothing can change. The Jewish goal was the elimination of ‘Christian’ or goy symbols.

Capt. Marvel was gotten rid of in 1953 when the Jews sued him out of his cape. As I’ve pointed out in my review of Tarzan And The Lion Man, parts 8,9.10, a key text in this colossal battle, MGM attempted to destroy the character as well as Burroughs when they bought movie rights to Tarzan in 1931. They got his birthright for a mess of pottage. It may be coincidental but in 1942 after the success of the Jewish comic book super heroes MGM discarded their lucrative rights to Tarzan to movie maker Sol Lesser presumably as worthless or, at least, of no more interest to them. Of course Lesser continued the franchise with phenomenal success. This necessitated a continued campaign to debase the character continuing today. At the same time that Tarzan is debased the Jewish characters, Capt. America is now one of a group of four ‘Avengers’, hence the double entendre of ‘The First Avenger’, who are increasingly Judaisized, while presented in a positive way in the attempt to marginalize Tarzan.

Now, some seventy years after the demise of the man, the continued demonization of Wolf Hitler is becoming less relevant, even annoying if you’re not Jewish, so in Capt. America Wolf Hitler is demoted to an incompetent dead threat while the scepter is passed to the mega Nazi/anti-Semite recreated in the mental projection of Red Skull or the Hydra. The mythical symbol of the Hydra is well chosen to represent anti-Semitism as no matter how many heads you cut off another one, two or three grow back. The threat never ends and the paranoia is justified.

Thus in the Freudian sense Jews have a dual personality: on the one hand you have the ineffective completely innocent assumed goy persona of Steve Rogers, who is the equivalent of Abel, the Chosen one and the crazed madman Hydra who is a projection of the negative aspects of the Jewish character imposed on the other as the anti-Semite. Thus the Jewish character is always at war with itself in the Freudian sense and hence never successful in its aims.

Captain Marvel And Billy Batson

A Review
Themes And Variations
The Tarzan Novels Of Edgar Rice Burroughs
#23 Tarzan And The Mad Man
Part III
That Old Time Religion

The Aquarian Archetype

Burroughs’ stories are always concerned with religion in one respect or another.  He never stopped investigating religion or religions.  When Swami Prahavananda brought Vedanta to LA from Portland, Oregon of all places Burroughs if not the first in line was not that far back.  It’s no surprise that the novels of the first half of the thirties all reflect Vedanta or Hindu religion to some extent.
The Tarzan series was virtually founded on the avatar of sun worship, La of Opar.  She appeared sporadically until 1930 when she was entombed in Opar and abandoned by Tarzan and Burroughs.  Here she appears again in the form of the mundane normal rich girl, Sandra Pickerall, the Scottish beer heiress.  A common place White Goddess.
One should always bear in mind the original White Goddess, She, of Rider Haggard.  Thus one always compares Burroughs’ White Goddesses to the original.  Apart from Greek mythology’s White Goddess, represented as the moon, I think the White Goddess reigning in a Black or off-tone population, was actually a Haggard original.  Of course, La was a carbon of She.  An aside- I’m discoverying that I’m using some outdated terms incomprehensible to younger people.  Carbon copy is one of these.  You get the blankest of stares.  For any readers not familiar with carbon paper, in the days before printers turned out endless perfect copies of documents if one wanted a copy of a typed letter, typed in a typewriter, one inserted a piece of carbon paper between the original and the desired copy.  One side was coated with carbon so that the stroke imprinted on the clean sheet.  Those were the days, children, when we walked three miles to school through eight foot snow drifts.  Life wasn’t so easy back then.
So, La was a carbon of She.  Not quite; She was actually two thousand years old.   Burroughs couldn’t figure out how to do that without being a carbon copy of Haggard so he made the priestess of the Flaming God part of a multi-thousand year tradition. Sandra was a one off with short duration.  There was no mystique there; this is the common woman triumphant.  Rand himself was a phony Tarzan who was also a phony rather ditso god.
While there was no real historical basis for She but a tenuous connection to Egypt’s influence on Sub-Saharan Africa that Haggard repeatedly invokes there was a historical basis for the Portuguese colony of Alemtejo in Ethiopia.  A fairly remarkable one and one that Burroughs knew of.  Possibly the story was gleaned from the pages of the National Geographic also bu there is a basis for it in Burroughs library
Let’s tackle the groundwork for Haggard’s White Goddess first.  Obviously with Haggard and Burroughs we are dealing with men and writers of stupendous imagination.  These men are able to build cities and civilizations from the merest scraps of evidence.  And then in Haggard’s case, from his sojourn in South Africa he was familiar waith legends and archaeological evidences unknown except to the specialist and possibly not to them.  Burroughs read many books of African history including J.W. Buel’s Heroes Of The Dark Continent.  The book mentions legends and stories that Haggard heard but so fleetingly one wonders what impression they could have made on the forming mind of ERB.  Buel himself took his early history from a fabulous Arab work called The Travels Of Ibn Batuta, sort of the Richard Burton of his culture.

The Renowned Arab Traveler- Mohammed Ibn Batuta

Writing in the fourteenth century Ibn Batuta had visited the East African coast trodding the soil of Kilwa Island on the southern border of Tanganyika, now Tanzania.  Zanzibar replaced Kilwa as the Moslem trading entropot on the East Coast.  Haggard apparently had done the same as he mentions ruins that dated back to before the tenth century.  So, we have established commercial activity in Southern Africa before the arrival of the Shona people in Zimbabwe.

The ruins of Zimbabwe are, of course, famous but the builders are undetermined although the relics are claimed by the Shona which is impossible.  There are additional stone ruins further South than the Shona ever penetrated.  Therefore it follows that others than the Shona built them.  The ruins and Zimbabwae turn up frequently in Haggard’s novels also.
I have always believed the ruins were Malagasy which is also Trader Horn’s position.  I wasn’t clear on the arrival of the Malagasy but then ERB’s novel Jungle Girl showed me the way.  Jungle Girl is concerned with the Khmer people and the ruins of Cambodia and Thailand.  Few of us, I believe, have any idea of the history of this area and its connection to India.
According to some somewhat limited research on my partI find that  the Balinese were a major naval power in the archipelago and the adjacent mainland.  When the Khmer king threatened the Balinese king the King of Bali mounted a thousand ship expedition to the Mekong to punish the Khmer king.  This would be a substantial flotilla if true and not legendary.  If each ship transported twenty to fifty soldiers that would be an army of twenty to fifty thousand men.  Logistically a superior achievement, especially just to punish one guy.
Bali today is 90% Hindu in religion so that the Hindus or Indians had made a religious conquest of Bali by the ninth century.  One assumes that contact was continuous from, say, 800 to 1500 AD so that Balinese regularly sailed to India.  The Balinese also have fabulous ruins such as the magnificent manmade mountain, Borobudur that date from the earlier period.
Now, the Malagasy of Madagascar are genetically linked to a Bornean people opposite Bali on inland sea.  It is highly doubtful that the Borneans made any voyages to India.  Let us assume however that those people of Borneo were troublesome to the Balinese, harassing their shipping and possibly raiding Bali.  Now, there doesn’t appear to be continuous migration to Africa; the migration seems to have been a one time affair.
Let us suppose then that the Balinese knew of Africa from their excursions to India.  After all, the Chinese admiral, Zheng He touched on Africa if not claiming it for his Emperor in the fifteenth century.  There are Africans with Chinese DNA from sailors shipwrecked from that expedition.  Kilwa was active from at least the ninth century when Persians established a colony leaving ruins behind.  Pottery sherds found on Kilwa come from the whole of the East including China.
In an effort to solve their Bornean problem, then, let us assume the Balinese organized a flotilla and shipped the entire troublesome Bornean population to Africa in one shot.  It could easily have been done by revictualing and rewatering at several points on the way to India or Ceylon at which point the monsoon could be used to aim for the African coast.  Whether Madagascar was known or not the flotilla could easily have blundered on it.  It was uninhabited at the time.  The Bantus had not yet penetrated that far.  Their presence was probably insignificant on the mainland- Mozambique and Zimbabwe.  That was it- a people transported from Borneo in one consignment.
Finding the malarial coast uninhabited but unhealthy the Malagasy’s then moved up on the plateau where the air was more salubrious.  The Shona may or may not have already been there.  In any event the population would have been small.  It is possible they began to filter in some time thereafter settling North of actual Zimbabwe.  The ruins then were built by the Malagasies either as protection from wild beasts or as defensive forts.  As the additional ruins are further South the Malagasies either prospered and expanded or unable to maintain themselves against the Bantu Shona kept retreating further South as did the Bushmen.  On the other hand the kingdom of Monomotapa that existed in this area at approximately this period must have been founded by the Malagasies.  That it was stamped flat by the Bantus would indicate that it was a culture alien to theirs much as the White culture now being exterminated by the Bantus.  With the Whites gone and the ruins of the cities dotting the plains the Bantus could then claim their ancestors built them.  An exact duplicate situation.  Shoot, even Mugabe could claim he built Salisbury.
Now, there are a variety of complexions in Zimbabwe tending toward a red.  That could only come about by the mixing of the Black Shona and the copper Malagasy.  So, obviously the Malagasy were either killed or bred out of existence on the mainland although still existing on Madagascar.
The Shona having no use for the stone forts which were unfamiliar to them ignored them for their traditional grass hut villages.
The Malagasies mined for gold probably trading with Kilwa Island although that is some distance and there seems to be little refuse in Zimbabwe to suggest a trading period.  Nevertheless the gold was mined and it isn’t there now.
Using whatever knowledge he had of the legends or history of Zimbabwe Haggard created his own magnificent legends of King Solomon’s Mines and the superb She.  She was was placed somewhere on the coast between Zimbabwe and Kilwa Island.
For his shadow of the story of She Burroughs then moves the location of She up to Ethiopia also incorporating the story of the Portuguese expedition of the fifteenth century to that formerly mythical and fabulous country thought to be the home of the equally mythical and fabulous Prester John.
ERB combines two threads of history.  On the one hand Vasco da Gama the explorer did send his brother Cristoforo da Gama on a military expediton to Ethiopia to aid the Queen of Ethiopia. Initially successful Cristoforo was untimately defeated although the Portuguese left the country rather than building ERB’s castle on the Mutia Escarpment.  On the other hand the Galla people subsequently invaded Ethiopia where they existed against the Ethiopians in the sort of standoff that ERB depicts.
The faux Tarzan, Rand, then parachutes into the midst of the Portuguese castle of Alemtejo.  In his descent the wind slams him against a turret causing the inevitable amnesia.  Tarzan’s loss of memory that recurs periodically means that ERB is severely stressed.  Tarzan’s losses of memory always occur at periods of extreme stress for ERB when he is facing difficult problems.
Rand had embarked on his expedition to prove he could rough it a la Tarzan for thirty days so his mind occupied by this illusion he believes he is Tarzan.  As he descended from the sky the Portuguese, now a cholcolate brown, believe he must be God, not a god but the God.  Even though God Rand takes orders pretty well.  Da Gama orders him to find a goddess as God must have a goddess.  After having had his Black candidates rejected Rand goes back to find a White Goddess.
At this point Rand, the faux Tarzan, finds the beer heiress Sandra Pickerall.  Thus God and goddess are in reality ordinary folk, the common people.  The descent has been from the immortal She to the mortal but still divine, La, who was the high priestess, to an ordinary girl dressed in ordinary clothes who knows nothing of the goddess mystique.  ERB’s hopes had deflated quite considerably.
This was on the eve of ERB and Florence’s departure into exile from LA to Honolulu so there is a bewildered sadness to the story.  It’s as though ERB were asking:  Where did the dream go wrong?
There is a faint echo of The City Of God story from Tarzan And The Lion Man.  In this case Tarzan/Rand/ERB is God and Sandra/Florence is his goddess but no longer the vision of his dreams he imagined in 1926.  He’s pretty disappointed.
The religious scene is quite astounding, presenting aspects of the whole history of religion.  ERBs’ life study of religion is here condensed into a few paragraphs and scatterings throughout the text.
Ruiz stood behind a low, stone altar which appeared to have been painted a rusty brown red.
For a long time Ruiz the high priest held the center of the stage.  The rites where evidently of a religious nature that went on interminably.  Three times Ruiz burned powder upon the altar.  From the awful stench Sandra judged the powder must have consisted mostly of hair.  The assemblage intoned a chant to the weird accompaniment of heathenish tom toms.  The high priest occasionally made the sign of the cross, but it seemed obvious to Sandra that she had become the goddess of a bastard religion which bore no relationship to Christianity beyond the symbolism of the cross, which was evidently quite meaningless to the high priest and his followers.
She heard mentioned several times Kibuka, the war god; and Walumbe the god of death, was often supplicated, while Mizimo departed spirits, held a prominent place in the chant and the progress.  It was evidently a very primitive form of heathenish worship from which voodooism is derived.
What reading, what study went into this religious scene isn’t clear but it is clear that ERB’s reading here led back to the religious practices of the Yoruba people of Nigeria, or perhaps it might better be said the lower Niger River.  In what they call the Yoruba diaspora the people as slaves were dispersed throughout the Americas, South and North and the Caribbean.
Apparently deeply religious the Yoruba took their religion with them grafting it unto a semblance of Catholicism, bastard religion here in Burroughs.  Perhaps that is what ERB means when he says the Alemtejos took the cross as a symbol but it had no meaning to them.  The Yoruba religion took different names and forms from Brazil to New York.  As ERB points out here the Yoruban religion in Haiti developed into Voodoo while in Cuba it became known as Santeria by which name it passes into the US.  Chief centers are Atlanta and New York City.
While Burroughs merely says that Voodoo was derived from some ancient form implying lost in the mists of time he may very well have known that these new world religious impressions were derived from the Yoruba of Africa.
And then a little further on, Ballantine, p. 55, ERB goes on to describe a different religious ritual:
Looking up, she saw a dozen naked dancing girls enter the apartment, and behind them two soldiers dragging a screaming Negro girl of about thirteen.  Now the audience was alert, necks craned and every eye centered upon the child.  The tom-toms beat out a wild cadence.  The dancers, leaping, bending, whirling, approached the altar; and while they danced the soldiers lifted the still screaming girl and held her face up, upon its stained brown surface.
The high priest made passes with his hands above the victim, the while he intoned some senseless gibberish.  The child’s screams had been reduced to moaning sobs, as Ruiz drew a knife from beneath his robe.  Sandra leaned forward in her throne-chair, clutching the arms, her wide eyes straining at the horrid sight below her.
A deathly stillness fell upon the room broken only by the choking sobs of the girl.  Ruiz’s knife flashed for an instant above his victim; and then the point was punged into her heart.  Quickly he cut the throat and dabbing his hands in the spurting blood sprinkled it upon the audience, which surged forward to receive it…
To consider this scene from several angles:  I hope no one will be offended but put into current Hollywood cinematic terms this is the very purest of pornography.  It there was a battle at this time to get James Joyce’s Ulysses through customs, Joyce is smirkingly smutty compared to Burroughs here.
I mean, a dozen naked dancing girls leading the procession, a child snuff scene;  the dwelling on the flash of the knife, its point entering the body, the spurting blood from the child’s cut throat then the sprinkling of the surging, screaming crowd with the blood, truly they were washed in the blood of the lamb.
If the Voodoo harked back to an early period it was before this intermediate sacrificial period.  On the one hand La of Opar seemed to flash back to to Aztec ceremonies in ERB’s mind.  In that gory society the victims were indeed laid out face up beneath the Flaming God as the priest no only stabbed them but cut the heart out holding the still beating vessel aloft for the sun’s acceptance.
Here ERB seems to combine the Aztec practices with the Semitic practices of child murder from which the term ‘blood of the lamb’ must be derived.  Blood purifications were common in the various Classical religious consensuses.  With Mithraic worshippers of the bull god Mithras communicants were lowered into a pit while a bull was slaughtered on a slatted platform above them, the blood dripping down on the initiate then washed the communicant in the blood of the bull, or in another word, Mithras.
Among the Semites, Carthaginians of North Africa and the Jews of Palestine child murder was the chief offering to placate the gods or God.  The Carthaginians had a huge statue of Baal with oustretched arms on which the child was placed to roll down into a flaming pit.
The Valley of Hinnon was the site of the Jewish sacrifice of the first born.  While the practice was suspended in the story of Abraham and Isaac when the sheep or lamb was allowed to be substituted for the first born.  While the practice was suspended in the story of Abraham and Isaac when the sheep was allowed to be substituted for the born the idea lived on in the imagination of the Jews.
Then commenced the eternal round of sacrificing in the temple when the priests stood before a large basin called the brazen ocean and sacrificed sheep from sun up to sun down.  The blood collected in the brazen ocean was used for its special purposes.  Think washed in the blood of the lamb and compare it with the Mithraic rite.
Even then before the Jews left Egypt they smeared their lintels with the blood of the lamb or first born to save themselves from God’s slaughter of the first born of Egypt.  Thus the Jews were symbolically washed in the blood of the lamb.  The slaughter of the innocents in Herod’s time will also come to mind.  Jesus as the first born would have been sacrificed as the lamb  if the slaughter had been successful.
Certainly if read properly it is easy to understand why Sandra fainted.  Perhaps in 1940 ERB found his psychological situation unbearable reacting by creating this bit of sado-masochistic pornography.
Having completed this part of his survey of religious evolution ERB moves on to what might be described as the late Classical to Medieval phase, Ballantine p. 67:
“Well, what of it?’  demanded da Gama.  “I am king.  Do I not sit on a level with God and his goddess?  I am as holy as they.  I am a god as well as a king; and the gods can do no wrong.”
“Rubbish!” exclaime the high priest.  “You know a well as I do that the man is not a god, and the woman no goddess.  Fate sent the man down from the skies- I don’t know how; but I’m sure he’s as mortal as you or I; then you get the idea that by controlling him you could control the country.  You were jealous of me that’s all; then you get the idea that by controlling him you could control the church, for you know that who controls the church controls the country.  You were jealous of me that’s all; then you conceived the idea of having a goddess, too, which you thought might double your power.  Well, you have them; but they’re going to be just as useful to me as they are to you.  Already, the people believe in them, and if I should go to them and say that you had harmed the god, they would tear you to pieces…”
Here we have the cynical conception of priest craft that was still current when I was a kid.  Religion as the opiate of the people.  Priests and kings who are totally insincere in their beliefs, the divine right of kings, a potent belief in its time ridiculed in another.
This could be the stuff of a stand up comedy routine by Bob Newhart in 1960 or the Smothers Brothers with some modifications of the struggle between the English Tudors with the Catholic Church.
“…you don’t stand any too well with the people, Chris, anyway; and there are plenty of them who think da Serra would make a better king.”
“Sh-h-h,” cautioned da Gama.  “Don’t talk so loud.  Somebody may overhear you.  But let’s not quarrel, Pedro.  Our interests are identical.  If Osorio da Serra becomes king of Alemtejo, Pedro Ruiz will die mysteriously; and Quesada the priest will become high priest.  He might become high priest while I am king.”
That would have gotten a knowing laugh from ERB’s readers who would have felt they had been let in on a cosmic truth.  And with the proper inflection and delivery you have some stand up.
Of course the spectre of Christianity is running through this.  ERB then tosses in a Moslem bit to bring things up to time; Sandra has bneen captured by Rateng the hunter, a Moslem Galla, Ballantine, p. 132:
“What do you want of me?”  she asked.  “What are you going to do with me?”
“You should know,” he said.  “You are a woman.”
“I am not a mortal woman.  I am a goddess.”  She grasped at a straw.
Rateng laughed at her.  “There is no god but Allah.”
“If you harm me you will die.”  she threatened.
“You are an infidel,” said Rateng, “and for every infidel I kill, I shall have greater honor in heaven.”
Thus we have the last testament of Edgar Rice Burroughs on religion.  Having delivered this he got on the plane for Honolulu leaving LA.  His epic struggle to free himself from 1911 to 1940 ended in defeat.  Ironically he was on a salary of 250.00 a month in Honolulu which had been his salary at Sears, Roebuck before he began writing.  Life is funny sometimes.
Recapitulation and Conclusion.
Thus ended the confrontation between Edgar Rice Burrughs and the Judaeo-Communists.  Little did ERB realize that in 1919 when he excercized what he thought was his American Constitutional rights by opposing Communism that he was engaging in a life and death struggle for supremacy.  Nor did he realize that when that survey sent to him by the American Jewish Committee that was fatally forwarded to in Hollywood from Chicago by the post office was coded so that he would indicate his acceptance or rejection of subservience to the Jews.   Had he known he would still probably have rejected the yoke but he at least then would have known that he was in open warfare for supremacy.
The America he had been raised in and on which his thoughts had been centered had been slipping away with each boatload of immigrants that arrived.  From a population of a few hundred thousand in 1890 the Jewish population had grown to several million.  They now had the strength of numbers as well as an implacable will to recreate the new glittering Promised Land in their own image.
There was a short reaction led by Henry Ford before any resistance was scattered.  In that brief period to 1924 ERB had aligned himself with Ford as my analysis of Marcia Of The Doorstep shows.
So in that brief period between 1919 and 1924 ERB’s fate was sealed.  In Marcia he was making desperate efforts to placate the hollywood Jews who after all had control over much of his ability to earn income.  His hostility to the Communists continued unabated.  They weren’t protected by a charge of anti-Semitism as were the Jews.   In 1926 he published his anti-Communist trilogy The Moon Maid.  His defence was countered by the direction of no less than Josef Stalin himself and through his agent H.G. Wells.  ERB’s resistance to both the Communists and the Jews in my estimation produced the sequence of his greatest Tarzan novels and in his other works.
Given his own shortcomings, which were fatal, he hadn’t the skill, although he may have had the resources, to resist the evil so that by 1934 and Tarzan And The Lion Man the war was all but over.  The end came in 1940 when, I presume, it was politely suggested that he retire from LA.  The stage of his youth had been replaced by the aeroplane so that ERB’s mode of departure was by plane and not on the stagecoach.
MGM disdainfully made another movie, Tarzan In New York, in which Tarzan as it were is led to New York with a rope around his neck.  There in New York he is symbolically forced to submit to the Law .  While in an American court it seems fairly clear that the Law is Talmudic Law rather than, to use the term loosely, American justice.
With the release of Tarzan In New York MGM essentially threw the character away giving Tarzan over to Sol Lesser to do as he pleased.
Apart from a spate of stories in 1940 and the war novel, Tarzan And The Foreign Legion, the voice that had thrilled a nation for nearly thirty years was silenced.
ERB’s dissidence was crushed.  Nor was he the only author.  While the pre-1919 publishers seem to have been all Liberals and Communist fellow travelers the authors were anti-Communist or, at least, apolitical in that sense, to a man.  They all seem to have fared no better than ERB.  Certainly, in my life experience the period from 1914 through the fifties is a virual literary block.  The non-Communists writers of pre-1919 had their reputations obscured while after 1919 no writers but Communists were nurtured and allowed into print.  Thus all the social realist third rate Communist garbage of the period has disappeared from genuine lack of interest.  There are attempts to buck up the reputations of John Steinbeck and Ernest Hemingway with some success while there are also attempts to create some interest in failed Jewish writers of the period but that seems to be of no avail.  They, like Philip Roth, are too culturally specific to hold the general interest.
One wonders why Burroughs didn’t publish Tarzan And The Mad Man.  He locked the book in his safe and forgot about it.  Certainly the novel is as good as any he wrote.  Perhaps the admission of defeat it contains would have been too gratifying to his enemies or too painful to admit.  I don’t know.
Perhaps the challenges life gave ERB were too strong.  First his early childhood centered around high expectations was countered by John The Bully and ERB’s ceaseless movement from school to school orchestrated by his father who seemed to have a love-hate relationship with him; then the cruel bludgeon of fate that fell on him in Toronto which literally addled his brains for a decade if not for life perpetrated by a rival for the hand of Emma whose enmity never ceased and who plagued him in Chicago through 1919 and then the war with the Jews and Communists through the twenties and thirties.
Ah well, we all have to play the hand we’re dealt.

