Jay Michaelson Talks The Talk

To Ben Carson


R.E. Prindle


The redoubtable Jay Michaelson, spokesperson for the Jews, is at it again.  This time his out of control rage is directed at a poor Negro, Ben Carson.  Knowing that Negroes have suffered almost as much as Jews I was truly surprised at Jay’s hitherto concealed bigotry.

Ben, who as we know is running for president made some innocuous  remark to set Jay off.  Naturally Jay began spewing the usual ad hominem vitriol over the whole Republican Party that indirectly includes a little old domestic terrorist like me.  Jay, I take personal offence at your comments.

Check this:

Carson’s exact argument has been made by morons as disparate as Matt Drudge, Ted Nugent, Fox News commentator Andrew Napolitano, racist ex-ballplayer John Rocker (now a favorite on the Tea Party circuit), current NRA president David Keene and former NRA president Wayne LaPierre.

Morons all says Jay, offending at least that bunch.  Maybe, but Nugent is a great guitar player and that should count for something.  Charlton Heston deserved at least an honorable mention even if he is dead.  Oh, that’s right he was Jewish.  Excuse me.

All Republicans aren’t bad according to Jay because:

There is a very decent Republican Party out there, that is…strong on Israel…’

Now we know what makes a good Republican, they’re Neo-cons.

Jay who looks to have been born around 1980 or so still considers himself a victim of the holocaust, you knew this was heading there, didn’t you?  Jay rants on:

Second, Carson’s (the poor Black fellow) statement is so offensive as to beggar the imagination.  [That is if you’re of Jay’s persuasion, my own imagination wasn’t beggared.]  Most of my grandparents, and many of my grandparents generation, died when the Nazis and their Ukranian [Now you know why the US is assaulting the Ukraine.] collaborators rounded up entire villages and massacred them in the forest.  So, Dr. Carson [Son of Dr. Mengele] what killed them was gun control?

No, what killed them was anti-Semitism, bigotry, hatred and extreme nationalism [All strong Jewish characteristics.] all of which, incidentally are far more prevalent on the right than on the left.  In the ADL’s words, “Gun control did not cause the holocaust; Nazis and anti-Semitism did.”

Now, hold  on there a minute Jay.  Let’s examine that past passage a bit.  you seem to imply that the Jews were totally innocent in this matter, innocent collateral damage.  Yet it is absolutely clear that the Jews were first to declare war on Germany and not the other way around.  In early 1933 before anything had been done to the Jews, they publicly declared war on Germany.  True, check it out.  As Roosevelt’s henchmen they instituted a worldwide boycott and blockade on shipments of food and medicines to Germany that got tighter and tighter as the thirties wore on.  Germany depended on imported food Jay so what your Jews were doing was committing genocide on the German people.  Be fair Jay, if you can, if you don’t eat you die.  Yes, the Jews were using food as a weapon of mass destruction.

So, ask yourself a question Jay, would you leave an enemy sworn to your destruction behind your lines?  Of course not.  What would your own Jews do in a similar situation Jay?  I’m asking you to remember the Amalekites now Jay.  You know what you would do.  And that’s what the Nazi’s did.

I think you’re right though Jay.  Gun control had nothing to do with it.




Henry Ford And The Jews 1


R.E. Prindle


Breitman, Richard and Lichtman, Allen J.: FDR And The Jews, 2013, Belknap Harvard

I am going to make a long quote from the above title by Breitman and Lichtman. This quote by two Jews coming out today will say exactly in the year 2013 what Henry Ford was claiming in 1920-22. Apparently the Jews feel secure enough in their conquest of American culture to come out from behind the lies and denials that were absurd then and appear ludicrous today.

Pp. 50-51

In December 1918 shortly after the Armistice ending the war, an American Jewish Congress met at last in Philadelphia, with major factions of American Jewry participating. In June 1917, some 335,000 women and men, living in more than eighty cities and belonging to more that thirty Jewish organizations, had voted to choose representatives to the congress. Its mission was to form a Jewish delegation to the Paris Peace Conference. Among 400 delegates, lawyers, businessmen, and financiers from the American Jewish Committee shared space with socialists, labor leaders, and rabbis. In the election for congress president, an American-born federal judge, the aforementioned Mack, defeated a Lithuanian-born Yiddish-language poet, Solomon Bloomgarten, known by his pen name Yehoash. Nathan Straus, co-owner of Macy’s and Abraham & Strauss department stores, who would give most of his fortune to Zionist causes, served as honorary president. Marshall headed the Jewish delegation to the great power deliberations in Paris. At the insistence of the American Jewish Committee, though, the congress convened as a temporary body that adjourned in 1920.


Jewish unity shattered after American delegates returned home from Paris. Despite the leadership of American Jewish Committee members such as Marshall, Mack, and Straus at the American Jewish Congress’s inaugural 1918 meeting, the committee shunned the congress when it reconvened as a permanent body in 1922. Leaders of the committee also denounced proposals to expand “Jewish democracy” into a World Jewish Congress, which they said would inflame anti-Semitism in the United States and Europe. No longer could the American Jewish Congress claim success for its goal “to unify American Jewry.”


The American Zionist movement also splintered under stress. Chaim Weizman, president of the World Zionist Organization, quarreled with [Louis] Brandeis over fundraising and control of the movement. He charged that Brandeis led a secular, soulless movement that aimed at economically developing Palestine but lacked a distinctively Jewish component. Some Zionists also objected to Brandeis as the puppet master who pulled the strings of the movement without taking personal responsibility. Jewish activists futilely implored Brandeis to leave the [Supreme Court] bench and lead American Jewry.


When Brandeis and his allies lost control of the Zionist Organization of America during the 1920s, membership and fundraising plummeted. Into the vacuum came Hadassah, the Women’s Zionist Organization of America. Henrietta Szold founded the group in 1912, both to aid Jewish settlers of Palestine and to carve out a place for women within the Zionist movement. By 1917 Hadassah had 34,466 reported members, compared to just 21,806 for the once-dominant main Zionist group.


Jewish factions in the United States briefly unified again in 1929. After protracted negotiations, the Zionist Organization of America endorsed a proposal to add non-Zionists, represented primarily by the American Jewish Committee, to the international Jewish Agency. Under Chaim Weizmann’s leadership, the Jewish Agency represented Jewish interests in Palestine. Under the authority of the League of Nations mandate, it worked to establish a Jewish homeland in Palestine and administer the outside aid that sustained its Jewish population. Rabbi Wise had objected that Zionists had betrayed their ideals for non-Zionist money and seemed “content to be a tolerated auxiliary and beneficiary of the philanthropic process in American Jewish life.” Although most Zionists endorsed cooperation with prosperous, well-connected Jews, Jewish unity quickly collapsed after Marshall’s [President of the AJC] death in 1929 and the Arab Riots that summer in Palestine. In the wake of the riots, the Brandeis group led by [Rabbi Stephen] Wise and Bernard Deutsch regained control of the Zionist Organization of America.