Edgar Rice Burroughs On Mars

November 16, 2008


Edgar Rice Burroughs On Mars


R.E. Prindle


     ERB scholars have long noted that the entire corpus of novels reads almost as one long book.  I believe this is because ERB records his life in his novels.  If one reads the novels in the sequence in which they were written and if one understands the symbolism used by Burroughs against a background of what’s happening in his life ERB actually records his mental state of the moment.

     In this essay I am going to concentrate on a role of John Carter in the Mars series and that of Ulysses Paxton in the Mastermind Of Mars. 

     In real life before ERB began writing he was powerless on earth.  I would call him an abject failure but even though he appeared one he was only on the verge of being one and if his attempt at a writing career in 1911 had failed he would have been plunged into the abyss.

     As he was a failure or at least an unfulfilled seeker in 1911 he makes John Carter into a mold he admired, that of a Virginian and a soldier who was seeking his post-Civil War fortune in the deserts of the Southwest.  Carter, whose initials are JC, actually finds his gold mine but attacked by Indians he escapes death by transporting himself to Mars.

     Mars has a lesser gravity than Earth so on Mars he has superhuman powers.  Thus unable to realize any of his ambitions on Earth ERB transports himself in his imagination to Mars as the Superman, John Carter.

     Amazingly the idea struck a responsive chord in his soon to be Editor at Munsey’s, Metcalf, who bought the story.  It doesn’t matter for how much, the point is it validated ERB’s lofty opinion of his destiny.  Fortified by this response he brought himself down to Earth in the fantastic form of Tarzan Of The Apes in an imaginary Africa.  Here was the gold mine he as John Carter was seeking.  There was no one, no Indians, to drive him off so he was off to the races.

     The first rush carried him through the line into 1920 when he left Chicago behind and fled to Los Angeles.

     In LA his careless financial habits soon led him into hot water virtually bankrupting him but definitely stripping him of his assets.  By 1926 when he wrote The Mastermind Of Mars he was virtually financially prostrate.

     The hero of Mastermind is Ulysses Paxton.  Ulysses can stand for the Greek wanderer and seeker Odysseus or for the great warrior, Ulysses S. Grant.  So what we have is a duplicate of John Carter.

     ERB is on record as saying that he thought that every man was two persons not unlike Dr. Jekyll And Mr. Hyde, some more divided , some less.  Under stress the two personas like Jekyll and Hyde became distinct.

     Now, in 1911 ERB was an unrealized genius but in 1926 he was a failed genius.  In other words he had had his legs cut from beneath him.  He might as well have been dead.  Therefore Ulysses Paxton while serving in the Great War has a shell explode beside him.  When he comes to he realizes his legs have been blown away.  While he lies dying he looks up to Mars as John Carter had fifteen years before.  When he next comes to his legs are restored and he is standing in a garden on Mars.

     Thus in real life ERB imagines himself figuratively in Paxton’s situation returning in his imagination to the Red Planet in the hope of making lightning strike twice.

     He hadn’t written a Tarzan novel since Ant Men four years previously.  He was black listed by the movie colony that refused to make any Tarzan movies even though they would have been lucrative.  He was under attack nationally and internationally by the Reds who were doing everything possible to destroy his sales and reputation.  ERB truly had his back to the wall or figuritively had had his legs cut off.

     Fortune would once again favor him when FBO Studios broke the blacklist against him.  After a couple fumbling attempts at Tarzan novels he would hit a magnificent stride through the Tarzan novels from 1929 to 1936.

    The Mastermind Of Mars was his attempt to recover his career.  His style while revered by his fans was old hat by 1926 so he could no longer take the world by storm as he had in 1911.

     Mastermind is a complex novel of which I haven’t completely broken the code but let us concentrate on two aspects.  The first is ERB’s troubled state of mind over his marriage.  Thus he invents the story of Xaxa and Valla Dia as he fights to deal with his sexual problem.  The second is the religious problem caused by his confrontation with the Jews beginning in 1919 and continuing not only through 1924’s Marcia Of The Doorstep, and 1926 but  to the end of his career.

     In 1926 ERB had not yet met Florence Dearholt although he was probably already familiar with her husband Ashton and through that acquaintance he may already have seen her, and perhaps, also on the screen as she was an actress.  He did meet her in March of ’27 when Dearholt approached him on a movie deal and was either immediately smitten or had the opinion of her he already had confirmed.

     In Mastermind ERB expresses the thought that he has a wife to whom he owes everything but who he hates.  This strong emotion would be realized at his own Emma’s death.

     In this novel Emma is represented by the brain of the horrid Xaxa.  Ras Thavas, the demon mastermind of Mars and physician nonpareil, has transplanted the brain of Xaxa into the beautiful body of Valla Dia and vice versa.  Dia is Latin for goddess.  I don’t know what Valla means.

      The body of Xaxa containing the brain of Valla Dia is held in suspended animation by Ras Thavas.  Bringing the body to life Paxton is smitten by the beauty of Valla Dia’s brain.  Knowing that her body is of incomparable beauty he conceives the notion of restoring her brain to her body and taking her to wife.  Valla Dia may also be seen a version of Helen of Troy.

     I interpret this to mean that ERB’s Anima ideal was the beautiful Valla Dia, perhaps as he had once viewed Emma.  But to his mind Emma had developed an ugly mind that animated the body of his Anima ideal.  the beautiful mind he sought was thus in an ugly body while an ugly mind was in a beautiful body.  ERB’s dilemma was to shuck Emma and find a beautiful mind in a beautiful body.  When he met Florence in 1927 he thought he had found his Anima ideal of a beautiful mind in a beautiful body.  His problem then was how to rid himself of Emma.

     On that level then ERB is struggling with his sexual problem.  In this book his struggle would take the form of an astonishing number of dual and split personalities.  This is quite a study in that sense and an indication of ERB’s extreme stress.  Perhaps Mastermind is a worthy successor to Stevenson’s Dr. Jekyll And Mr. Hyde.

     The second and less resolvable problem is the religious issue.  At this moment in time the Jews of Hollywood have got ERB boxed.  Indeed, they have cut off his legs.  The logjam was about to be broken by FBO Studios which would free ERB up until the late thirties when he was forced into exile in Hawaii.  For now though he has to deal with this very difficult problem.  He has by now learned that freedom of speech ends where Judaism begins.  If I am right he was denied publication of Marcia Of The Doorstep because of the manner in which he discussed his dilemma.

     In Mastermind while the religious issue assumes primary importance ERB puts it into an ecumenical form denouncing all religion.  Does he refer to his Jewish situation in any cloudy form?  I think he does.

     The god in this story is a huge several story high idol named Tur to which all must bow down.  The name Tur is an odd name for a god, at least in my mind.  I have said before you cannot talk about that which isn’t in your mind.  If you haven’t studied religions there is nothing you can say about them. As ERB has a great deal to say it is obvious that he knows something about religion and religions.  Theology isn’t the issue here, that is a separate matter.

     Given ERBs method, when he learned he had a problem with Judaism I’m sure he went out and learned something about it.  It isn’t necessary that he had a profound knowledge; it is only necessary that he learned some things.  We can’t be sure what.  The word Tur is signficant in Jewish historiography.  His use of Tur may be a coincidence but there you have it- Tur is Tur any way you turn it, frontwards or backwards, Tur is Tur.

     The word Tur appears in Judaic lore in this manner:

     …Rabbi Jacob (Yaakov) ben Asher (1270-1343) the “Baal ha-Turim” compiled the Arba Turim, first printed in 1458.  “Tur” is used as shorthand for both the title of the whole work and for Rabbi Asher himself since it is customary in Judaism to call a compiler by the name of his compilation.  The Tur is the predecessor of Rabbi Joseph Karo’s Schulchan Aruch.  The four part structure of the Tur and its division into chapters (simanim) were adopted by Karo in the later code, Shulchan Aruch.  Each of the four divisions of the work is a Tur, so a particular passage is cited a Tur…

     p. 127 Hoffman, Michael, Judaism Discovered, 2008

     While one can’t be certain ERB learned the above fact it isn’t particularly recondite and might have been easily learned.  At the least the use of Tur for the god is a remarkable coincidence.

     Making Tur an idol to which all must bow would have been an egregious offence to the Jews and one which any knowledgeable Jew, who might have read the book, always a precondition, would have picked up on it  whether Burroughs intended it or not.  Paranoia strikes deep.

     The idol itself could possibly be modeled on the Alexandrine Egypto-Greek god, Sarapis.  Burroughs would have known of this from the Bible if not from his readings in the classics.  We know he reread Plutarch’s Lives at least twice with one of those times just previous to writing Mastermind.  If he read the Lives twice he undoubtedly read other classics so there is no reason to believe that he didn’t have knowledge in these matters.

     The manner of Paxton’s posing as Tur and bamboozling the bamboozlers is a mockery of religion in general although given the context of the word Tur the application of the mockery might have been taken more personally.

     Forced to use the most discreet measures to avoid accusations of anti-Semitism ERB may have thought he was undetectably clever while he is certainly having a good laugh.  Paxton congratulates himself  and gives himself a couple pats on the back at the success of his ruse.

     The end result, of course, is that he frees the people from the bondage to the false religion of Tur. 

     I’m not quite clear on the nature of Ras Thavas who is named after the Ethiopian Prince Ras Tafari who became the Emperor Haile Selassie and the namesake of the Jamaican Rastafarians.

     The book is a worthy of the attempted second birth of ERB’s faltering career.  The characters are magnificent and finely drawn.  Ras Thavas is surely one of the great characters of pulp fiction.  Mastermind paired with The Synthetic Men Of Mars makes for one of the greatest diptyches of science fiction.


A Review

Themes And Variations

The Tarzan Novels Of Edgar Rice Burroughs

#18 Tarzan And The Lion Man

Part 10 of 10 parts


R.E. Prindle

First published on the ezine, ERBzine

Tarzan’s Excellent New York Adventure


     Sound movies were a unique cultural addition.  The Studios had little or nothing to do with ‘artists.’  The Studios were entertainment factories organized along the same lines as Ford’s assembly plants.  Like Ford’s factories their interest was mass production.  There was a tremendous investment in theatres and distribution.  The theatres could not sit idle waiting for the next picture hence a studio’s goal was to porduce fifty-two A movies a year, or one a week to change the marquee.

     Unlike Broadway theatres where the production and performance would hopefully last a year, two, or three or publishing where a bestseller would take a writer quite some time to compose, usually, and would take a year or two to sell through, the writers, actors, directors and such were merely employees.  ‘Workers’ in Communist terminology.  This was a major departure in the ‘arts.’

     The only entity taking a risk was the Studio or corporation hence each and every film was organized and supervised from the top down.  Once the executives determined on a project the necesary ‘workers’ were assembled.  With the amount of money involved in each production the Studio could ill afford to let projects originate in any other way.

     Thus as industrial units writers were not allowed sole authorship of any movies.  One writer might work up the idea which was then assigned to other writers to add to, change and polish until the executives thought they had a money maker.  And then the movie was taken for a test  drive for audience reaction and underwent other changes.  Few original ideas were used.  Usually a project was based on a a proven entity like a novel, old play or tried and true plot line.

     Naturally in such a situation any group could be disciplined to follow one of any number of tacks.  The jobs were highly paid and desirable.  To not go with the flow, to not follow orders was to lose a very lucrative employment.

     The executives were in control.  When Burroughs was in the employ of MGM for those five weeks he had a chance to view the system in operation.  As he observed in Lion Man, p. 8:

     “There ain’t no tigers in Africa, Milt,”  explained the director.

     “Who says there ain’t?”

     “I do.”  replied Orman, grinning.

     ‘How about it, Joe?”  Smith turned toward the scenarist.  (Writer)

     “Well, Chief, you said you wanted a tiger sequence.”

     “Oh, what’s the difference?  We’ll make it a crocodile sequence.”

     Quite clearly the writer is not an originator but an employee who works up material to order.  This quite natural consequence of mass production, then, played into Communist hands.

     The Communists arrived in Hollywood almost simultaneously with sound while Communism was already the normal way of Jewish collective thinking.

     Thus the collective mindset of Judaism and Communism was already in place.  It remained only for the Communists to organize the ‘cultural workers’ as in any other indistry which they immediately set to do.  The cultural clash between individualistic actors and writers as ‘artists’ was already undermined by the studio system but some ‘cultural workers’ were still offended by becoming mere ciphers in an industrial machine.  Nonetheless the Communists organized the culural workers into units such as the Screen Actors Guild- SAG-and Screen Writers Guild-SWG.  IATSE covered the technical people.

     Once a collective is formed, whether a guild, a religion, a corporation or political party, an executive committee is necessary to handle affairs and set policy.  Anyone who doesn’t accept policy must be disciplined until he does or he is expelled, denied work, blacklisted or in the extreme case of  Stalin’s USSR, eliminated.

     So the Communists set their ideals against those of the studios.  In a few years this would create a conflict between the Communists and the Studio heads when HUAC came to Hollywood.  The Communists denied guilt acccording to John Howard Lawson, one of the leaders.  (Larry Ceplair and Steven Englund: The Inquisition In Hollywood:  Politics In The Film Community, 1930-1960, University Of California Press, 1983.)

(Ceplair and Englund speaking)

      Communist screenwriters could not themselves, directly improve or change content through political inserts- whistling the “Internationale”, speeches about democracy- or by writing Communist films stressing the importance of collectivity over the individual and graphically depicting the plight of the dispossessed, the nature of their struggle, and their inevitable class triumph, or by imitating Russian Marxists aethetics.  (John Howard) Larson, for one, was very forthright about the lack of success in those directors:

     Ceplair, Englund quote Lawson:

     As a matter of undeviating practice in the motion picture industry it is impossible for any screen writer to put anything into a motion picture to which the executive producers object.  The content of motion pictures is controlled exclusively by producers; {all aspects of  a film] are carefully studied, checked, edited and filtered by executive producers and persons acting directly under their supervision.

     While I would disagree with Lawson that a clever writer couldn’t slip quite a few items past any censor or censors I think the point has been clearly made that the final film product reflects the wishes and attitudes of the Studio executives.  Thus whatever the process, the content and apparent meaning of the six MGM Tarzan films reflect the intent of the MGM executives from Lous B. Mayer on down.  Thus Judaeo-Communists are forming the popular image of Tarzan to reflect their own ends.  The chief caveat is that the films must make money so any motives on the screen must be ulterior so as not to destroy the entertainment value.  Ceplair and Englund’s idea of making bloated politial speeches as the only way of injecting political or social content is absurd.

     Perhaps in those days people weren’t as yet so sensitive to multi-culturalism and Diversity as society is today.  For that reason I am reevaluating the era in terms of modern Multi-Culturalism  and Diversity.  It’s like hitting the Saturation button, if you know what I mean.

     Before moving on from the background of the situation to the actual analysis of MGM’s last Tarzan effort it will be necessary to update the Jewish Cain and Abel play to the United States.

     As mentioned previously the thirties brought a tremendous influx of Central European Jews to Hollywood.  While Freud himself remained in Vienna until well past the last moment then choosing to emigrate to England as his 1909 visit to Clark College in Massachusetts left a worse taste in his mouth than those horrid cigars, huge numbers of psychoanalysts and psychologists found their way to the West as well as a large percentage of the Jewish film colony of Germany.  Accompanying these Europeans west were the Jewish criminals attached to the Outfit of Chicago.  These were all Jews from the Pale born c. 1900-10.

     The earlier German Jews who arrived after the 1848 Revolution were now being absorbed by the Jews from the Pale or dying out.  They had been responsible for establishing the first Jewish occupation when they aligned themselves with the Woodrow Wilson Administration of 1913-21.  There they established the classic Abelite relationship with higher authority.  President Wilson gave them pretty much the same latitude as the Spanish kings of the pre-Inquisition or any number or early rulers.  This has gone unnoticed but they established their traditional role of ‘tax farmers’ or overseers of the goyim cattle under Wilson.

     The WIB or War Industries Board, was a key instrument in the attempt to subordinate the goyim.  Wilson himself was a self-absorbed simpleton who was easily manipulated; I doubt if he had any idea of what was really going on.  He placed the Jewish speculator and financier, Bernard Baruch, at the head of the WIB.

     Baruch then under the guise of the ‘war emergency’ required each and every business of each and every industry to submit their confidential data so they could be reorganized as a component of the war effort.

     This sounds reasonable enough but there was no war emergency in the United States.  War hysteria perhaps, but no emergency.  Wilson himelf, beneath his outward calm, was an hysteric.  He was not emotionally qualified for the presidency.  Interestingly Teddy Roosevelt perceived this without any difficulty.  The stringency of the measures taken to ensure uniformity were not based on war necessities but on a socialistic program to render everyone ‘equal’ or the same while at the same time bringing industry under Jewish control.

     Industry protested vigorously against the measures taken by Baruch and his WIB only to be called anti-Semites.  Foremost of these were Henry Ford and the Dodge Brothers.  The Dodge Brothers who were less temperate than Ford in denouncing the WIB and Baruch correctly identified the problem as the Cain and Abel syndrome.  For this they were murdered in 1920.  Ford went into strong reaction buying the Dearborn Independent which ran his series of articles denouncing the syndrome thereby being characterized by the Jews as ‘anti-Semitic.’

      The ‘war emergency’ ended just as some of the more remarkable edicts of the WIB were about to be put into effect.  Wilson was run out of office in 1921, he would have run for a third term had his health permitted, thus the Jewish cultural program was put into abeyance until 1933.

     Franklin Delano Roosevelt was an under Secretary Of The Navy during Wilson’s last term.  Roosevelt became a disciple of Wilson’s so that when he was elected President in 1932 the whole Wilson program was reinstated.  The Jews returned to government in unprecedented numbers under the shelter of the higher authority of Roosevelt.  Punitive income tax rates were established to emasculate men the Jews considered enemies such as W.R. Hearst.

     Twentieth century Amrica was different from fifteenth century Spain in that the executive role was considerably reduced as Governmental functions had become institutionalized.  The executive was now subject to a consitution and the rule of law.  Secure under the wing of the executive it was necessary for the Cain and Able Syndrome, the Culture, to subvert the law.

     Woodrow Wilson had appointed the first Jewish Supreme Court Justice, Louis Brandeis.  He had been canonized by the media as would be his successor to the ‘Jewish’ seat on the Supreme Court, Felix Frankfurter.  These two men were put forward as secular saints although it is difficult to imagine why when one examines their careers in the light of today’s multi-culturalism and diversity.

     The agents of Jewish culture would make many decisions to undermine the British based legal system to convert it to a Semitic based system favoring the culture of the Jews.  Today’s ‘hate’ laws promulgated under the cover of a mistaken version of multi-culturalism and diversity are an impostion of civil disabilites on dissenters and are an example of what evolved.

     Thus working above board legally and below board criminally the Jewish culture sought to realize the age old Cain and Abel dream in the United States.  While Gus Russo in his Supermob concentrates on arch criminals like Sidney Korshak and other crooks looting the American industrial system he passes lightly over the career of one who seems very significant by the name of David Bazelon, also from Chicago’s Lawndale.

     Bazelon functioned as an enabler while being a civil servant.  In this way he was able to direct certain opportunities to his mob contacts in the Chicago Outfit.  All the Jews connected to the Outfit were lawyers.  They used their legal knowledge and skills to circumvent the law rather than applying it.

     Bazelon later almost made the Supreme Court.  In the year or so following the confiscation of Japanese property in California in 1942 he used his position in the Office Of Alien Properties disposing of that property.  In a very corrupt manner he sold the properties at bargain prices to his associates in the Outfit, both Jewish and Sicilian.  Thus they were not only able to utilize the immense proceeds from their criminal activities but were able to bilk from the upper world legal profits from these properties.

     Thus Bazelon violated the trust placed in him by the American government but at the same time was able to sabotage that same government.

     To return to Mr. Netanyahu’s complaint about the Jews in Spain.  A Spaniard by the name of Marcos Garcia who was a leader of the insurrection against the Jews felt that the crimes of the (Jews) embrace all spheres of life.  They are manifest in religion, economy, government, and of course in all personal relationships between the (Jews) and the (Spanish.)  Thus they gnaw at (Spanish) society from all angles and undermine all its institutions.

     Thus Mr. Netanyahu unconsciously states how ‘anti-Semitism’ comes into existence.  He doesn’t seem to be aware of the Cain-Abel Syndrome but that is what he is explaining.  From the origins of the Hebrews through Spain to the contemporary situation in the Central and Eastern Europe and the United States of then and today the story is always the same.

     Just as the Spaniards he is describing were attempting to exterminate the Jews, so as in Burroughs’ time both Nazis and Communists were doing the same.  That is the inevitable programmed result of the Cain-Able Syndrome.  Mr. Netanyahu should diligently study Sigmund Freud’s The Future Of An Illusion.

     In the multi-cultural sense the Jews then and now were trying to establish their cultural supremacy.  I do not argue against this per se as the inevitable result of the clash of cultures is and must be the dominance of one.  The inevitble result of diversity is the destruction of all cultures but one.  I have demonstrated this in the Darwinian evolutionary sense repeatedly.  The point is there is no reason for me or anyone else to supinely allow their culture to be destroyed for the benefit of another.  Or course, if a culture doesn’t have the backbone to defeat another then so be it.

     I have also quoted Rabbi Schneerson’s ‘scientific’ argument for the innate superiority of the Jews.  In Spanish times a religious argument demonstrating such superiority was used.  Quoting Juan de Torquemada, the uncle of the Inquisitor, Mr Netanyahu argurs thusly, pp. 481-82:

     …it is a fact that the gentiles, to elevate their status, had to be “grafted” onto the “tree” of the Jews.  As the Apostle said, “You gentiles, (this word is added to Torquemada), who are an oleaster” (namely a wild olive tree which cannot bear good fruit), you had neither the Law nor the Prophets, or even the worship of God, as you were dedicated to idolatry, ought to remember that you “were grafted among them”- that is, among the standing branches (ramis stantibus), which are the apostles and the other faithful Jews, “and with them you aprtake of the root”- that is the faith of the Patriarchs and the Prophets, “and the fatness of the olive tree”- that is, of the doctrine and grace of Christ which came from the Jews.