Since according to Jewish experts at the time the Jews were ‘united’ it would appear that Ford’s division into international and ‘regular’ Jews was incorrect. There was only a worldwide congregation of Jews all working together. Of course, only a fool or the intimidated could have thought otherwise.


You will notice that so-called American Jews formed a ‘Jewish’ committee to negotiate solely Jewish interests to send to the Peace Conference in Paris. Thus the Jews thought of themselves as an autonomous people living in the United State and not as Americans as they claimed.


I think the time may have come for the Jews to apologize for their atrocious, defamatory and evil treatment of Henry Ford. It is time for the American people to cast off that defamation and rehabilitate Henry Ford as the greatest citizen of the world in the twentieth century. Unfortunately his work is now being undone by the ignorant, evil and malicious.


Viva Henry Ford!




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


R.E. Prindle

ERB The Scholar

Part 2

Lady Barbara Drops In

     As always ERB is the consummate multi-culturalist both ethnic and social.  Barbara is the daughter of the English Lord Whimsey, Smith is a college professor, Capietro is an Italian Communist renegade, Stabutch is a Russian Communist, the Midianites represent an ancient religious culture derived from the Jewish, Tarzan is Tarzan of Africa and Lord Passmore of England and then we have a cast of animal characters including a tribe of baboons who interact with Tarzan on the cultural level.  All are represented as being culturally distinct.  ERB is more of a right multi-culturalist than a left.

     If a culture is in fact a culture it must be distinct or it couldn’t qualify as a culture.  To be of the French culture there must be characteristics that can be identified as specifically French.  Else, why call yourself French?  The Left multi-culturalists need to define their terms a little better.  They come across as rather shabby intellectually.

      Then, of the hundreds, probably thousands of cultures, are they all to be considered equal?  For instance is it considered desirable to be of the Prison culture?  Pedophile culture?  No, of course not; not all cultures are equally beneficial.  Each culture must be analyzed on its own merits and faults, completely analyzed by objective analysts.  No particular culture need be nor can be taken at its own evaluation.  Obviously many cultures are to be avoided completely.  Others should be isolated or quarantined.  Which is which can only be determined by an analysis of its positive contributions.  The results of analysis can be unkind; the truth frequently hurts.  As the French say:  C’est la vie.

     In his analysis of group cultures ERB does draw conclusions.  There’s no doubt he thinks that the Communist culture is a negative to be avoided.   Thus Zveri in Invincible was ignominiously defeated by Tarzan as Stabutch will be in Triumphant.

     In almost every case ERB is very hard on religious cultures as he will be in this novel.  Is he unjust or is the truth about religion just too hard for devotees to bear?  Everyone will have their own opinion while I have made my position abundantly clear:  the religious consciousness is outdated, having been surpassed by the vastly superior Scientific Consciousness.  I won’t be changing my mind soon.

     Lady Barbara Collis is about to parachute into a culture two thousand years in the past.  ERB commits a major gaffe here in the opening pages of his novel.  Lady Barbara is attempting a non-stop flight of 7500 miles in a 1930 plane, clearly impossible.  Rather than taking a direct route up the Nile she is lost several hundreds of miles to the East over Ethiopia and, get this, already running on empty.

Dorothy Sayers

  I don’t know who calculated her fuel needs but I should imagine he would be looking for a new occupation.  But, that doesn’t interfere with my enjoyment of the story any more than the donut atmosphere of Poloda in Beyond The  Farthest Star.  Who knows what goes on beyond the farthest star.  They probably even suspend the laws of gravity.

     There Lady Barbara is, way up there without the means of propulsion.  she does the manly thing: she jumps out.  This is real Twilight Zone stuff; little does she know she will leave the twentieth century and land in 80 AD or so.  The Land Of Midian has been frozen in time for the last two millennia.

     The Midians assembled within the walls of their crater hear the drone of the airplane, which sound they are unable to identify and then to their amazed eyes a little white cloud appears through the mist with a human form dangling below it.  To their religiously distorted senses it must be the Angel of the Lord.

     Thus we have a nice confrontation between two different cultures.  The modern scientific of Lady Barbara and the ancient religious culture of the Midians.  The Midians could stand as a metaphor of the religions of Burroughs’ day which, not unlike the Midians, were roooted in a culture two thousand years old and of a different and inferior consciousness.  Not only had the Scopes trial recently ended but the sensatinal affair of Aimee Semple Mcpherson was still fairly warm, plus ERB had recently read Sinclair Lewis’ Elmer Gantry.  That novel did not sit well with ERB nor does it sit well with me.  Burt Lancaster’s movie Elmer Gantry, by the way, is totally dissimilar to the Gantry of the book.

     According to ERBzine Burroughs took offence at Elmer Gantry, deploring Lewis’ habit of ridiculing

Aimee Semple Mcpherson

and demeaning people rather than presenting the story as entertainment.  Lewis does ridicule and belittle every character in his book in a detestable holier than thou manner which is very annoying.  Burroughs turns the story around and disparages practices which I suppose makes it entertainment.  For instance both the fictional Gantry and the real life Mcpherson are what are known in military slang as ‘Sky Pilots.’  Thus there is a certain amount of humor in Lady Barbara as an angel of the lord sky piloting into the religious Land of Midian.

     When the Midianites drown a young woman while dragooning her, Lady Barbara, after the manner of Mcpherson, brings her back to life by ‘a laying on of hands’, that is artificial respiration.  Clever of ERB.   It will be remembered tha Mcpherson had a roomful of crutches and wheelchairs from people she had supposedly cured by a laying on of hands.  I have no idea how many readers might have gotten the joke when the novel was released but there the joke is if you care to look for it.

     So we have the Scopes Trial, Aimee Semple Mcpherson and Sinclair Lewis’ Elmer Gantry all rolled up in a series of jokes ‘highly fictionized.’  There is probably more to be found if one could steep

Sinclair Lewis

oneself in the ephemeral culture of the time.

     As mentioned, Lady Barbara parachutes through two thousand years of time to find herself among a Pauline Christian sect that hadn’t changed one iota since c. 80 A.D.  The emphais on Pauline Christianity is important.  At about this time ERB was becoming involved with the Vedantist mission in Hollywood so discussions of early Christianity may possibly have made an impression on him.  Paul was, of course, a Jew who adapted the Jewish Christian sect for dissemination among the Gentiles.  The Catholic Church was founded on Sts. Peter and Paul while the medieval Knights Templar based their Christianity on the Gospel of John thus being Johannites.  There was a cultural divide between the Church and the Templars which did necessitate action no less than between the Paulites  and the Arians.  ERB’s emphasis is intended to indicate the Jewish origins of the Midianites.

     It will be remembered that Angustus was a Jewish Christian who arrived in company with a Nordic slave girl.  So for two thousand years the Midianites have been inbreeding.  ERB is considering the results of inbreeding, as a year later he will write Pirate Blood that deals with the famously inbred Jukes family.  Pirate Blood is perhaps his most despairing story as his mind tips toward Lamarckian evolution in an apparent attempt to explain to himself why he can’t resolve his psychological problems.