      So, the context changes but the argument always remains the same.  As George Santayana said:  Those who do not learn from history are doomed to repeat it.  Since the Illusion has not changed the result must ever be the same whether Spain, Europe or the United States.  Mr. Russo in his Supermob without realizing it was replicating the description in the United States of Mr. Netanyahu’s description in Spain.

     So now, with a grasp of the underlying strategies we can return to Burroughs and MGM.  The purpose of MGM was to discipline a ‘loose cannon’ like Burroughs.

     There had been recent renewed activity in Tarzan films after a hiatus of several years, however MGM’s interest seems to have been catalyzed by their interest in Trader Horn.  Perhaps the story showed them the way.  All the MGM Tarzans would bear the imprint of Trader Horn.  It appears that MGM first considered a Trader Horn series with Tarzan as a subsidiary character.  Cyril Hume’s first script was a Trader Horn sequel in which Tarzan appeared only as a supporting character having little or no relationship to the literary Tarzan.  There wasn’t even a Jane as Tarzan was paired up with a female scientist.  That’s an interesting subliminal association.  As Hume was undoubtedly trying to fulfill suggestions from the executives we don’t know why the screenplay was scrapped.  As Burroughs got his paychecks for those five weeks probably attending planning sessions in Thalberg’s office it may be that he objected.

     The finished product clearly reflects the first script although the emphasis is changed to make Tarzan more prominent but not clearly the central character.  Jane actually is the more dominant personality.

     The entire series takes place on the MGM invented Mutia escarpment which would have been above the Murchison Falls of the Nile.  As is well known the name Mutia comes from the first name of the actor playing Renchoro in Trader Horn. 

     The first two movies which were either pre-Lion Man or unaffected by the novel don’t seem to refer to any of Burroughs’ works being a free interpretation of the character.  The last four movies have references to Lion Man while Tarzan’s Secret Treasure reflects the Opar theme, Tarzan And The Leopard Men as well as Lion Man.  Both the latter novels make reference to Trader Horn as MGM seems to date the beginning of Tarzan to the post-Trader Horn period.  Tarzan is introduced as a grown man in the movies whle as an infant in the novels.

     The movies attempted to denigrate and belittle the character which if you’re familiar with the literary Tarzan they do.  The magnificence and appeal of the character is so great that even the MGM Tarzan defeats their efforts remaining an entrancing character for the movie going public.

     As a boy I can’t be sure which movies I saw other than Tarzan Triumphs although I must have seen all the Lesser films.  On reviewing the MGM Tarzans they don’t ring any bells.  Perhaps the movies were forgettable but Tarzan wasn’t.  As a young boy I was entranced seeing nothing negative in the ape man’s portrayal so perhaps most of the audience didn’t either.  Of course neither they nor I knew what to look for.

     After five profitable successes MGM decided to abandon the series which must be unique In Movieland.  For the final film the location was moved to New York City.  In Trader Horn the location was moved from the US to Africa; in the final Tarzan episode Africa came to the US.  In this episode Tarzan is subordinated to civilization and stripped of his jungle mystique.

     By this time Burroughs himself had been exiled from Hollywood to Hawaii.  There he separated from his young wife while sinking into alcoholism.  His son had to go to Hawaii in an attempt to win ERB from the bottle.  I don’t mean to be unkind but it is true.  From MGM’s point of view he may have appeared a shattered wreck of a man who no longer merited their attention.  As they were done with the Lion Man so they were done with his alter ego.  ERB might have drunk himself to death if the war hadn’t intervened.  The movie obviously has a lot of references directed at Burroughs; some I picked up but I may not have interpreted correctly while many have probably gone over my head but I’m sure that as ERB sat watching they didn’t go over his.

     The reference to the Mutia Escarpment immediately refers to the Trader Horn connection.  I can’t get the exact relationship between Trader Horn and Tarzan but it obviously existed to MGM.  The Escarpment is said to be so high that it reaches to the stars.  Stars may be a reference to MGM which boasted ‘more stars than there are in Heaven.’  Thus the reference would be mocking ERB.

     One of the key goals of both the Reds and Jews would be to subordinate Tarzan.  One has to keep Freudian concepts in mind at all times.  A culture is a group and must obey the laws of its group psychology.  That group psychology can be scientifically analyzed just as individual psychology can.  There is no escaping the evidence of your behavior or its consequences.

     Both groups, the Jews and Reds were into collectivism.  Independent thought is not allowed.  Tarzan was the supreme individualist.  He is in fact a loner among humans although on very good terms with the animals.  Tarzan was a law unto himself; he was not subject to any external law.  thus he had to have his independence destroyed and brought within the Law and the collectivity.  Let’s deal with jewish aspects first.

     The movies were made in 1932, 1934, 1936, 1939, 1941 and 1942.  The New York adventure was conceived and finished before Pearl Harbor so that event had no effect on the movie.  So the spacing is two, two, three, two and one in years.  Burroughs lamented that MGM wasn’t producing at least one movie a year.  MGM might have chosen to have done this.  As the Charlie Chan movies, on which ERB commented were being popped out at the rate of three or four a year to a profitable tune it is obvious that the same could have been done with Tarzan.  One imagines that ERB urged MGM to do so.  MGM chose to pass on the profits.  One asks why?

     As the decade wore on ERB became more and more dependent on the movies for income.  Book sales must have lagged overall while he had no major successes after Tarzan And The City Of Gold.  Lion Man’s sales were disappointing while it is difficult to see its successors doing any better.  He was off the radio after 1935 while the comic strip was not a major contributor to his income.  Thus MGM controlled his purse strings.

     ERB’s finances were desperate after his movie venture if 1935-36.  He had those notes oming due.  MGM might have helped him along by putting out two or three quick Tarzans, instead at this crucial moment there was the long hiatus from 1936 to 1939.  With no movie money coming in for three long years the spendthrift writer must have been driven to the wall contributing to his decision to exile himself to Hawaii where he lived on a pittance.

     The appearance in Hawaii is that he was a broken man seeking solace in alchohol.  In ’41 and ’42 in quick succession Tarzan’s Secret Treasure, note the mocking tone of the title, and Tarzan’s New York Adventure were made.  As they intended to drop the series, the release of one per year for those two years may have been a calculated insult, both could be viewed as mocking films.  A great deal of work has to be done to determine how Burroughs was perceived in Hollywood.  I suspect as somewhat of a joke. 

     In the early novles when Tarzan needed money he made another run on the gold of Opar.  Now living in actual poverty in Hawaii MGM made a movie where large gold nuggets lay at the bottom of a pool while Tarzan knew of a place where gold could be scooped out of veins by the bucketful.  But ERB’s ability to turn a buck now depended on MGM, so the notion could be viewed as a mockery, especially as the mine was Tarzan’s but it was to be exploited by others i.e. MGM.

     As it is possible that MGM now saw ERB as a wreck, totally defeated, they decided to wrap thier involvement up with the succeeding movie.  Their object of the destruction of Burroughs having been realized, they lost interest abandoning the series.

      They certainly had not exhausted the possibilities of story lines.  Nor had the series become unprofitable as Sol Lesser proved for a decade or more.  The probable reason is simply that with Burroughs out of the  picture their intent was realized.  So as a farewell gesture they lectured Tarzan on his attitude toward the Law by which I mean to say the Jewish Law.

     As the New York Adventure begins some circus types abduct Boy to perform as an animal trainer in their circus.  As I watch the picture from this vantage point it is easy to see how MGM is ridiculing the ape man.

     After ten years of living with Jane, during which her good cooking has fattened the feral boy up Tarzan still can’t put together a complete sentence.  He’s still at the Me Tarzan, you Jane stage or the even simpler, Tarzan, Jane.  Boy, who was found in the jungle two years previously, has learned a great deal from the very literate Jane, even being able to write cursively although weak in orthography, But then the kid’s big for his age of three.

     So if Boy could learn to speak intelligently from Jane why after ten years of living with Jane is Tarzan still grunting?  Not only grunting but he appears to be simple minded, purely a natural savage.  He doesn’t even act like he knows his way around the jungle.

     But Jane and Tarzan set out to find Boy in the big wide world with a twenty-five or fifty pound bag of nuggets slung over the Big Fella’s shoulder.  Let me say here that the average viewer is not nearly as critical as I am here.  The animal scenes are actually pretty thrilling while Boy’s fight with the lion using a stick must have bowled the kids over.  So, while my point of view here is to understand how MGM mocked Burroughs and disparaged Tarzan, as a theatre experience New York Adventure is not a bad movie.

     MGM’s attempt to ridicule Tarzan in the first film was not nearly so successful as in this one.  Tarzan and Jane in clothes lose all their charm.  Jane although dressed stylishly becomes just an ordinary looking woman.  A little on the frumpy side, actually.  Although Maureen O’ Sullivan was a beautiful woman in any circumstances the insouciance and verve of her jungle raiment and demeanor is completely gone in a suit and hat.  Not the same.

     Tarzan, or Weissmuller in a double breasted suit while handsome is not commanding.  So, right away Tarzan and Jane are demi-gods brought to earth.  The scene in the tailor’s shop with the Chinese tailors might also be a joke on Burroughs bringing to mind Charlie Chan.  Tarzan’s primitive manner of speech just becomes ludicrous and oafish in New York city.  You can take the feral boy out of the jungle, but you can’t take the jungle out of the feral boy.  Here the contest becomes one of Tarzan’s law versus the law of the legal system and by extension the Jewish Law.  Tarzan fights the law and the law wins just as the Jewish Law did over Burroughs.

     Thus the crucial part of the movie begins in the ludicrous scene in the courtroom.  The trial is being held for the custody of Boy.  On the one side are Buck and his circus associate who have kidnapped and actually enslaved Boy; they have no claim on him legitimate or otherwise.  On the other side are his apparent parents, Tarzan and Jane.  Tarzan had wanted to handle the situation  according to his own law but Jane, as usual in the movie version , dissuaded him, telling him to rely on the law of the legal system and by inference the Jewish Law.  I hope Tarzan hadn’t forgotten how vilely Jane betrayed him just the previous year.

     Jane lets slip that she and Tarzan ‘found’ Boy in the jungle.  Boy is not the issue of Tarzan or Jane.  In this zany courtroom scene the ‘ownership’ of Boy thus becomes unclear.  It seems that the kidnappers and enslavers who are about to sell Boy to a Brazilian circus have as much claim to the kid as his ostensible parents.  This is apparently ‘law.’

     Tarzan reacting in the tried and true jungle manner grabs the opposing attorney and dumps him bodily into the jury box.  The act of violence proves him an unfit parent.  The trial is interrupted.  Waiting for the trial to resume Jane concedes to Tarzan that as usual she was wrong, his law is better than the Law.  Coming to life Tarzan announces in amazing pidgin English:  Tarzan find Boy.  Slightly obscene in its application actually, but why nitpick?  Tarzan crashes through a twelfth story or so window which luckily has an ample ledge.  If logic isn’t essential to your enjoyment of an ‘action’ film the next few sequences are quite thrilling.

     The end result is that Tarzan is taken into custody and delivered before the kindliest judge who ever graced the bench.  Now, there can be no doubt that Tarzan offended the Majesty of the Law by rioting in court.  Under Jewish Law the accused is guilty until proven innocent but is supposed to gratefully accept any verdict just or not.

     He is then duly convicted of what is apparently considered a misdemeanor or even an offense rather than a felony as his crime only carried a sentence of thirty days and sentenced as guilty, which he was.  It is important to remember at this point that Tarzan has been convicted as a criminal.  He has a criminal record from this point on.  The judge generously suspends the sentence but remember Tarzan is still guilty.

     Tarzan mutters some more memorable pidgin English to the effect of ‘Tarzan bad, law good.’  Thus Tarzan is subsumed to the collective culture giving up his independence.  No longer as the Invincible or Triumphant will he pass judgment on jungle offenders or Stalinites.

     The judge even invades his territory up there on the Escarpment as a right and as the Law assuming paramountcy in Tarzan’s former Jungletopia.  The judge advises Tarzan that he will visit him on a fishing trip.  Tarzan says something like: ‘Judge come’, rather than ‘Bring money.  Tarzan bailiwick.  No license, no fishee.’  Or he could simply have arrested the judge, convicted him of the offence of fishing wihout a license, make him a criminal, and then suspend the sentence, appropriating the fish and iviting the criminal to a fish fry.

     Tarzan wasn’t that quick and from this point on he has a criminal record in Tinseltown.  MGM successfully emasculated Burroughs and his Big Bwana.  After ten years  MGM succeeded in its goal.  It is probably for that reason they abaondoned this profitable series.  It wasn’t that they had run out of ideas which is an absurd supposition with a couple hundred writers on the lot but that they had said what they meant to say.

     It would seem that this part of the series was the primary concern of the MGM executives.  If as John Howard Lawson said, that nothing found its way into a movie unless it was approved by the executives, then this long ten-year persecution of both Burroughs and Tarzan must have come from the top- that is Louis B. Mayer.  Mayer who undoubtedly to the ADL/AJC would then be acting as an agent of the Jewish people, religion, race, species or however they would have it.

     While it is true that 50-60% of the US Communist Party was Jewish the remaining 40-50% weren’t.  Thus the Jewish supremacy was not part of their goal.  Even in the Socialist Homeland of the USSR where anti-Semitism was an actual crime, the Jews were systematically slaughtered by the Central Committee under the direction of Stalin.  Thus the goy Communists had a program of their own differing from that of the Jews.  This became clear and obvious after the establishment of Israel in 1948 when the two factions began to drift apart.  The Left is also immune to charges of anti-Semitism.

     Communism was nothing new in the nineteenth century, it was merely a reformulation of ideals that can be traced back to the dawn of consciousness.  The great Swiss mythologist, J.J. Bachofen, on whom too much praise cannot be heaped, is the earliest student of human consciousness known to me.  Unfortunately with the exception of a volume of excerpts his work has not been translated into English.  The excerpts speak volumes, however.

     Bachofen, very likely the first, recognized that the Matriarchal Age preceeded the Patriarchal Age and the developing Scientific Age but he also discerned an age preceeding the Matiarchal that he called the Hetaeric.  A large number of modern minds have never made it past the Hetaeric.  Thus all four ages of consciousness exist side by side with the five different human species.

     Once again the Top Dog enters the picture.  Which consciousness will prevail?  It will readily be seen that the highest form of consciousness’ the Scienfific- is in the most danger.  One only has to look at the developments in France and Belgium to shudder.

     The modern form of the Hetaeric developed in Medieval Europe with such groups as the Beghards and Bequines, the Anabaptists and the Free Spirits.  These beliefs were incorporated into those of the LIbertines and Jacobins and thence into Communism.  The program may be sloganized as Liberty, Equality and Fraternity.  Like all such organizations the slogan is developed with more malice toward the established order as one moves up the ladder of initiation.

     In many ways the ideas of Edgar Rice Burroughs are not in conflict with the Communists whole ideals do reflect universal longings in one form or another.  Like them he sees civilization as an imposition on the individual.  One of the charms of New York Adventure is the contrast between the natural ‘good’ ideals of the Mutia Escarpment and corruption of civilization.  One’s heart aches for the lost paradise.  Louis Prima humorously summed it up in a post-war comic song:  Bongo, Bongo, Bongo, I don’t want to leave the Congo.  It may be coincidence but then it’s possible the songwriter at least had Tarzan’s New York Adventure in the back of his mind.

     Actually New York Adventure may have had the largest audience of all Tarzan movies.  According to IMDb: Trivia this was the first film shown free to servicemen overseas.  So there’s a good chance that a few millions of all those men in uniform saw the movie for nothing plus the theatre distribution on the home front.

     Now, when the Communists say equality they mean just that, they don’t mean equal rights but no evidences of distinction whatsoever.  Race (or species), income, sex, education or anything else.  The ideal is a page full of rows of zeroes.  Communism is the rule of pure envy, a terror that one may not be able to compete on an equal basis.  On a practical level this translates into the Soviet and Chinese models where the brutal seize power and follow a program of to the victors belong the spoils.  This is because the human mind cannot function in an equal manner.  The Scientific model is beyond the capabilities of the untutored mind.  Hence one has the deplorable state of affairs of today where the scientific  demands of society crumble before the stunted religious expression of the human mind whether it be Moslemism, Judaism, Christianity, Hinduism or whatever.  Freudianism has allowed the basic criminality of the human consciousness to dominate.  There is today no criminal attitude that is not dominant or in the process of becoming dominant.  The dormancy of resistance to criminal develpements is nothing less than startling.  The human consciousness seems to be paralyzed.  This naturally would be the end result of equality to the Communist mind.

     The movie Tarzan fits this ideal.  MGM’s Tarzan is quite frankly, stupid.  He is not a commanding figure, but a lovable clown.  His love for Jane allows him to be led by the nose until her counsels become disastrous at which point Tarzan beats her out by mindless violence, never with any planning, always an impulsive knee jerk reaction.  Thus this duncelike Tarzan is always correct over the educated civilized Jane.  There is a subtle message there that Communist writers say they weren’t clever enough to get past the executive censors who we are led to believe wanted such sentiments censored.  I doubt both posits.

     We then get to Communist notions of sex, sexuality and family.  There can be no doubt that Tarzan and Jane were doing what was then known as ‘shacking up.’  Their romance was a version of ‘free love.’  A common access to women is the Communist ideal.  They were opposed to marriage and the ideal of the family, preferring communal living with free access to every woman.  Any notion of female ‘liberation’ always gets down to the notion that every woman should make herself available on demand to any man after the homosexual manner; a guick bang and we’ll see you around.

     Had Cyril Hume had his way there would have been no movie Jane.  He had already written her out in his first draft.  If he had had his way Tarzan would have had a succession of brief affairs.  Wham! Bam! Thank-you Ma’am! and off swinging into the jungle again .  Thus the movie Tarzan would have realized the Communist ideal completely but for reasons that remain unknown.

     One should note that Hume tried to kill Jane off in Tarzan Finds A Son so that Tarzan could live a more libertine existence.  By then the family role of Tarzan, Jane and Boy became established but the writers were always trying to break it up going so far as having a court award Boy to his kidnappers and enslavers.

     As I say, it isn’t clear why the Studio made the decision to include Jane from the beginning.  the Jewish attitude toward women was and is as brutal as that of the goy Communists.  From the White Slavery days to the present Jews have exploited the women of Central and Eastern Europe without either shame or mercy, whether goy or Jewish.  Prostitution of women on the Lower East Side of NYC showed a psychology of complete lack of self respect.

     On the other hand, as intermediaries between God and mankind, Jews feel they are entitled to whatever they want which includes free access to women.  Thus one has the sexual morality of Hollywood.  That morality has been propagated around the world by movies, such as for instance, the Tarzan series.  While you can talk women into any fashion, the women are always the losers, the victims; as Yoko One said- the niggers of the world.

     The psychological damage being inflicted on humans by the brutal approach to living is astounding.  No matter what you tell yourself the effects of evil living are murderous.  You cannot lie to yourself.

     Consider the words of one of Stalin’s mass executioners, G.G. Yagoda as he himself was about to be executed.  Simon Sebag Montefiori: Stalin: The Court Of The Red Czar, pp. 220-223:

     Yagoda told his interrogator:  “You can put down in your report to Yezhof that I said there must be a God after all.  From Stalin I deserved nothing but gratitude for my faithful service; from God, I deserved the most severe punishment for having violated his commandments thousands of times.  Now look where I am and judge for yourself; is there a God or not?”

     Yagod’as plight doesn’t prove the existence of God nor does his ‘punishment’ which was so richly merited and for which deeds he shows no remorse do anything for his victims, but his attitude does indicate the conflict in his mind as he carried out his orders.  The conflict found expression in his need for pornography and violating the innocence of very young prepubescent girls.  Unhealthy mental states always find expression in sexual obsessions.  Once again, look at the world today.  Such perversions male and female are rampant.  And don’t think they aren’t perversions.  The propaganda today that would make you think they’re normal is just the sort of denial Yagoda experienced.

     Some say the Victorian role of woman was negative but I’d rather have a mother who had self-respect than one who was at the beck and call of any scuzbag with a hard-on.

     So, in their subtle way the Tarzan films were anti-marriage and anti-family while being for female promiscuity.

     These ideals were placed in an African utopia, a place that appears on no map, the Mutia Escarpment.  the place is such a parallel universe pilots can’t even see it until they apparently pass through an interface and are suddenlyconfronted by it.  Using what appears to be identical footage the scene is replicated in both Finds A Son and New York Adventure.

     Both Burroughs and Communists are aligned in their views of the evils of civlilization.  Civilization, but not science or technology.  It seems that Tarzan has some Rube Goldberg genius for inventing 1930s technological items like dishwashers, fans, etc.  In fact, for being an inarticulate boob without the ability to use verbs his inventive genius is nothing less than startling.  I don’t believe the MGM Tarzan had even seen a wheel, yet astoundingly he has mastered the concepts of wheels, pulleys and leverage from scratch.  That’s as good as the literary Tarzan teaching himself to read.  Well, Henry Ford was nearly inarticulate too and look how he changed the world.

     Further, the screenwriters, once Boy is introduced, try to break up the familiy.  In Finds A Son one has the bizarre situation where Jane lures Tarzan into an inescapable pit while she, supposedly a mother, gives Boy to the adventurers.

     One may wonder at Hume’s own childhood and upbringing.  Not only is Hume sending Boy off to England, but he attempts to kill Jane off thus completely destroying the family leaving Tarzan alone in the jungle.  Jane takes a spear in the back, square on the spine.  IN the original script she was then dead.  Burroughs politely, even apologetically, explained to MGM that eliminating Jane was not wise as he himself had discovered when he tried to kill Jane off.  After consideration MGM agreed, so that when Tarzan forgives Jane for her betrayal she miraculously recovers.

     Bear in mind that as John Howard Lawson says, nothing went into the script that was not either suggested from above or approved by them.  Compare ERB’s scene with the producer Milt Smith/Thalberg and his scenarist.  That writer was Cyril Hume.  So it is reasonable to assume that the scene was dictated to him.  For whatever reason then, Mayer and his executives wanted the family broken up.

     In Tarzan’s New York Adventure not only is there a threatened abduction but an actual one.  Boy is taken to New York City by his kidnappers.  This time not only is Jane near death but the script leads us to believe that both Tarzan and Jane have died from a hundred foot or so fall when the vine they are swinging on is severed by a Jaconi native.  Thre grass around them is set afire so that they will be burned beyond recognition much as Jane was in Tarzan The Untamed.  Just as Burroughs had a death wish for Jane so, it appears, do the MGM execs for both she and Tarzan.  Fortunately displaying superb equality with his human counterprts the chimp has more brains than anyone else involved rather miraculously rescuing the pair.

     You may argue that this is the story.  Yes, but it doesn’t have to be the story.  Lesser’s stories were quite different.  the stories of each represent subliminal values.  Dream wish fulfillments a la Sigmund Freud.  If I have been the script writer at MGM able to do my own writing the stories would have been completely different reflecting my own psychological interests and needs.  The point is both MGM and the Reds wished Tarzan and Burroughs dead.  Of course, if they had died they wouldn’t have had a movie.

     Now, whenever Tarzan and Jane are visited up there on the Escarpment they are invariably visited by greedy capitalists seeking ivory, gold or riches of one sort or another.  One may take the Escarpment as the Socialist Homeland where everything is equal, simple and perfect.  Anarchy of the highest order.  Civilization is represented by New York City and the circus as the Capitalist Homeland.

     This contrasts the Communist version of a time of human perfection when the need for government will disappear and a perfected anarchy will come into existence.  Freud touched on this problem somewhat in his Civilization And Its Discontents.  Before Freud J.G. Frazer’s The Golden Bough went into the problem extensively while Burroughs dwells on the problem throughout the corpus.  Indeed, in this scene, ERB and the Communists are in agreement, as were many, many people who were discontented with civilization.  Tarzan, Jane and Boy are actually living out the Communist ideal up there in Cloud Cuckooland on the Escarpment.  This fact causes a problem for both executives and Communists, where they don’t coincide, as they are in love with Tarzan ideal also as, indeed, who wouldn’t be?

     While their original intent may have been to ridicule Tarzan into extinction his powerful appeal to the ‘masses’ undoubtedly prevented this.  No kidding, folks, the NO. 1 Commissar in the entire free or enslaved world loved the character.  That must have counted for something in Hollywood.

     So, in a way, the movie Tarzan was a symbol of Communism for the Party faithful, in contrast to the greedy capitalists who invaded Cloud Cuckooland up on the Escarpment much as the Reds invaded ERB’s dreamland of Opar.  There are many conflicts in life as we wander through this lonesome valley.

     It follows then that Communists had no problem injecting Red ideals into whatever movie they chose whether the executives approved each and every scene, as we are told by Lawson, or not.  The Studios themselves were fashioned after the USSR government with the Party leader on top surrounded by a Central Committee that ruled with an iron fist.  The jobs paid so well that rather than lose them one constantly looked to the top for direction.  To err was to be cast into relative poverty blacklisted by every studio.  HUAC didn’t invent the Hollywood blacklist, the studios did.

     Burroughs was essentially blacklisted while MGM played cat and mouse with him until they tired of it in late 1941 or early 1942.

     The War then changed the direction of the game as ERB finally became the war correspondent he had always wanted to be.  No matter what MGM might do, he would always be Edgar Rice Burroughs to his public.



1. Communist oppostion probably forced ERB into self-publication.

2.  Tarzan The Invincible his first self-published title attacked the Communists.

3.  The sequel Tarzan Triumphant did the same with a probable covert criticism of the Jews.

4.Trader Horn was released by MGM which somehow led to their signing Burroughs and Tarzan to avenge imagined wrongs.

5.  Completely taken by Trader Horn Burroughs wrote Tarzan And The Leopard Men.  He had premonitions of error in signing away the movie rights to Tarzan.

6.  MGM released Tarzan, The Ape Man turning a cosmopolitan Tarzan into a feral boy.

7.  ERB countered with Tarzan And The Lion Man ridiculing MGM

8.MGM continuing on its program released Tarzan And His Mate but seemed to let the contract lapse.

9.  In this hiatus Ashton Dearholt lured Burroughs into producing his own Tarzan movie.

10.  Driven deep into debt by Dearholt Burroughs was all but bankrupt, now dependent almost entirely on MGM for income.

11.  Burroughs was relieved suspiciously by a man who was most certainly associated with ERB’s enemies.

12.  ERB continued to live at the limit or beyond the limit of his income which was now derived largely from MGM.

13.  Unable to sustain hs life style Burroughs exiled himself to Hawaii where he became a heavy drinker.

14.  MGM released Tarzan’s New York Adventure in which Tarzan is brought within the Law losing his independence much as Burroughs lost his.

15.  MGM sells its contract to Lesser abandoning the series and its interest in Burroughs.

16.  Beginning in 1943 Lesser’s movies are very successful restoring Burroughs’ prosperity.

17.  Burroughs becomes a war correspondent for the duration all but abandoning his literary career as he returned from exile in post-war years dying shortly thereafter.


A Review

The Lad And The Lion


Edgar Rice Burroughs

Edgar Rice Burroughs

Review by R.E. Prindle

30 pages,

     Now were moving into the twenties.  The trans-Atlantic cable was laid in 1859 so telegraphic communications have bridged the Atlantic.  Wireless is becoming a reality about to create the great radio networks.  Primitive commercial air routes were still a decade or so in the future while the great passenger ships could cross the Atlantic safely in a week.

     The Atlantic would be flown within a few years but as of the early twenties the speed and ease of our travel had not yet commenced.  Still, it was now possible to closely coordinate activities as was done by the American Communists and their handlers from the Soviet Union.

     By 1923 Freudian sex notions, Marxist political fantasies and the pseudo-science of Einstein’s relativity were melded into one intellectual approach by what is known as the Frankfurt school, also known as critical theory.

[ http://.marxists.org/subject/frankfurt-school/index.htm ]

     The Institut For Sozialforschung…was the creation of Felix Weil, who was able to use money from his father’s grain busines to finance the Institut. Weil was a young Marxist who had written his Phd on the practical problems of implementing socialism.


     Weil negotiated with the Ministry of Education [German] that the Director of the Institut would be a professor from the state system, so that the Institut would have the status of a University.

  The school staffed entirely by Jews was also known as the Institute for Social Research.  As you can see the sectarian nature of the school was concealed behind fine sounding screen names like Social and Research after the Freudian manner when it was a plan to implement the Jewish Revolution itself disguised as Communism.

     In a system of freedom of expression and conscience the School was no problem.  But the Jewish Culture at the same time that it claimed the rights and benefits of freedom of expression and conscience for itself denied them to the very creators of the concepts and this denial was made in terms of Orwellian doublespeak.

     Thus the so-called ‘Critical Theory’ was used to cast a pall of disrepute over the Other or the non-Jews while sanctifying the mores of the in group.  Decontruction went on in both Europe and America.

     During the Nazi era the school would be relocated first to Switzerland in 1932 from which it could operate in Germany, then in 1935 the entire school was transferred to NYC.  In 1941 the school was moved to Hollywood.

     For decades with their control of expression it was virtually impossible to examine problems from any other point of view than the Critical Theory.  I was just at Reed College.  Going through the book store it was clear that the curriculum was based on the Frankfurt School and Critical Theory.

     With the coming of the internet it became possible for opinions that had been savagely repressed to find expression.  The current bugaboo of the Semites is a professor from Long Beach State by the name of Kevin MacDonald.  He began a research into the methods by which the Jewish Culture established itself in the twentieth century as the dominant culture.  That work was titled The Culture Of Critique which has since become the bible of the Right.

     A full scale attempt to marginalize MacDonald is now in progress.  Needless to say the attack as always is ad hominem with the attempt to defame Mr. MacDonald’s scientific researches as ‘anti-Semitic.’ Nevertheless the door is open a crack, at least temporarily.

     The Jewish Culture through Freud established the concept of Multi-culturalism which states that each culture is distanct in identity with a set of objectives that it wishes to implement for itself.  We didn’t need the concept of Multi-culturalism to be aware of that but there you have it. 

     MacDonald’s title the Culture of Critique defines the Jewish cultural technique through the ages as well as that of the Frankfurt School in the twentieth century.  The Culture enters another culture immediately beginning to find fault with what up to then had been a successful effort at dealing with problems of civilization.  Whatever the response and no matter how successful the Jewish Culture criticized it, tore it down and insisted that the Jewish way replace it.

     All of the ancient cultures were grappling with nature through a system of polytheism.  Polytheism was the forerunner of science in that it identified and separated the processes of nature attempting to understand each in isolation.  As with the rise of Science in the nineteenth century there was no way for the Jewish Culture to establish supremacy.  Any argument they had to offer was just another opinion.