     Thus the genetic and Lamarckian traits of Angustus and the slave girl have been passed down through approximately seventy generations.  Angustus’ genes have predominated while those of the slave girl appear occasionally in sports.

     Angustus was characterized by a huge nose that was an actual deformity, a chinless face and epilepsy.  Thus if one imagines this, Lady Barbara is confronted by a group of people with huge noses covering most of their faces with no chins, the throat sweeping back from just under the lips and writhing on the ground in epileptic fits.

     There can be no mistaking that ERB is caricaturing the Jews.  Angustus was a Jew and he was a Pauline Christian.  As a Christian, ERB disguises his Jewish nationality.  The leader of hte Midianites, Abraham the son of Abraham certainly puts the Midianites into a Jewish context, as does the fact that they consider themselves the ‘chosen people.’  Ludicrous enough from their physical description.

     ERB’s caricature is one that was prevalent when he was a young man, while one that couldn’t be missed by the gentlemen of the ADL/AJC and MGM.  They would neither forgive nor forget.  In fact Tarzan would be potrayed in The New Adventures Of Tarzan as chinless and with a huge nose.  While Herman Brix/Bruce Bennet had neither a bulbous nose nor was chinless the effect was achieved through photographic lighting and shadowing.  Either that or the film has deteriorated through time to achieve that effect.  (DVD, The New Adventures Of Tarzan, Alpha Home Entertainment, www.oldies.com )

      If you think there isn’t a war going on here, look more closely.

     Even though of Jewish descent, the Midianites are Christians, but of the most primitive stripe; they make sects like the Nazarenes look liberal.  Their minds are uncompromisingly dark.  The girl who was dragooned was sentenced to death for smiling.  Joy was considered of the devil in Midian.  Here ERB characterized a number of Christian sects correctly.

     Among the people who greeted Lady Barbara was a genetic sport who harked back physically and mentally to the original slave girl.  She is Jezebel.  She and Lady Barbara are immediately attracted to each other by their beauty.  The attractive and intelligent Midianites were invariably fair haired and blue eyed while the unattractive ones were dark haired, brown eyed and stupid.  Little doubt that the AJC/ADL would consider the book ‘racist.’

     Jezebel is an interesting character in that she is a little more than light headed.  She is governed entirely by surface appearances.  As in Lion Man where the hybrids were expelled from Henry’s village, so the more attractive males were exiled to the other side of the crater.  Obviously we have an example of eugenics here.  They were more warlike than the Midianites occasionally raiding them.  Jezebel remarks that they are so good looking she hopes they will capture her.  When the Midianites  honor ‘the angel’ with her own cave and offering of food, Jezebel is depicted laying back eating grapes like a spoiled young thing with a box of bon-bons.  ERB later describes her as a Golden Girl which relates her to Balza of Lion Man and hence to Florence.

     Whatever ERB tells himself about Florence in his conscious mind his depiction of her in his unconscious life seems to be quite different.

     At first Lady Barbara is treated quite well but familiarity breeds contempt.  Abraham Ben Abraham begins to suspect her divinity.  Even the miracle of the laying on of hands that restored the girl to life being no less a miracle than the raising of Lazarus cannot dissuade Abe Ben Abe from testing Lady Barbara.  Thus she too is dragooned but instead of being dunked three times she is thrown into the lake wrapped in a net with the net weighted.  Here is proof positive that ERB read Dumas’ The Count Of Monte Cristo.  The scene replicated Dantes being thrown into the sea from the Chateau d’If.

     Lady Barbara has her handy jackknife so that she is able to cut her way free.  Thus we leave her here crawling gaspingly ashore while we check in on Lafayette Smith and Danny ‘Gunner’ Patrick.

The Big Bwana


The High Brow And The Low Brow

The Mucker And Marcia Of The Doorstep

Part VI

Living On Tulsa Time


R.E. Prindle, Dugald Warbaby and Dr. Anton Polarion

Livin’ on Tulsa Time.

Livin’ on Tulsa Time.

Gonna set my watch back to it,

‘Cause you know that I’ve been through it,

Livin’ on Tulsa Time.

– Danny Flowers

     During the ’60s a lot of energy was put into the notion that one live in the HERE and NOW or someone else’s impression of the NOW.  There used to be a big San Francisco poster with nothing but a black background with the giant word IS in white.  NOW IS NOW.

     They didn’t know how much they were asking.  It is impossible to actually live in the NOW; No one can do it.  Rather the past is a drag on NOW preventing a full involvement with the present.  The period of time it takes to digest the previous NOW and update to an approximate notion of the current NOW is excruciatingly slow.  The sharper the break between the past and present the more traumatic the reaction.

     In the song Living On Tulsa Time the singer, no matter what time zone he is in sets his watch to Central Tulsa time.

     I know where that one is at.  One of my shattering breaks with the past was when I went active in the Navy in ’56.  Sent from Eastern Standard to Pacific Standard I kept my watch set to Eastern Standard time nearly the whole three years of my enlistment.  I only switched to PST in 1959 when I accepted the fact that I would never return East; that California was my new home.

     Brought into contact with a new NOW I was still not ready for the present.  I continued to dress as we did in ’56 well into the sixties.  Got hard to find some new duds.  I only ceased dressing that way when I became a Hippie in ’66 and adopted fantastic Hippie garb.  I was an urban spaceman:

I’m the Urban Spaceman

I’ve got speed,

I’ve got everything I need.

I don’t feel pleasure,

I don’t feel pain,

If you were to knock me down

I’d just get up again.

I wake up every morning with a smile upon my face.

My natural exuberance spills out all over the place.

-Neil Innes

     I was really NOW there for just a little while but I wasn’t alone.  As Bob Dylan said, everytime I looked back the past was just behind.  When the Hippie era ended I reverted to a modified 1956 style.  The past came back again.  All those screaming about living in the NOW in ’67-’69 are still back there claiming they’re still living in the NOW but time has passed them by.  I didn’t wait around, baby, I slid out into limbo and I’m doing fine now, thank-you.

     Thus when ERB began writing in 1911 he was not so much concerned with his NOW as he was in vindicating his past from 1896 to 1905.  His reality in those early novels from 1911 to 1915 continue to reflect his earlier travails.  Thus in the group of novels embraced by The Girl From Faris’s he is trying to vindicate his past to his present and hopefully to his future.

     After nineteen-fifteen he was released from his past to a large extent and began to concentrate on adjusting to the NOW of his altered circumstances.  Change is NOW and ERB was going though a lot of ch-ch-changes.  His nerves were jangling as he was jerked from time frame to time frame but he didn’t enter the Promised Land of NOW.  Oh Lord, he might have prayed, if he could have seen the future- Deliver me from NOW.

     Ten years after and a world of different NOWs the Mucker far in a distant past that had disappeared behind a cloud where he couldn’t see he tackled almost the identical theme in a different world, a fast moving world, a world where NOW was so strange it was unrecognizable from day to day.  The political situation he had grown up with was no longer recognizable; it had been replaced by a new reality.  He was almost living by two different clocks in some strange Einsteinian time zone where the guide posts had been removed and renamed and everything was relative to another reality that couldn’t be recognized by any clock ticking.