     So the Culture countered with monotheism which was supposed to be superior to polytheism in some way they couldn’t explain.  They just asserted it.  Once I slipped from under the conditioning of my religious upbringing that enforced monotheism without an adequate justification I came to the realization that there was nothing superior in monotheism in fact the approach negates scientific inquiry in favor of an inviolable dispensation from ‘G-d’  or, in other words, a projection of the Jewish Weltanschauung.

[ http://deoxy.org/bom.htm ]

     Having subdued polytheism with monotheism when science broke its bonds from the seventeenth to the nineteenth the Jewish Culture had to come up with an approach to contain and negate science.  Hence a number of pseudo-sciences were created to confuse and obfuscate so that these scientific sounding ‘sciences’ that nevertheless served to impose Jewish Culture could be established.

     Foremost among these attempts incorporating Marx, Freud and Einstein as aforementioned was the Institute for Social Research.  I was aware of most of the leading figures of the school such as Wilhelm Reich, Marcuse, Adorno and Fromm from my college days but I wasn’t aware of their association in the Frankfurt School although I was aware of that name. 

     Following Freud’s lead, such as in Lang’s Testament Of Dr. Mabuse the members continued the attacks Freud had launched.  Central to their issues was sexual theory.

     In order to reconstruct society along Jewish Cultural lines they had to deconstruct the existing society.  That is to say by the use of Critical Theory they had to subvert existing customs and mores.  A first step was to belittle existing beliefs attempting the substitution of ‘superior’ Jewish beliefs.  Thus beginning in the twenties a systematic debunking of American heroes and customs began.

     The world was turned upside down.  Everything that previously had been thought good was now bad which means that everything bad was good.  It was all relative; nothing is good or bad but thinking makes it so.  But the maxim only cut one way in the hands of critical theory.  What you believed was bad; what they believed was good.  No one ever thought to ask: Compared to what?  And they got away with this too.  Still don’t know how it worked that way but it did.

     And then they went back and changed the past.  A sort of inverted nostalgia.  The way they wanted it to have been when managed by the other.  John Dos Passos began to turn out his USA trilogy that many people think is one of the top ten books of the twentieth century.  It’s flashy.  Even flashier if you don’t know the historical background.  The first time I read it, much younger then of course, I was bowled over.  Of course my state of mind was perhaps a little more depressed than Dos Passos’ story which is pretty depressed.  Second time I read it I began to waver.  Seemed awfully one sided.  Then I integrated my personality and like the character in Gradiva my projection began to dissolve.  My windshield got clearer and I could see more clearly.  The third time I read the trilogy I was repulsed by the complete and total negativity, the general nastiness of Dos Passos’ mind.  Well, nothing’s good or bad but thinking makes it so.  I thought the trilogy was good when I first read it, neutral the second time and terrible the last.  It’s all relative, of course, but now my opinion is that the trilogy is absolutely bad and as thinking makes it so it must be bad.  Fifty years later or so Greil Marcus’ reinforcing the USA tilogy came out with a book he titled Bad Old America.  That could have been the title of Dos Passos’ USA trilogy.  So who you going to believe novelists and memoirists who speak of the good old America or those like Dos Passos and Marcus who believed it was a bad old America.  Compared to what?  It’s all relative.  Well nothing is good or bad but thinking makes it so so people like Dos Passos and Marcus can get behind their push carts and trundle off into oblivion.

     Well, that was flip and satisfying but ignores the tragedy of the people who lived through that era yet were mystified by what they saw going on around them because they were living by rules formulated thirty or forty years in the past but which didn’t work very well anymore because another culture, actually a couple cultures were changing the game before their eyes by disregarding those very rules.  There you have a multi-cultural society: if you’re not busy setting the rules you’re busy following those who are.  Quite frankly any culture that doesn’t want to set the rules is a culture of saps.  Unfortunately I belong to that sappy culture but I’m doing my best to set them on their feet and point them in the right direction.

     It was too late for Edgar Rice Burroughs back then but he was a game old bird.  This essay started in 1912 with Burroughs scribbling away at a strange story entitled Tarzan Of The Apes.  Well, from a jack to a king.  From a financial and emotional bankrupt Burroughs’ story of Tarzan improbably caught the imagination of not only the United States but pretty much the whole darn world.

     Apart from being an amusing but fantastic story that given your frame of mind is a very difficult tale to take, one is astounded at the influence of Tarzan on the world stage.  The literate were absolutely repulsed by the story and I’m not so starry eyed I can’t see why.  A certain type of mind can only see the ridiculous aspect of Tarzan.  I don’t have any good arguments to convince those who believe so, I see the reason for their revulsion but I don’t share it.

page 5.

     My first introduction to Tarzan was of course the movies.  I was entranced by Johnny Weissmuller, although watching the movies now I’m not sure why.  From there I bought what was available from Grosset and Dunlap.  I found the books better than the movies.  There was that about Burroughs, the man himself, telling his stories of Tarzan that made the stories seem very significant so that not only me but thousands of others accept Tarzan as, what shall I say, their savior, their role model, their leader, their intellectual ideal?

     Whatever it is it is the very antithesis of the Judaeo-Communist-Liberal school.  Tarzan is self-sufficient; he is his own man.  He is the very antithesis of the Liberal ideal which is, in the words of Vance Packard, an organization man, a member of the collective, subordinated completely to the ideology.  Buzzing around in the hive.

     There are many, even among his fans, who think of Burroughs as a simple minded boob who had the skill for escapist literature.  I can see how they form their attitude too but, once again, I don’t share it.

     I think it just as obvious that Burroughs was deeply interested in the social, psychological, political, religious and scientific concerns of his time.  Wisely, he decided to employ such details in a casual way without emphasizing his opinions because to call attention to them would have been beyond the scope of entertainment.  He believed the sole purpose of fiction was entertainment however he construed the word.  Still the serious reflections come through to the perceptive reader.  For instance the Oakdale Affair is a wonderful little study packed full of perceptive and fairly profound observations.

page 6.

     Burroughs had a large public who were devoted to Tarzan. the impact of the character seems to go far beyond the book sales.  Of course book sales were amplified by the movies that became the established form of fictional entertainment as Tarzan’s popularity grew from 1912 to 1920 or so.  In the late teens several very popular movies of Tarzan were made.

     Regardless of what the critics thought of Tarzan the Liberal/Communist faction perceived a threat to their collective mindset.  The ideals Burroughs infused into Tarzan that educated his public were in opposition to the Liberal collectivity.  One good Tarzan novel combined with a movie could more than offset the influence of the whole Frankfurt School plus.

     Before the October Revolution there was no political opposition to Burroughs but as the war ended and the twenties began attention was directed toward Tarzan and Burroughs.  It seems quite obvious that the Jews recognized the importance of the movies for influencing culture from the beginning.  One may argue that they took control of the movies because it was a new industry and it was open to them.  It’s a good argument but not necessarily the real one.  As the technological age dawned all industries were new and open to anybody.  The argument might equally apply to the auto industry in 1908 yet Jews shunned the formative years of the industry.

     The newspaper and publishing industries were dominated by goys yet Jews gained access to the industries and shouldered them aside.  The same may be said of department stores.  Yet Jews seized on movies and as radio became a business that industry and then television.  So there seems to be another reason for Jews seeking control of such culture forming areas as stage, screen, radio and publishing.  One hates to state the obvious.

     After the October Revolution Jews worldwide were in a position to control culture.  Thus, as in the US, they could issue volume after volume debunking older cultural heroes and national customs.  The Liberal/Judaeo/Communist coalition could control the images of current cultural figures like Edgar Rice Burroughs also.  While Burroughs always had publishing difficulties for other reasons, after 1920 it got worse until in 1930 he was forced into self-publishing.

page 7.

     It may be a coincidence that after 1922 no more Tarzan movies were made until 1928 or not.  But it was about this same time that Burroughs began having troubles everywhere.  His English publishers began to neglect him.  His Tarzan novels which were very popular in Germany came under attack because Burroughs’ novels written during he war were considered Germanophobic.  As the campaign was successful it had to be led by Communists.

     And in Russia Burroughs aroused the ire of the Communist government because the proletariat preferred Tarzan novels to Communist doctrine. So, in the period 1920 to 1924 a concerted worldwide attack was carried on against this poor fantasy writer.

     The Soviet government enlisted the services of a writer of great fame to denigrate Burroughs discreetly in print.  That writer was no less than H.G. Wells.  His opening shot across the bow was Men Like Gods which was so discreet I may be the only person who ever saw it other than Burroughs.  However Men Like Gods was followed in 1928 by a work clearly referring to Burroughs entitled Mr. Blettsworthy On Rampole Island.  As his point of departure Wells chose a 1914 novelette entitled The Lad And The Lion.  In Blettsworthy he postulated that Burroughs was insane.  That is a pretty heavy defamation of a living author if anyone read Wells’ book.  Not many did.  After 1920 Wells had a very limited appeal as a novelist.  His attack had an influence on the publishing history of the The Lad And The Lion that will require some detailed attention.

page 8.

      The original of Lad was written in February-March of 1914  immediately followed by Beasts Of Tarzan while The Girl From Farris’s begun in 1913 was finished at the same time.  The three novels then were written at the height of Burroughs recovery from the despair of his earlier failure.  They represent a response to his success as he tried to find a new footing.

     Burroughs’ father had died on February 13th, 1913.  In September, at the time of his birthday, ERB left for an extended stay in California.  All three novels were written or finished in California in the final three months of the stay.  That Lad and Girl were both completed in March indicates their close connection in his mind.  Lad being concerned with his Animus and Girl undoubtedly with his Anima.

     Wells’ analysis of Lad convinced him that Burroughs was insane as he said in his ad hominem attack in Blettsworthy.  Even if Burroughs were ‘insane’ at the time he wrote Lad that would have no effect on the influence of Tarzan.

     While Burroughs suffered from mental distress from the time the events of Lad took place, which I put as his entry into the Michigan Military Academy, to what I would call his emergence and recovery here in 1914, that is far from insanity and I might add no  worse than the symptoms of distress Wells showed in his In The Days Of The Comet.  Even Men Like Gods in 1923 is a lttle bonkers.  Nevertheless his analysis of the state of mind Burroughs displays in Lad seems to me to be fairly accurate.  That Burroughs passed through such a stage of suffering is normal, which Wells if he weren’t in a partisan attack would or should have recognized.

page 9.

     At any rate the story Wells read has to be separated from the book edition that was rewritten and published twenty-four years later.  Every other chapter has to be removed, those concerning the events in Moscow- or at least an imaginary Eastern European city.

     That leaves you with the story of Michael adrift off the Atlantic coast of Africa and his subsequent landing.  The manner in which the story relates to Burroughs’ life and state of mind is fairly transparent if one knows his life and psychology.

     George T., Burroughs father, had transferred him from one school to another jerking him out at the critical moment.  Anyone who has experienced this knows how difficult it is.  It makes you a little bit buggy.  The final straw came when George T. sent him away to the MMA.  Burroughs tried to escape but his father sent him back.  We don’t know what he said to the boy but it must have had a terrific effect on him.

     It was the feeling of rejection from this inident that lay behind the story of the Lad And The Lion.  The MMA completely declassed Burroughs so that he was able to fit in nowhere.  He characterized this feeling as one of shipwreck.  The shipwreck figures into several of his novels not least of which are Tarzan Of The Apes and Son Of Tarzan.

     So, in the story of Lad.  As usual Burroughs weaves in several literary influences.  Underlying the story is that of Mark Twain’s Prince And The Pauper that so influenced Burroughs.  In a 1923 newspaper article the writer declared that he had read Prince approximately six times.  One doesn’t read such a light weight fantasy six times unless it closely relates to one’s own experience.  Thus until the MMA one can conclude that Burroughs thought of himself as a little Prince.  In the same article he said he also had read Little Lord Fauntleroy six times.  After the MMA he lost the feeling of being a Prince and Lord to become a pauper.  In Lad then, the hero (a version of himself) is a prince who after the shipwreck becomes a pauper.

page 10.

     The shipwreck itself was influenced by the sinking of the Titanic in 1912.  Several tales of the Titanic are retold.  The young Prince Michael who because of his age was entitled to a place in a lifeboat generously and manly gives up his place to a woman.

     When the great ship rolled over we are led to believe that Michael was catapulted some distance away.  His guardian had thoughtfully put a life jacket on him so he doesn’t drown.  But just as the shipwreck repesented the second of Burroughs’ great fixations as he is in the water a life raft descending a wave crashes down on his head ‘in a glancing blow’ knocking him unconscious causing a total loss of memory that lasts for over five years.

     When he comes to an empty lifeboat is floating by him.  Not recognizing it as a boat as he has total- and Burroughs means total- memory loss yet Michael reasons that it will be more comfortable than the water.  Clever kid.

     The shipwreck and lifeboat are prominent themes taking several different forms in Burroughs’ work.  Tarzan’s parents are marooned in the opening novel of the series put ashore in a lifeboat while the ship they were sailing on was subsequently wrecked and sunk.  There were several such incidents in the sequel, The Return Of Tarzan, all of them occurring within a few miles of each other and close to where Tarzan’s parents were marooned, which is to say Burroughs himself.  These are one or two too many coincidences for most readers.  If this were a traditional adventure series perhaps that would be true, but in the psychological sense in which Burroughs is writing there is a logical imperative controlled by Burroughs’ fixations.

     Waldo Emerson Smith-Jones is a castaway in 1913’s Cave Girl while the first large scale run through of the theme is in the later novel of 1913 The Mucker.  These two novels were conceived before the father, George T. died.

     His death shifted Burroughs mind back a decade or two so that the shipwreck of Lad is psychologically the first in the sequence.

page 11.

     Discarding Freud’s interpretation of the unconscious let us view Burroughs’ shipwreck through the version of the subconscious I have outlined which is truer than that of Freud.  Now, the events of Burroughs life were filtered through his three great fixations.  Certainly up to 1914 he had been unable to relax their hold at all.  He was subject to terrifying nightmares because of the fixations and why not.  The daily happenings thus would be constellated around these fixations and distorted to meet the experience of their horrific traumas.

     Over the years as his circumstances changed even though he was apparently unable to exorcise these fixations his new circumstances were powerful enough to alter the consequences  of the experiential fixations.  Since he dwelt on these central symbols in which his traumas cast his dreams he uses the same situation over and over which causes some readers to accuse him of repitition.  While the situations do repeat the same symbolism they do not do so in a deadening manner but are variations on the theme that evolve with Burroughs’ evolving consciousness.

     Thus in Lad he is in the lifeboat alone, no Anima figure.  In the Mucker all the survivors of the shipwreck end up in one boat with the Anima figure Barbara Harding.  It must be true as this is dream material that the figures in the boat represent real people that were associated with Burroughs in these traumas.  Later in 1924 when Burroughs has edged back to a prince from a pauper there are two lifeboats, one for the gentlefolks and one for the criminal class.  Chase III, the Burroughs Animus figure was supposed to have been with the gentlefolk but in the confusion he is thrown in with the criminal class.  This undoubtedly represents the MMA.  Marcia, the Anima figure is also taken in that boat by mistake.  Thus we have another variation on the MMA fixation.

page 12.

     It must be true that these differences were reflected in Burroughs’ dreams as his fixations and his reality drew apart and conflicted.  Apparently troubled all his life by this conflict Burroughs even bought a book on scientific dream interpretation in 1932.

    Drifting along in his life boat, breathing being the only thing he can remember, he is spotted from a drifting derelict by its sole human inhabitant, a crazy epileptic deaf mute.  Add to his infirmities the fact that Michael has no memory and one has quite a combination. The old loony draws him from the lifeboat to a four or five year life on this drifting derelict.  Michael drifts thus until the old loon is killed upon which being released from his control or enchantment Michael lands on the coast of North Africa having no memory of land whatsoever.