     Living on Tulsa time in another time zone.  There I was in ERB’s sunny Southland with my watch running three hours ahead of everyone else’s.  It didn’t matter.  I was on the water where time stands still for everyone.  The crisis came in ’58 when I stepped back on land to journey through the time zones back to Eastern Standard Time.  I was all alone out there, you know, cut off from a past I was soon to learn couldn’t be retrieved.  Wolfe was right, you can never go home again.  The only secure place, as dangerous and that was, was my ship.  My terminal place was also a realtively secure harbor but I was stuck in the middle for six days between the time zones in which I had no place and no identity except the tenuous one of my leave papers.  A queer cop threw them into the wind and let those blow away in Illinois.  After that I was naked to the universe.  I’ve hated cops ever since.

     I wouldn’t recommend hitchhiking to anyone.  My life was on the line for twenty-five hundred miles and six days.  Twenty-five hundred miles and six days on the road without food or sleep.  I’d add without drink but in a gas station in Gary I downed six seven ounce bottles of Coca-Cola in a row.  Created a minor sensation.

     After surviving a lunatic who picked me up on the western edge of the Mojave who wanted to kill me because he was convinced I had two hundred dollars on me, which by a strange coincidence I had, I was picked up Mountain Standard in the Panhandle of Texas by a couple homosexuals who wanted a different treasure I possessed and dropped off Central Time in Tulsa.  My watch was only one ahour ahead by then.  I was getting close to some kind of NOW or was I?  No.  Time is much more relative than that.  I was soon to be living a strange combination of NOW and THEN.

     Tulsa was a tough town.  I don’t need to see Tulsa again.  I wasn’t about to start living on Tulsa Time.  I was an hour ahead which couldn’t have been better.  I had to walk through Tulsa, hungry and thirsty.  I spied a place across this great expanse of grass between it and the freeway.  As I approached the place began to glitter.  Fancy, but I could see a coffee shop at the top of a long flight of stairs to the left.  I didn’t want to spend money so I thought I’d just get a glass of water.

Oh Dan, can you see

That great green tree

Where the water’s running free

Just waiting there for you and me.


     But between me and the water was this big cowboy in high heeled boots, a tuxedo and ten gallon hat.  Fancy goings on as I noticed ladies entering to the right in ball gowns escorted by tuxedos.  I came prepared or thought I did.  I was in my dress blues and my Uncle Sam told me I should never be ashamed of my uniform, it could pass for a tuxedo anywhere.  Anywhere but Tulsa.  That cowboy had never discussed the issue with my Uncle Sam.

     I was bold but the problem was he had the advantage being on the landing at the top of the stairs and I had to climb the stairs to get past him.  He had his fist doubled and these high heeled boots with those silver plates on the toes.  That was a mean looking business proposition.  I had a lot further to fall than he did.  Get my uniform messed up and things.  Then where would I be out of time and place?  Whew! Why does one have to face tough choices?

     I’m getting a drink of water, I said, trying to combine thoughness with masculine geniality a al the cowboy ethic.

     Not here you ain’t.  He said, making a move to kick me down the stairs.

     Hey buddy, this is a tuxedo I’m wearing.  I faltered.

     His reply was not one of which my Uncle Sam would approve.

     I left Tulsa still thirsty not liking cowboys any better than I liked cops.  NOW has its perils.

     A day or so later I was still in Central Time.  Tulsa was a tough place and the rest of Oklahoma was no California.  I was heading North now which kept me in the same time zone.  Then I made the mistake of crossing the Mississippi into East St. Louis.  After just a couple minutes I really liked Tulsa.  Wished I was back there.

     I don’t know what evil forces made me want to hitchhike across country, damn Jack Kerouac, but I was within a hair’s breadth of being sliced and diced on the streets of East St. Louis.  Whould have tossed me in the river as so much driftwood.  Three Black guys with switchblades in their hands kept inching toward me while I kept inching closer to the middle of the highway.

     That morning some guy got in his car for a pleasant drive to Louisville.  He decided ot go through East St. Louis for some mysterious but critical reason.  He arrived in East St. Louis just as these three knives were deciding to make their move.  This guy sized up the situation from a couple blocks away, slammed on his brakes throwing open the passenger door at the same time shouting ‘Get In’ for God’s sake get in, NOW.’ Novel experience for a hitchiker.  I wasn’t sure I wanted to rush because if I made a break for it those three knives might move faster than i could.  I hopped in casually casting a smiling glance over my shoulder.  The driver peeled out of there nearly separating a hand from the wrist on the door handle.  I was saved from that particular NOW and END but I was on the road to Louisville which was still a far cry from Eastern Standard which was the time zone I so ardently desired.

     It took me another day or so as I had a lot of North to make up but I did get into Eastern Standard.  Now my watch matched the time zone but there was a mismatch between the present and the past.  Rather there were two different presents and pasts going on at the same time.  Mine and theirs.  I don’t think Einstein is right but well, maybe, time wasn’t that relative but the uses they and I were making of past and present sure were.

     That’s where memory comes in which makes time and space so relative.  I had been absent for two years and what I had been experiencing was much different than what they had been experiencing.  They had actually been living on Eastern Standard Time while I was just pretending.  I knew I was out of time.  For me time had been rapidly changing but for them time had more or less stood still or, rather traveled in a straight line.  To me they were still living in the past.  Oh, they had aged a couple years but their trajectory was different and slower.  Relatively they had stood still while I had rocketed away.

     It was as though I had been a gamma cloud burped from some collapsed star in some galaxy a billion light years away.  As is known once set in motion an object will travel in a straight line at the same speed unless some other agent interferes with it.  It was as though I had been careening through space ripping apart the fabric of time and space or disregarding it completely as though it wasn’t there; at any rate completely unaffected by this fabric which apparently has no tensile strength, there was no gravity of any force that deflected my course in a curve while if space is curved I was traveling so fast I careened right off the curved track.

     Who knows how many black holes i passed over without being drawn into the vortex; who knows how many puny suns I swept across without having one atom deflected by the puny gravitational pull of the strongest sun; who knows how many planets I depopulated.  One billion light years and running, my speed and trajectory were the same as when I was emitted from that distant star.

     Now, as though by some miracle here I was back where I began but in two different time zones at one time.  Theirs and mine.  Obvious I must have passed through a worm hole or fallen into a memory hole.  We stared at each other blankly each unable to comprehend the other.  They thought I have become weird,or perhaps weirder, because they had stood still while I had been careening through time and space in timezones they would never know.

     I smiled and got on a bus, enough of the adventures of hitchhiking.  One the way back to Standard Pacific Time I abandoned Eastern Standard adjusting my watch as I passed through Central Standard and Mountain Standard.  I was not exactly living in the NOW but I was in the correct time zone.

     Minor but vital adjustment.

     So, when ERB caught up with himself in 1914-15 he was no longer living on Tulsa time.  He was trying to adjust his watch to his current time zone.

     But as he was careening through space and time, space and time was moving at an even more frantic pace so it was difficult for him to get his bearings.

     Science was changing his world at a rate faster than the mind could follow.  Events in the far off Detroit that he had known and loved as a young fellow were going to affect his life just a few years hence.  In 1914 Henry Ford had shocked the industrial, moral and social world by ‘unilaterally’ doubling the wage for unskilled labor.

     This was a violation of ‘natural law’ which is to say religious sensibilities.  At the time a natural law of labor was believed and incorporated into religion.  The law was that if only one man can do a job he can command his price.  Skilled labor can demand more than unskilled labor but when anyone can do the job as in unskilled labor they will have to take what is offered.  Thus Ford pitted science against serious religious beliefs.

     At about this time a Judge in a labor dispute asked the strikers if they didn’t know they were going against God’s will on earth.

     This was at the time when the Liberal Coalition was forming and there were strangers in the land, to use John Higham’s expression, who believed they truly represented God’s Will.  There is no greater enemy to God’s Will on earth than Science and the Scientific Consciousness.  If you recall the so-called Christian Scientists reject scientific medical cures preferring to depend on the Will of God.  Apparently it has never occurred to them that a case of a ruptured appendix means God’s Will is death while a simple operation means life.

     Nevertheless Ford upset the natural or religious order of things and had to be stopped.  Ford himself believed he had discovered a universal law in mass production so that he was actually a prophet of his own new religion.  Believing himself in the possession of the truth he acted accordingly seeking to apply his method to each and every problem.  Thus when the Great War began it was deemed possible to negotiate with the participants on a personal level to get them to cease hostilities.  Ford believed he could do it.  The Strangers In The Land who were living on Babylon Time saw their opportunity to pit their religion against Ford’s science and they took it.  The Man of Science was in their pocket.  They convinced Ford to take a horde of well meaning but naive people to Germany for a confab with the Kaiser.  Ford fell for it.  This was the famous Peace Ship episode that shredded Ford’s reputation two short years after he had made it.

     Ford always maintained that after the ship was at sea the Strangers revealed themselves telling him that only they could change the course of the war.  They began it and only they could end it.  When he returned home he found the Strangers in charge of the War Industries Board and they and the Wilson Administration were telling him how to run his business.  Babylon Time had met the Twentieth Century and found it could make the clock run.

     Ford with his universal panacea was not the kind of man to take this sort of thing lying down.  Ford Motor Co. had as much cash laying around as Bill Gates and Microsoft does today.  Ford put his money to use.  These are complex times so I am going to edit out all information that doesn’t pertain to my moral.

     Ford believed in his method.  By applying it properly he saw no reason he couldn’t solve the age old problem of the Jews here and now.  He thought reason would work, poor man, so he bought himself a library of Jewish studies, put his man Bill Cameron on the job to study the library and publish the results in his newspaper, the Dearborn Independent, that he bought to disseminate his reasonable solution to the problem.  He made the Dearborn Independent a national newspaper, perhaps the first of its kind.  He even had a distribution system handy.  He made all his Ford dealers distribute the papers, even out in Hollywood, California.

     The Independent made such a noise that the papers couldn’t be given the silent treatment.

     The independent appealed to a very large number of people although Liberal historians have given the impression that the paper went unread.  The paper didn’t go unread.  Out in Hollywood a man named Edgar Rice Burroughs apparently read the paper assiduously.  As, why not, even if you don’t agree with the premise of a movie like The Passion Of The Christ that doesn’t mean you don’t go to see it.  I used to read The Christian Science Monitor and I’ve never been a Christian Scientist.  I used to read the Daily Worker and I’ve never been a Communist.  A lot of people did go see the Passion making it one of the most lucrative films in history and lots of people read the Dearborn Independent, even devoured it.

     Each week the paper issued a new article exposing the true nature of the ‘Jewish Problem.’  The articles were well researched, reasonable and accurate, but as they criticized a religion, no religion will stand any criticism if they can help it, they were necessarily labeled heretical, infidelic, bigoted, anti-Semitist.  In this case you can check anti-Semitist.  From this particular religion’s point of view they were anti-Semitic but from a reasonable scientific viewpoint they weren’t and aren’t.

     The Jewish reaction was strong and violent.  As a member of the Liberal Coalition they called in their allies who branded Ford an anti-Semite and ostracized him.  Then Ford was out there all alone.  A major campaign of vilification and defamation was conducted against him.  All the hypnopaedic media were called into play against Ford.  William Fox, the Fox part of the later Twentieth Century-Fox, used his Movietone News shorts to portray every Ford that was in an accident as at fault and unsafe.  Now that’s defamation with a capital D.  By 1925 it was clear that Ford could use some allies.

     Enter Edgar Rice Burroughs and Marcia Of The Doorstep.

     As we know Marcia was never published so ERB’s aid was hypothetical.  A reasonable question is what evidence do I have for ERB’s intent.  I offer Marcia Of The Doorstep as my evidence and certain articles from the Dearborn Independent.  As I’ve said before ERB in Marcia exhibits a seemingly involved knowledge of the theatre.  I  have been puzzled as to where he got it.

     I think I may have his source.  The original Ford articles were issued weekly beginning in 1920-21 later being collected into a series of four volumes entitled ‘The International Jew’.  What I am dealing with here is literature and history.  I have no concern in the nature of the Ford articles.  My only interest is what Ford and Burroughs understood and how they expressed it.  Leave it at that.  (It wasn’t left at that.  As of 10/27/08 this essay has been censored by being left out my catalog of essays and not mentioned under any of the tags;  Old habits are hard to break, I guess.)

     Like Burroughs believed, or as Burroughs understood Ford there are two types of Jews.  The ordinary Jew who goes about his business and the international Jews who is causing all the mischief.  Thus the title International Jew excludes the mass of ordinary Jews and refers only the the International trouble makers.  For Burroughs there was the ‘type’ of Max Heimer corresponding the the International Jews and the type of Judge Berlanger representing the ordinary of ‘Good Jew.’

     In Volume II of the Interntional Jew there is a series of four atrticles on the American Theatre.

     The books themselves have long since been stolen from the libraries and destroyed in an informal kind of censorship but due to the wonders of modern technology they’re available on the internet.  The relevant theatre chapters can be fund at the URLs below:





     The first is entitled Jewish Control of the American Theatre of 1/121; the second: The Rise of the First Theatrical jewish Trust of 1/8/21; the third:  Jewish Aspect of the Movie Problem; and the fourth Jewish Supremacy In The Motion Picture World of 2/19/21.  I believe all the necessary theatrical information is contained in these four atircles.  All were written in 1921 giving ERB plenty of time to involve himself by 1924.

     As you may remember ERB was sent a copy of the Jewish Bill Of Rights in 1919 and it was demanded that he endorse them.  Thus there are an additional three articles from Vol. II that may be applicable.  They are found at:




     While the last three do not reflect on Marcia to a great degree they will provide a better backgrund to ERB’s thinking on the issues as he must have studied them carefully.