     The dream ship was adequately provided with all the necessities for this interminable drifting about as a dream ship would.

     As they drift up and down the coast of Africa one is compelled to ask why.  Very likely Africa had taken on a mythic quality for Burroughs from the works of Stanley, Livingstone, Du Chaillu, Buel and others.  Africa was a world where the White man was supreme and unfettered much as was Tarzan.  Thus the Africa of the Tarzan novels should be considered a dream or fantasy Africa that bears little resemblance to the real geographical Africa.  Burroughs’ Africa was a place inhabited by lions and tigers and deer.  More’s the pity for the psychological reality of the continent that his fans wouldn’t allow him to populate the place with tigers and deer.  Psychologically these things were essential to the story he was telling.

     As in all dreams the most improbable coincidences have to be accepted.  Thus as unbelievable as it may be to a rational mind, this old epileptic deaf mute insano  had a very young lion cub in a cage on deck.  It is impossible for him to be there rationally but there you have it.  Psychologically he belongs there.  It is noteworthy that over five years the ship encountered no storms so the lion didn’t wash overboard as he must otherwise have.

page 13.

     The old guy is cruel and sadistic.  He beats the Lad, who no longer has any other identity which must be why he’s called the Lad, on a daily basis as well as torturing the lion.  As a lion is Burroughs’ Anima figure he naturally forms a close friendship with the cub.  Both Lad and cub grow huge with the result that the Lad challenges the old coot who never has a name.  The old coot knocks the Lad senseless with an iron bar.  That’s two blows to the head within twenty pages.  Seeing his friend threatened the lion bursts from his cage grown rickety over the years despatching the coot in one chomp as he tears the old bastard’s face away.  Thus Lad and Lion are delivered from the mastery or enchantment of the old crazy.

     Now, who in Burroughs aching life could this old monster be?  Well, his father died about a year earlier.  His father did rush him from school to school finally placing him with what Burroughs considered the juvenile delinquents of MMA.  Burroughs always professed the greatest love for his father, celebrated his birthday annually; yet on his dad’s hundreth anniversary he created the zany loony mad Doctor, ‘God’ who bears some similarity to this crazy old coot of Lad.  I don’t think there’s any doubt that Burroughs had ambiguous feelings about George T.   It is even quite probable that he didn’t recognize the crazy old coot as his father so he would suffer no guilt from ripping the old loony’s face off.  Indeed, removing his face was removing his identity.

     The Lad and Lion did not land immediately but continued to drift for a period of several months.  From that one might reason that Burroughs and his Anima figure while released from subjugation by George T.’s death took several months to move from beneath the father’s shadow.  Indeed this novel was written approximately nine months after his father’s death.

     If one construes the period from 1891 the year Burroughs entered the MMA to his father’s death as symbolic of the years of drifting under the domination of the old weirdo one might interpret Burroughs situation in this way.

page 14.

      His father had humiliated and shamed him so thoroughly that the boy was psychologically barred from following in his father’s footsteps as a businessman.  Hence from 1891 to 1911 or 12 Burroughs drifted from job to fairly disreputable job a complete failure.  Realizing he could never be a success as his father had Burroughs in desperation was forced to take another tack outside the business world.  Thus he took up pen and began to write.  Here he was successful.  It is significant that he used materials, old letterheads and pencils, from his own failed enterprises.  His father died just as Burroughs was receiving the first fruits of his new career which was probably just as well.  But now he had to get away from the proximity of the man so he packed wife, kids, car and all his belongings fleeing to the West Coast.  At the end of this voluntary exile and just before returning he completed The Lad And The Lion.  Having made the attempt to exorcise the demon he could return to Chicago which he did.

     I haven’t read the magazine version which may differ a little or quite a bit but the above story is the crux of  The Lad And The Lion.  The above must have been what convinced H.G. Wells that Burroughs was insane.

     Dream symbolism is not however an indication of insanity but the problem of the interactions of the conscious and subconscious  trying to make sense of experience it finds difficult to understand.  Contrary to Freud’s belief that dreams are a product solely of the unconscious  it is impossible for consciousness to abandon itself completely to the subconscious.

     Burroughs relation of his dream is no more a sign of insanity than Freud’s dream of Irma’s Injection.  In fact Burroughs, as one aspect of his story may very well have been dealing with his own interpretation of dreams.  As this story was modified in 1938 long after psychoanalysis had entered the popular domain the story that Wells read c. 1920 may be significantly different than the altered 1938 version.  Burroughs may very well have developed his psychological theories significantly since 1914.  This version would also have been written after he had had time to digest the scientific dream book he bought in 1932.

page 15.

     As Burroughs acquired his initial interest in psychology from Lew Sweetser in 1891 which is evidenced from his earliest works there is no reason not to believe that by 1938 he had definite ideas of dream psychology.

     Wells himself was read in Freudian psychology as his analysis of Burroughs in Blettsworthy indicates.  The depth of his undertanding appears to be somewhat superficial but, still, informed.  His attack on Burroughs is ad hominem in the Liberal tradition.  As a writer Wells should have known better than to take Lad at face value, especially as several of his own stories vary into paranoia and other mental disorders or, rather, states of mind.  One might even say that the interest of the stories rise from these projected states of mind.  Two of Wells finest novels reflect disordered states of mind.  The magnificently portrayed paranoia of ‘When The Sleeper Wakes’ is unparalled unless it be by his own ‘In The Days Of The Comet.’  Both can compete with ‘Lad’ in terms of insanity.

     Very likely ‘Blettsworthy’ was a calculated attack motivated by orders from Moscow.  Those orders were probably received about 1921 when Wells visited Lenin and the Soviet Union.  By this time Wells was religiously committed to the Revolution.  Thus, as indicated, during this period the attack on Burroughs was commenced on the international level.  His English publishers inexplicably lost interest in a key commerical product like Tarzan.  The same may be said of his American publishers and movie makers.  His German sales were destroyed on political charges and finally the Soviets ordered Wells to attack him personally to destroy his credibility.  These actions should throw some  light on Burroughs’ financial difficulties of this critical period when he lost control of the Tarzana estate.

     The period from this attack to 1928 and 1930 when Burroughs elected to self-publish has not been examined from this point of view.  Suffice it to say that Burroughs first self-published title, Tarzan The Invincible concerns an actual war between Tarzan and no less than the Soviet dictator, Josef Stalin.  This was continued in the sequel, Tarzan Triumphant, while being continued through 1934 and the release of Tarzan And The Lion Man.

page 16.

     The rewriting of The Lad And The Lion in 1938 may be taken as a heavy salvo in this war.  By 1938 the history of the two Russian Revolutions, 1905 and 1917 would have been known in their broad outlines.  The minor details have been guessed from the very beginning having been recently confirmed by research.  So, his ‘head bloody but unbowed’ Burroughs returned to the battle.

     Aware of Wells’ interpretation of the 1914 magazine version of Lad Burroughs may have altered the details to correspond with his state of mind in 1938 blending the earlier story into the later additions dealing specifically with Wells and his Soviet handlers.

     By 1938 Wells had been abandoned by his Soviet mistress Moura Budberg.  He had met her during his 1921 visit to Russia.  She had then been assigned to him by Stalin from c. 1928 to 1935, the height of the war on Burroughs.  She had abandoned him probably because his usefullness was considered minimal because of his independence and criticism of Stalin.  In 1939’s Holy Terror Wells would actually call for the assassination of Stalin in much the same way he had declared Burroughs insane.  The amazing thing is the casual way in which Wells advocates assassination as a political means.  Wells was an outstanding Liberal who here displays the absolute bigotry of Liberalism.  They denounce capital punishment unless it serves their own purposes.  Once again it is impossible to be religiously  devout without being a bigot.  It make no difference whether it is character assassination, or individual murder, or the genocide of a billion all is justified by religious bigotry, in this case Liberalism.

     Did I see eyebrows raised at the mention of genocide of a billion?  Please to follow the line of argument.

page 17.

     Liberalism began with the French Revolution.  The Liberals began by murdering aristocrats individually or as a group, genocide.  When the aristocrats resisted, revolting in La Vendee, genocidal massacres began.  Barges loaded with the royalist party were towed into the middle of rivers and sunk drowning all aboard.

     These proceedings were justified about seventy years later by the Liberal pundit Victor Hugo in his novel 1793.  He doesn’t mention atrocities like the above but he justified the holocaust in this way:

     These people stand in the way of the New Order.  So long as they live they are a threat to the New Order, therefore it behooves us to kill them all to give birth to the New Utopia.

     This notion has been the guiding principle of Liberals ever since.  At every opportunity they massacre those standing in the way of the New Order.  In the horrific aftermath of the October Revolution Jews massacred millions.  Picking up the baton Stalin engineered a famine in a genocidal attempt to murder independent farmers called Kulaks.  A few years later the Leftist Adolf Hitler attempted to exterminate a number of enemies of his New Order.  Mao added his tens of millions.  But, that’s not a billion you say?  Well, that is a possible if seemingly not probable next step.  It is already in the works.

     I don’t know how many of you have heard of Noel Ignatiev.  He is a Jewish Harvard graduate who has formed an organization called Race Traitor.  In a Winter 1991 article in his magazine called RaceTraitor  [ http://racetraitor.org/abolish.html ]  the lead article was entitled: Abolish The White Race– By Any Means Necessary.  Perhaps wisely, the article is unsigned.  The article is sheer rhetoric with so many logical flaws I can’t begin to go into them here.  The article intends to be divisive.  The intent is to persuade as many White people as possible to renounce their ‘White Skin Privilege’, whatever that might mean.  This will be a step in abolishing the White ‘race’ which Ignatiev perceives as a monolith, perhaps along the lines of his own Jewish culture.  The above notion provides Ignatiev and his Culture an escape clause because, although nominally White, they, we are led to believe, have renounced their White Skin Privilege.

page 18

     As a New Aboloitionist as Ignatiev refers to his organization the Jewish Culture is safely on the side of the colored ‘races’ of the world.  The destruction of a billion Whites still seems improbable but Ignatiev and his fellows have already induced guilt into a very large number of Whites neutralizing them while cadres of White ‘youths’ have been enlisted in the cause.  They are supposed to renounce their Whiteness by breeding with colored people thus losing Whiteness in color.

     At the same time those who seem more aggressively White, refusing to be intimidated have been defamed and castigated as ‘White Supremacists’ being reviled and hated by not only the New Abolitionists and colored peoples but also by all White People who have not been so designated.  So, if you allow for 10% of the Whites to be unrepentant that amounts to about 100 million people spread over hundreds of locations.  As this sub group has now been demonized as sub-human while standing in the way of Ignatiev’s New Order of a world without White people it is historically perfectly permissible to kill them all.

      Now, concentration camps have been set up in the US, you can find pictures of them on the internet, huge tent cities that have ostensibly been set up to house illegal immigrants.  Why anyone would want to house illegal immigrants who no one is interested in arresting anyway remains a mystery.   Then who are these camps on which a vast sum has already been expended for?  I suggest you examine certain legislation before Congress concerning ‘Hate Laws’ and draw your own conclusions.

     So, with the obstructionists of the New Order safely out of the way the next batch of the less than enthusiastic Whites can be safely dealt with by the New Abolitionists.  Diminished, disarmed and defenseless it will be a small matter to finish off a mere half billion or so, if they haven’t already had the sense to blend in with the coloreds.  As I have pointed out before the rule is to keep the women and kill the men so in reality it would only be necessary for a holocaust of a quarter billion.  Get’s easier, doesn’t it?

page 20.

     As a historical process this would complete the Semito-European war that began approximately 6000 years ago with a total victory for the Semites.

     Let us go back to the mano a mano duel between Wells and Burroughs as centered around The Lad And The Lion.  We still have two stories to deal with, one is the desert story when The Lad now known as Aziz is made a member of Arab society and the Moscow story.  Having never read the original  magazine story it still seems reasonable that Burroughs adapted the 1914 story to his 1938 needs.

     When the ship was grounded a new life began for Aziz  and the Lion.  The change was complete.  The ship drifted ashore at high tide, the tide went out so far that the ship left high and dry rolled over on its side allowing the pair to walk ashore over dry land. 

     This is a dream representation of Burroughs own transition from being adrift to realizing success as a writer.  As the old tyrant had died just previously one may believe that the death of his father  coinciding with his success released Burroughs from thrall.

     The situation now is more perfect than Tarzan, indeed this story may be a bridge between the Russian Quartet and the rest of the series.  It falls between Beasts Of Tarzan and Son Of Tarzan prefiguring the latter in many ways, while the lion may be considered the predecessor of the Golden Lion linking the rest of the series.

page 20.

     Naked came Aziz.  Not only naked but illiterate and speechless.  The epileptic deaf mute was unable to teach him anything.  The blow to his head from the raft had obliterated his memory that obviously included the memory of language.  He has learned lion talk however, he has a pretty impressive roar.  Aziz does have remarkable native intelligence however so he learns with an alacrity that is astonishing.

     Actually both he and the lion have no survival skills whatever not even knowing how to hunt.  Contrary to most feral children Aziz is able to evaluate a situation and come up with an appropriate solution.  Thus when he and the lion fail at chasing the prey down Aziz does a quick analysis then places himself above the prey and lion driving the beasts into the jaws of the lion.  Not bad for a complete novice.

     In a scene reminiscent of the Percival story of King Arthur Aziz when he sees his first Arab horsemen is as entranced as Percival was when he first saw the knights.  By 1914 I doubt if Burroughs had read much of the lore of King Arthur but by 1938 he may have, must have.  One odd item that may be coincidence of course is that when Percival is asked his name by the knights in Chretien de Troyes’ Grail he replies that it is ‘darling boy’ which is how his mother referred to him.  When Nakhla names the Lad she calls his Aziz which in Arabic means ‘beloved.’  The French officer’s daughter when she learns his name remarks that he must have been named by his mother or a sweetheart as she explains the meaning of Aziz to him.  Aziz has obviously mastered French within a couple weeks having kicked off his linguistic skills with lion and Arabic.

     Aziz’ romance with Nakhla had been abandoned when he was told she had married.  Thus when with the French woman and a group of French soldiers they visit Nakhla’s Arab camp the young woman is devastated to see Aziz in the company of another woman, dressed as a European soldier.  Burroughs likes the comedy of errors approach.

page 21

     The situation changes rapidly when Aziz overhears the Captain describe himself in an uncomplimentary fashion as unfit for his daughter.  Stripping down to loin cloth Aziz heads back into the desert as the wid beast he is, although by this time he knows lion, Arab and French which places him two languages ahead of most civilized people.  On the way back his two lion friends pounce on him which must have hurt not a little.  Kind of like being embraced by a speeding freight train.

     Burroughs begins to describe Aziz as a lion man.  I think this would be the first reference to a lion man in the corpus unless the reference was only included in the rewrite of ’38.  Tarzan is described as a lion man while at the same time he has parallel indenties as a Monkey Man and an Elephant Man.  In this case Aziz is solely a lion man.  He left the ship with the male lion who has no name and acquired a female lion who was attracted by the male at about the same time Aziz became aware of Nakhla.  As with De Vac of the Outlaw Of Torn the lion seems to be associated with Aziz’ Anima.  With the arrival of the female the Anima shifts to the female with the male moving to the Animus while Aziz makes a ‘real life’ connection to a living female forming the appropriate quaternity.