     It is very probable that ERB coded information into the novel to let Ford know this one was for him.  For instance Clara Sackett was probably named after Clara Ford.  Could be coincidental but the engineer of the Lady X was named Sorenson while Ford’s Chief Engineer was Charles Sorenson.  Given ERB’s obvious connection to the Dearborn independent which Ford would easily have recognized, if he would ever have read the book, I think the references are conclusive.

     While on this topic I would also like to point out that when the ban on Tarzan movies was broken in 1926 it was done by the arch ‘anti-Semite’ Joseph Kennedy who owned FBO Studios at the time.  FBO was a little later bought by David Sarnoff of RCA who formed RKO.  Radio-Keith-Orpheum thus editing Kennedy and FBO out of the picture.  Punishment?

     Also if you want a lively account of these proceedings check out Upton Sinclair’s self-published Upton Sinclair Presents William Fox.  Sinclair’s is a nice first person I Was There type thing plus when William Fox was driven out of the movies, this is really exciting stuff, he went to Sinclair with his story.  so Sinclair not only lives through this from a distance but is told part of the story first hand.  I just love this stuff.

     I am not particularly concerned here with whether the Dearborn Independent articles are true and accurate, although I am sure they are, but my concern is that Burroughs read them, believed them and acted on them.  Bearing in mind his contact with the AJC he had no reason to disbelieve the articles.

     In the first article ‘Jewish Control Of The American Theatre’, after an introduction that relates Jewish activities in Russia to Jewish activities in the United States a general statement on the theatre is made:

     The Theatre has long been a part of the Jewish program for guidance of the public taste (hypnopaedic media) and influencing the public mind…it is the instant ally night by night, week by week of any idea which the ‘power behind the scenes’ wishes to put forth.  It is not by accident that in Russia, where they now have scarcely anything else, they still have the Theater, especially revived, stimulated and supported by Jewish-Bolshevists because they believe in the Theater just as they believe in the Press; it is one of the two great means of molding popular opinion.

     Cameron should have mentioned movies and song publishing and he would have had the major elements of hypnopaedic conditioning so brilliantly illustrated by Aldous Huxley in his Brave New World.

     As we all know Burroughs was opposed to the Bolsheviks; he undoubtedly believed as did any knowledgeable observer that the Bolsheviks were predominantly Jewish.  We may believe that he endorses the premises of these article.

     Further down (a shortcoming of the internet is that there are no page numbers) the article says:

     Down to 1885 the American Theater was in the hands of Gentiles.  From 1885 dates the first invasion of Jewish influences.  It meant the parting of the ways, and the future historian of the American stage will describe that year with the word “Ichabod.”

     Second paragraph below:

        About the time that Jewish control appeared, Sheridan, Sothern, McCollough, Madame Junuschek, Mary Anderson, Frank Mayo, John T. Raymond began to pass off the stage.


     All that remained after the Hebrew hand fell across the stage were a few artists who had recieved their training under the Gentile school- Julia Marlowe, Tyrone Power, R.D. McLean and a little later Richard Mansfield, Robert Martell.  Two of this group remain, and along with Maude Adams they constitute the last flashingsof an era that has gone- an era that apparently leaves no great exemplars to perpetuate it.

     There you have the premise of ERB in Marcia and enough history to flesh out the fiction.  The old school was gone.  ERB then names several players as here.  The last surviving exemplar of this tradition is Mark Sackett.  But even for Mark there are no plays worthy to perform in.  As a member of Abe Finkel’s troupe he condescends to perform in problem plays and the new sex comedy.

     The article continues:

     “Shakespeare spells ruin”: was the utterance of the Jewish manager.  “High brow stuff” is also a Jewish expression.  These two sayings, one appealing to the managerial end, the other to the public end of the Theater have formed the epitaph of the classic era.

     So there you have the complete story of Mark Sackett.

     He was the last of the breed, a fine old Gentile actor of the old school of pre-1885.  Corrupted by the Jewish influence on the theatre he accepts demeaning roles.

     When he comes in to money he tells Max Heimer that he is going to perform Shakespeare.  Max takes the position that ‘Shakespeare spells ruin’ arguing for a Ziegfeld Follies type show, a problem play or a sex comedy which he feels is a surer hope of success than the ‘high brow’ stuff.  Straight from the Dearborn Independent.

‘…the rage is for extravaganze and burlesque.’


     In this manner was laid the foundation of the latter day Theatrical Trust.  The booking firm was that of Klaw and Erlanger, the former a young Jew from Kentucky who had studied law, but drifted into theatrical life as an agent; the latter a young Jew from Cleveland with little education but with experience as an advance agent.

     Thus Abe Finkel is probablly the Klaw of Klaw and Erlanger.  It may be coincidence but Judge B-erlanger is Erlanger prefaced with a B.  thus those two would reprsent Klaw and Erlanger.  Another version would be Finkel and Heimer in Hollywood also patterned after the Potash and Perlmutter movies of Samuel Goldwyn.

      The trust was resisted just as Mark Sackett resisted.

(From The Rise Of The Theatrical Trust)

     The opposition offered by the artists was prolonged and dignified, Francis Wilson, Nat C. Goodman, James A. Herne, James O’Neill, (Eugene O’ Neill’s father) Richard Mansfield, Mrs. Fiske and James K. Hackett stood out for a time…

      Mark Sackett held out then in defiance of theatrical wisdom forming a Shakespearean company.  This might be seen as a form of the Little Theatre movement which Cameron says developed in reaction to the first Theatrical Trust.

     So the basis for the New York and theatrical end of Sackett’s career may be said to have been inspired by the two theatrical articles of Cameron in the Dearborn Independent.  ERB probably read them in newspaper form shortly after publication in 1921.  Because of the AJC approach to him as well as heightened anxiety over the immigrant question caused by loyalty concerns in the wake of the War Burroughs was especially receptive to Ford’s concerns.

     If the germ of the story was conceived in 1921 the concern over Ford’s struggle was becoming difficult by 1924 may have inspired Burroughs to come to his literary aid.  Thus we have this story of Marcia which when examined more closely is very involved in post-war Revolutionary and Jewish problems.

     While the novel was universally rejected for publication this was undoubtedly because of ADL censors closely watching the publishing industry.

     One can’t be certain but it is possible that Burroughs would have been finished in Hollywood but for Kennedy’s FBO Studios breaking the blacklist on Burroughs in 1926.  Jewish movies of Tarzan began again in 1927.  After 1932s MGM film which in itself may have been a parody to discredit the Big Bwana, the property became so lucrative especially in a Depression Era climate, that movies continued to be made saving Burroughs from complete ruin.

     The war on Ford continued.  Henry Ford is an interesting figure who, like Burroughs, would continue to be a Judaeo-Communist target into the thirties and forties, to the end of his life and beyond.

     Ford zipped into the NOW in the years around 1914 when his Model T transformed America.  But then he slipped back into Tulsa Time.  The Model T was so successful for him that he failed to keep up with developments in the industry.  The Model T remained essentially the same until 1925 when a better Chevrolet overtook the Ford as the best seller.

      Ford then did an extraordinary thing that baffled conventional minds.  He shut down production for over a year as he designed the new Model A.  For this model he revolutionized the industry by designing the V8.  The Model A was an instant success reviving Ford’s fortunes but the present and the future were now so commingled, things were changing so fast that the NOW was gone before you sat down to dinner.  Constant model changes were now necessary.  The world that Ford had created had gotten away from him.

     He realized that he had lost his battle with the Jewish establishment.  He capitulated in 1927 when Louis Marshall of the Jewish government demanded an ‘apology’ to call off hostilities.  Ford told him to write one out and he would sign it.  Marshall wrote an abject apology which Ford signed without edits or reading.  Marshall then had the ‘apology’ published, bound and sent to every library free of charge.  The apology is easier to find than the Dearborn independent articles.

     The fracas came to a humiliating end for Ford and the Scientific Consciousness.  ERB’s reaction isn’t known, however on December 10, 1929 (ERB Bio Timeline 1920-29) in a letter to his son Hulbert he made these observation on Religion and Science:

     A man can be highly religious, he can believe in God and in an omnipotent creator and still square his belief with advanced scientific discoveries, but he cannot have absolute faith in the teachings and belief of any church, of which I have knowledge, and also believe in the accepted scientific theories of the origin of the earth, of animal and vegetable life upon it, or the age of the human race…(Religious) enthusiasms and sincerity never ring true to me and I think there has been no great change in this all down the ages, insofar as fundamentals are concerned.  There is just as much intolerance and hyprocrisy as there ever was, and if any church were able to obtain  political power today I believe you would see all the tyranny and inustice and oppression which has marked the political ascendency of the church at all times.

         You can’t be any more clear sighted than that.  Here ERB has clearly and succinctly stated the religious problem of the twentieth century and beyond.  His is an objective analysis of facts; religion is a subjective projection of desires and wishes.  As he notes science and religion cannot be reconciled.  As he goes on to note in the conflict between the objective and subjective, the conscious and unconscious, the tyranny of the unconscious is an unavoidable fact.  The question of which religion he fears would impose all the tyranny, injustice and oppression was clearly the Liberal Coalition and more especially the Jewish element of its multi-cultural diversity.

     We now come back to Richard Slotkin and his charges against Burroughs as the ‘mastermind’ of My Lai.  that an objection was lodged against Burroughs because he was interested in Eugenics can be discarded.  People of all political persuasions were interested in Eugenics.  If any abuses of Eugenics were made, Burroughs didn’t make them.  Besides, it’s a matter of how you interpret Eugenics.  The half man, half beast of Stalin is obviously an objectionable use.

     On the score of whether Burroughs was an anti-Semitist, which is what Slotkin really means, from a subjective religious point of view that may be so but it is not a question for the religious to decide; they are not competent to do so.  Sigmund Freud himself said that religion is a neurosis.  (That means a departure from mental health.) If he is to be respected as a scientific genius why shouldn’t we respect his opinion?  If religion is a neurosis then it should be treated as a mental disease.

     On a Scienfitic basis then is it possible to call Burroughs an anti-Semitist?  Clearly not.  The man was a clear minded rational human being of great achievement and should be honored as such.

     Should his scientific opinions differ from those of a religious bent it is they who must take a back seat not Burroughs.

     Slotkin is clearly wrong in his interpretation of Burroughs.  Slotkin represents the unconscious rather than the conscious.

     For the foregoing reasons then I think that Marcia Of The Doorstep and 1924 was the pivot of ERB’s career.  After 1924 it was no longer possible for him to live on Tulsa Time.  He came under attack from the Liberal Coalition which was as formidable for him as it was for Henry Ford.

     His novels after Marcia reflect this attack.  Those novels are perhaps his greatest.  Certainly one of the high points where he meets his enemies head on is Tarzan The Invincible that he was forced to publish under his own imprint.  The title says it all.

     I may be sentimental but I like Marcia Of The Doorstep.  I only wish he had had the patience to flesh out the ending.

     ERB wrote well in any time zone there was from Babylon Time to Tulsa Time to the NOW.

You know that I’ve been through it

But I just can’t go back to it.

There is no living on Tulsa Time.


NOW is the time.


End of Review




The High Brow And The Low Brow

The Mucker And Marcia Of The Doorstep

Part V

Marcia Explicated


R.E. Prindle


     The contrast between The Mucker and Marcia Of The Doorstep can be seen as a response to two different challenges united by Burroughs’ personal psychological development.

     He took the whole of 1924 to write this story so it may have been a real struggle.  Unlike his other novels he doesn’t record a beginning and ending date in Porges so we have no accurate idea of how long it took him.  It is possible that he had taken so much time, felt the need for money so intensely, that he rushed the ending through to try to sell the story.  One the other hand he usually scamps his endings.

     An indication that Emma may have been an influence in the planning and organization of the story is that it concerns matters that were very familiar to her.  Just as she was a voice student as a girl, so Marcia.  As Emma had to give up the studies so does Marcia.

     The milieu of the stage would have been more familiar to Emma, although having gotten involved with the movies ERB might also have familiarized himself with the stage somewhat.  I would have to opt for more involvement from Emma though.  (For further thoughts on this read Part VI)

     Unlike the other novels which feel as though they were written from the top of the head, Marcia has indications of more careful plotting.  If that is true I don’t think ERB would have been capable of it so that would argue for more involvement by Emma once again.  This is also a fairly complex plot that differs from ERB’s usual style.

     Unless I’m mistaken the novel, even though unpublished, landed him in hot water with the AJC and ADL.  I’m sure the reason would have been a mystery to ERB.  If you’ve read Part II, Section II what I have to say will be clear, if you haven’t read the Parts I recommend it.

     According to the Religious Consciousness there is no freedom of speech concerning the specific religion.  The Religion will control who is speaking, what is said and how expression is to be allowed.  ERB was not a member of the Jewish religion and as he was speaking unacceptably he was perforce an anti-Semite as the religion he was discussing was Judaism.  Had he been discussing Liberalism he would have been pathologized as a crazy bigot.  As Judaism was part of the diversity composing the Coaliton, Liberals would have considered him a bigot anyway.  Bigot is the Liberal equivalent of anti-Semite.

     The character in question is the shyster Jewish lawyer, Max Heimer.  Max is an expecially well drawn character from the viewpoint of the Scientific Consciousness, which is to say, Max is accurately drawn.  Whether from life or not is not yet known.

     Max is the protagonist of the story.  That anything happens at all is because of him.  He is not an admirable character but on the other hand he is neither truly malicious or evil.  The only thing that matters to Max, and would especially offend  the sensibilities of the AJC and ADL, is the bucks.  Max would probably stoop to outright thieving but he is a blackmailer, a swindler and a cheat.  While what he does is criminal it is done in such a way as to escape detection.  Even if you know he’s guilty the chances are you could never get a conviction.