     Having left the French where he also learned that Nakhla wasn’t married he visits the Sheik’s encampment to make up.  Here the Sheik is indignant at Aziz presumption called him worse names than the Captain did.  Aziz is so crushed that one wonders if Burroughs himself wasn’t grossly insulted by old Mr. Hulbert, Emma’s father.  While he is debating with himself Nakhla is captured by his rival Ben Saada.

     At this point it would be good to have read the magazine version for comparison.  As this story is running parallel with the Moscow story Burroughs may have coordinated the two, changing the orginal version considerably.  If that were the case then the desert story is almost certainly influenced by E.M. Hull’s 1921 novel, The Sheik and the movie of the same year starring Rudolph Valentino.

page 22.

     In any event in the denouement Burroughs does his usual action razzle dazzle but Aziz still has no memory of his origins.  In a battle with the outlaws he gets clubbed with a rifle on the forehead.  He is out of it for a couple days.  There is concern whether he will survive.  His skull is torn open the familiar way.  This is the third major blow Aziz has received in this story and it’s a short one.  When he comes to his head is being bathed on the lap of Nakhla and wonder of wonders his full memory has returned.  He knows who he is: he is no longer a pauper but a Prince.  Little Lord Fauntleroy has come into his own.

     We will leave Aziz at this point and turn to the parallel story of Prince Ferdinand, Hilda de Groot and the Revolution.

     Prince Ferdinand and Hilda is a retelling of George W.M. Reynold’s second series subtitled, Venetia Trelawney.  Hilda is Venetia while Ferdinand represents George IV.  Hilda’s brother Hans probably represents Venetia’s husband, Horace Sackville.  If I am correct in supposing that Burroughs read The Mysteries Of The Court Of London c. 1898 then the memory of the story surfaces here forty years later in 1938.  Not bad.

     Burroughs telling of the story here may be a parody on H.G. Wells.  Like George IV who had rather womanize than pay attention to affairs of State Ferdinand does also.  Unlike George who maintained the throne Ferdinand is caught in the Revolution being murdered, perhaps a reference to Nicholas II.

     I am sure the story is replete with references and insults I am not getting or they are tenuous enough to prevent certainty.  The first revolutionary chieftain for instance is named Meyer which is not too far from Mayer perhaps referring to Louis B. Mayer of MGM.

page 23.

     Burroughs is writing this in 1938 after he has been under attack for twenty years.  This book is addressed to Wells who began his literary attack in 1923.  There is no reason to doubt the major battles took place from 1930 to 1934.  In 1931 MGM whose President was the highest paid executive in the US, Louis B. Mayer, filched control of Tarzan’s image from Burroughs.  By 1934  when the second MGM Tarzan was released Burroughs was thoroughly beaten.

     You know, a man has to think about things.  You have to be pretty slow or psychologically sanguine to think that things just happen.  As we can see from Lad Burroughs was well aware of Wells’ involvement.  The studio heads did not stand in the way of the Red infiltration of Hollywood.  They welcomed the Red movie makers who fled Hitler into the studio system.  They had no trouble blending in the Frankfurt School when it arrived in Hollywood in 1941.  If as John Howard Lawson said that the studio heads approved of every single scene and line in every single movie then while they may have rejected some overt Red inferences it may not have been because they were Red but because they believed the country wasn’t ready for them.

     Even though everyone talks about the Hollywood Black List of HUAC there was always a Hollywood Black List.  After the so-called post-1950 Black List most people who weren’t objected to for other reasons eventually found their way back into movie work.  It didn’t take that long.  This could not have been done if these ultra-authoritarian studio heads hadn’t permitted it.  So while I have never heard that Louis B. Mayer was following a Red agenda yet talking movies have always had a Red tinge becoming more open as the decades wore on.

     Mayer was subservient to the ‘money’ men in New York City.  The actual control of the movies came from that quarter so Mayer in no way was an independent operator.  One would have to examine Loew’s in New York City for Communist influence before one cleared Louis B. Mayer.  I have the feeling that Burroughs may have been telling us something.

page 24.

     In the intervening twenty-four years from the first version of Lad Burroughs was not idle.  Even though not considered a serious writer yet he allows serious topics to creep in that indicate wide reading if not study.  There were two items I found interesting.  The first is a psychological reference.  Even though I was laughed at for suggesting Burroughs had psychological interests consider this:  Lad, p. 56:

     “Meyer was too rabid and too radical,” said Carlyn.  “He wanted to accomplish everything at a single stroke.  I can see now that he was wrong.”

     “Meyer wanted to be dictator,” said Andresy.  “He was mad for power, and too anxious to obtain it quickly.  That came first with Meyer, the welfare of the people second.  It is strange what small, remote things may affect the destiny of a nation.”

     “What do you mean?” asked Carlyn.

     “Because Meyer, as a child, was suppressed and beaten by his father; because on that account, he had a feeling of inferiority, he craved autocratic power that would permit him to strike back in revenge.  Meyer did not realize it himself; but when he struck at government, he was striking at his father.  When he ordered the assassination of the king he was condemning his father to death in revenge for the humiliation and brutalities the father had inflicted on him.  Now the king is dead and Michael and Meyer and Bulvik and hundreds of men and women who believed in Meyer; but Meyer’s father is still alive, basking in the reflected glory of his martyred son.  Life is a strange thing, Carlyn.  Civilization is strange and complex.  The older I grow the more I realize how little any of us know what it is all about.  Why do we strive?  Everything we attain always turns out to be something we do not want, and then we try to change it for something else that will be equally bad.  Oh well, but I suppose that we must keep on.  How do you plan to kill the king?”

page 25.

     Carlyn strarted, as though caught red-handed in a crime.

     “God!” he exclaimed.  “Don’t spring it on me like that.”

     Andresy laughed.  “You have nerves, don’t you?…I shall put it in an emasculated style.”

     In the first place we have a full blown psychoanalysis of Meyer’s motives that demonstrates study and thought.  What is of more interest to me is Carlyn’s reaction to Andresy and the latters unusual joking of let me emasculate my comment for you.  That is a very unusual way of expressing the point.  That would indicate to me that Burroughs has been studying and thinking about emasculation possibly from reading Freud himself or magazine articles discussing Freud’s concept of emasculation.  In any event Burroughs is much deeper into psychology at this point than readers have been willing to acknowledge.  As a response to Wells’ ‘Blettsworthy’ this is turning into a psychology duel to which Burroughs gives the coup de grace in the very short and pointed last chapter.  That chapter would lead me to believe that Burroughs had rewritten the whole of Lad from stem to stern to deal with the Wellsian attack.

     One can imagine Burroughs with Blettsworthy in one hand and the first Lad in the other musing on what course to take.

     Apropos of assassination in general the story of Wesl is a general blueprint.  This gets into a little speculation but in 1937 a year before book publication of Lad Burroughs lived in an apartment building also lived in by the Chicago Outfit mobster Johnny Roselli.  Roselli would later figure in Burroughs’ war novel, Tarzan And The Foreign Legion as Johnny Rosetti.  It would seem more than probable that Roselli would make it a point to get to know the world famous author of Tarzan.  Roselli would wish to impress Burroughs with inside criminal information.  From my study of Burroughs I have come to the conclusion that he borrowed a significant amount of detailing from elsewhere.  I have already mentioned the Venetia Trelawney aspects of th Ferdinand/Hilda story.  If one reads the Wesl story one will notice a general resemblance to Lee Harvey Oswald’s supposed assassination of John F. Kennedy.  There are those who maintain the assassination was a mob hit.  As the assassination fits so well with the Wesl story one is led to believe that the Outfit had a general assassination plan that Roselli related to Burroughs.  I have no proof of this other than the fact that Roselli knew Burroughs and that the latter would probably have borrowed the plan rather than have invented it.

page 26.

     In the story Wesl (pronounce it, Weasel) is told by the revolutionaries to enter the palace grounds at a certain hour and stand in a certain place.  He is told to wear gloves and be unarmed.  He is the Fall Guy.

     The crime involved here is the assassination of King Otto.  Carlyn enters the kings room which was just above Wesl’s post and shoots the King.  Tossing the gun out the window it lands at Wesl’s feet.  While Wesl dithered Carlyn using another gun, different caliber, shot at him.  Wesl began to run.  As he reached the gate Carlyn dropped him.  Thus all the testimony of ‘eye witnesses’ and the circumstantial evidence pointed to Wesl.  Case closed.

     If the outfit were involved in the Kennedy Assassination, which is more than probable, then following the Roselli scenario it is more than probable that Oswald was the Fall Guy as he himself said on television.  He would have realized this as he watched the action in Dealy Plaza from his prime vantage point.  He immediately realized he was the expendable fall guy, threw down his rifle and raced to his apartment to get his hand gun.  Officer Tibbets was on the way to assassinate him but Oswald got the drop on Tibbets first then entered a public place where the hit on him would be obvious.  It therefore follows that like Wesl he had to be eliminated.  It was therefore made easy for Jack Ruby to make the hit on Oswald.  That Ruby was connected to the Outfit makes his ‘patriotic’ story wash ‘thin as piss on a rock’ to use President Nixon’s expression.

page 27.

     While the above proves nothing about the Kennedy Assassination  it should give food for thought.  Johnny Roselli claimed to have risen out of the sewer to deliver the actual shot that did Kennedy in.  I just love this stuff.

     At any rate it is almost certain Burroughs got the assassination plan from somewhere else.  If not from Roselli than from some forgotten short story or elsewhere.  I’m betting on Johnny Roselli.

     So, there we have the Ferdinand/Hilda story adapted from G.W.M. Reynolds and the revolutionary story from events in Russia from 1905 to 1917 and beyond.  A third influence seems to be the Ruritania/Graustark stories of Burroughs first novels which would be constellated around the magazine version of Lad.  The combination with later events gives a nice illusion of continuity.

     The account is very generalized so that there is no obvious reason to retaliate on Burroughs.  There can be no mistaking that Meyer was meant to be a Jew as Meyer is a Jewish name.  That would have been daring enough for Louis B. Mayer to know who Burroughs was referring to.

     The evidence is that this was Burroughs last intended shot in the war as at the very end in reference to Wells he throws in the towel.  It might be well to quote the entire chapter 25 with some commentary.


Chapter Twenty-five.

     Magazines from civilization seep into many far corners of the world.  One such, an illustrated weekly of international renown found its way into the douar of an Arab sheik.  The son-in-law of Ali-Es-Hadji was reading therein an account of happenings in a far-off kingdom.  He read of the assassination of King Ferdinand and Hilda de Groot, and he examined with interest their pictures and pictures of the palace and palace gardens.  There was a full page picture of General Count Sarnya, the new Dictator.  There was also a picture of an elderly, scholarly looking man, named Andresy who had been shot with many others by order of Sarnya because they had attempted to launch a counter-revolution.

     One day General Count Sarnya received a cablegram.  It was from from Sidi Bel Abbes.  All it said was, “Congratulations! You have my sympathy.” and it was signed, “Michael.

That’s a well packed paragraph that might have been expanded to three pages or so.  It weems too compact to me yet I suppose it contains all the information to make its point even if it lacks color and shading.

     The opening sentence is a direct reference to E. M. Hull’s The Sheik.  In that novel the heroine, Diana, is presented in nearly the exact scene.  She was the captive wife of the Sheik; Michael is the husband of the Sheik’s daughter.  So we have a reversal of roles.  I believe Burroughs is an adept at this.

     The question is to whom is the paragraph addressed.  It is obviously meant to be read by someone:  is it Stalin? is it Wells? or is it intended for both?  You may be certain that both men read it.  Let us take Wells first.

     By 1938 Wells had had a definite falling out with Stalin.  As I pointed out, in next year’s Holy Terror He would call for the assassination of Stalin.  Wells had reason to be bitter.  He was definitely in love, even dependent on the Soviet state prostitute, Moura Budberg.  Stalin had sadistically let him see Budberg and Maxim Gorky together when Budberg told him she was somewhere else.  Then Stalin ordered Budberg to break off with Wells.  One can’t be certain but I most certainly believe Burroughs was keeping up on these details of Wells’ life which, while not perhaps common knowledge, were no secret while probably being an item of gossip among the cognoscenti.

page 29.

     Now, Burroughs had recently taken a new young wife so that he was able to flaunt her to a broken hearted Wells.  In Blettsworthy that hero who had been living a fantasy life along the lines of Burroughs’ stories has been under the care of a psychiatrist.  When he regains his sanity he learns he hasn’t been living on Rampole Island but in his imagination in New York City.  New York City?

     As the Lad is an answer to Blettsworthy, consider:  Michael as a child  has a raft fall on his head giving him total amnesia.  Unlike Blettsworthy he is actually living the fantasy at sea and in the African desert.  Than, a la Tarzan, not to mention Burroughs self, he gets his forehead bashed and torn open suffering excruciating head aches, as did Burroughs in real life.  Then Aziz’ collapse.  When he recovers, voila! his memory is completely restored but rather than being in New York City he is still in his exotic location in the desert his head in the lap of his beauteous new wife,  Nakhla.  So we have a probable sneer at Wells who will read the novel.

     To Stalin:  As remote a possibility as it may seem there is every evidence of some kind of duel between Stalin and Burroughs.  There is no other reason for him to introduce Stalin into Invincible and Triumphant by name.  The alternate Russian story of Lad is a fictional account of the two Russian Revolutions.  Count Sarnya is obviously meant to be Stalin.  The execution of Andesy and the counter-revolutionists must refer to the show trials of 1936.

     So here we definitely have a sneer at Stalin.  Burroughs waves both men off as though he’s finished with them.  Burroughs had had enough, he will be content to tend his own garden.

page 30.

     By 1938 Burroughs had been pretty thoroughly plundered in a fight that was not of his own makiing.  MGM had Tarzan, his writing career was effectively over.  If the pulps were inflitrated by Reds giving him trouble the talkies had him on the ropes.  When Burroughs said he no longer read fiction he was still watching many volumes of fiction on the screen.  The fiction laden pulps couldn’t compete with the movies.  That market if not closed was no longer lucrative.  He was out of radio.  The only steady income he had came from the comic strips.  Within a couple years he would be run out of Hollywood.

     All the bright new young writers were Communists, no one else could get their foot in the door.  As one of the old dinosaurs Burroughs had pretty effectively been cut from the tree.

     The America he had known in the nineteenth century was gone.  The last buffalo robe had been sold in the twenties.  Even the America of the first and second decades were gone.  Heck, the twenties were only a fond memory.  The grim Communist politics of FDR had arrived with the Dust Bowl.  Hitler had flushed out all the Freudian Jewish psychoanalysts of Europe into New York and Hollywood.  The Frankfurt School that had fled to Switzerland in 1932 gave up Europe in 1935 fleeing to New York City.  In 1941, probably to escape any danger from a Nazi invasion of New York they fled further West to Hollywood to find Santa Barbara shelled by the Japanese in 1942.

     The extermination camps of Hitler accellerated the success of the Jewish Revolution by more than somewhat.  In 1946 a direct frontal attack on America began with the release of the movie, Gentlemen’s Agreement.

     That tall thin guy watching The Testament Of Dr. Mabuse in 1943 and The Iceman Cometh in 1946 staged his The Death Of A Salesman in 1949.  the play had a curious affect on the nation seeming to undermine its confidence although it is difficult to understand why.  That is the reason Arthur Miller is lauded as a genius not from any ablility as either a thinker, or a playwright.

     From then on the deconstruction of America was a piece of cake.  The reconstruction along Jewish Cultural lines began in earnest in the sixties being nearly complete today except for some counte-revolutionaries in the odd nook and cranny, here and there.