     But, he’s not really a bad guy at heart and by his lights he’s darn near a philathropist.

     Max is always on the qui vive.  One has the impression that he never lets an opportunity pass.  Thus, one night he came across a drunken gentleman on the street, John Hancock Chase II.  Chase II for some reason was totally incapacitated.  Heimer took him home sensing an opportunity.

     Max had been living with a woman, out of wedlock, named Mame Myerz.  Although Mame wasn’t at home Max conceived the notion to tell the married Chase II that he had had sexual relations with Mame which he did nine months later when he showed up to tell Chase II he was a proud papa.  Max would keep this a secret for a fee.  Unable to sustain the blackmail Chase II shoots himself ruining a perfectly good source of income for Max.  This is no skin off Max’s nose as he blithely goes about his and other people’s business for the next sixteen years.

     That fine old gentleman, John Hancock Chase I bears the loss of his son stoically.

     As it happened Della Maxwell bore her child and left it on the Sackett’s doorstep on 4/10/06.

     If Max is finely drawn, no less can be said about Marcus Aurelius Sackett and his wife Clara, the long suffering wife of the air headed Mark, who is especially finely depicted.  Just a few deft strokes but she is always in the background worrying over her man.  Either I’m projecting from knowledge or ERB is able to portray a large loving woman who accepts the foibles of her husband, tolerating him and perhaps even loving him for them.

     Both she and Mark are overjoyed at the child left on their step.  They are no less overjoyed when Della shows up next day to move in with them.  Della Maxwell is a well chosen name.  Max-bad, Max-well.

     Mark Sackett is ably portrayed as an actor of the old school who while he fumes at the modern trash of the stage is nevertheless the kind of trooper who doesn’t leave his fellows in the lurch.  At this time in New York City he is working for Abe Finkel.  Abe is obviously another Jew modeled on the producers Klaw and Erlanger.  This is at the time of the development of movies from 1905 to 1914 or so.

     In 1919 ERB moved to Hollywood where he would have been privy to all the stories of the origins of the studio owners who with few exception were Jewish.  Most were from New York while Carl Laemmle was from Chicago via Wisconsin.  They all had risen from mundane occupations to real wealth.  Samuel Goldwyn had been a glove salesman.  Harry Cohn had been a street car conductor, Louis Mayer had had a string of jobs worthy of ERB himself so it will be historically accurate for both Max and Abe to turn up in Hollywood as studio owners.

     ERB was very good at weaving real life stories into his writing.  There are probably real life models for many of these characters and their stories may be based on true stories as they say in Hollywood.  For instance, Marcia’s first boyfriend Dick Steele goes to Hollywood as a stunt pilot where he meets his death, some mgiht say committed suicide, in a spectacular airplane stunt.  As it turns out ERB didn’t make this story up from scratch but merely, fictionalized an actual event that occurred on a movie lot in 1920.  William K. Klingaman tells the story ERB used in his popular history ‘1919’ of 1987.

     Lieutenant Ormer Locklear moved to Hollywood in February 1920, where he originated many of the airplane stunts used in the movies.  (He was the first aviator charged with reckless driving in the air, when he looped the loop over a public park in Los Angeles in April.)  In the summer of 1920 he was working on a film called, “The Skywayman”; the last stunt was supposed to be a shot of a pilot plunging to his death with the plane in flames.  Just before he ascended to film the sequence on the evening of August 3, Locklear turned to friends and said: ‘I have a hunch that I should not fly tonight.’  Spectators on the ground watched and marveled at the stuntman’s skill.  Then they suddenly saw the plane only two hundred feet from the ground, struggling to right itself.  It crashed in flames.  Locklear died instantly, the farewell letter to his mother that he always carried with when he flew was found undamaged.

     As ERB had no experience with the theatre and as his stage stuff seems fairly authentic and knowledgeable he may have borrowed stories like the Locklear tale and adapted them for his uses or else Emma had a fund of stories which she supplied for the novel.  At an rate these first 125 pages are full of charming detail about the theatre.

     Now safe in LA ERB even takes a loving poke at hometown Chicago.  Della Maxwell explaining her breaking of an engagement in Chicago says on p. 30:

“I couldn’t stand (Chicago) any longer, Uncle Mark…It’s a hick town, filled with coal dust, wind and tank town talent.  And slow, say, if I’d smoked a cigarette on the street I’d a been pinched for sure.”

     Max Heimer keeps the story moving along when he visits the Sackett household as the legal representative of some unpaid actors.  While there he notices the sixteen year old Marcia.  Learning that she is sixteen his mind clicks back to 1906 when his and Mame’s plan fizzled when Chase II committed suicide.  Ever on the qui vive he learns that Marcia was left on the Sackett’s doorstep on 4/10/06 which conincidence he can put to use.

     Ever shameless and brazen, they call it chutzpah, he contacts Chase I to advise him that he has found Chase II’s illegitimate daughter.  He’s picked the wrong man because the Senator, that fine old example of early American manhood, refuses to have anything to do with him however he has his Jew, that fine old examplar of the race, Judge Isaac ‘Ike’ Berlanger contact Heimer for him.  If his son’s daughter is out there the fine old gentleman feels obligated to take care of her.

     Probably already in deep for selecting a chosen person for a villain ERB begins here to really compound his error in the confrontation between ‘Ike’ Berlanger and the wily Max Heimer.  Woodrow Wilson during his first administration appointed the first Jew to be a justice of the Supreme Court.  This was Louis D. Brandeis of Louisville, Kentucky.  Just as the Liberal Coalition propaganda machine remorselessly pilloried its victims so it equally exalted its favorites.  Brandeis has been depected as a wise old saint for so long no one questions it.  FDR in his administration referred to Brandeis as our ‘Isaiah’ whatever that might mean.

     ERB doesn’t usually go far to find his models so I’m suggesting that Louis D. Brandeis was the model for Judge Berlanger.  Alright.  ERB probably thinks he’s going to get away with portraying ‘a Jew of the type; of Heimer by presenting a ‘fair and balanced’ picture of a ‘Jew of the type’ of Brandeis/Berlanger.  Doesn’t work that way as Charles Dickens, who was accused of being an anti-Semite, found to his dismay when he balanced a Jew of probity against the villainous Jew, Fagin, of Oliver Twist.

     One should always bear in mind that the very worst of a Chosen People is better than the best of the rest.  Thus all heroes must be from the Chosen while the villains must be from the rest.  So it is that all the villains currently have Anglo-Saxon/Teutonic names while all the heroes are of the Liberal Coalition.

     Thus ERB was very ill advised to meddle in these proto-Politically Correct matters.  Even though the entertainment industry of the twenties had been thoroughly Judaized he should have made Heimer an Anglo-Teuton while he was on track by making Berlanger an element of the Coalition.

     The exchange between Berlanger and Heimer very likely sealed ERB’s fate for the next several years while he confessed his error in his portrait of the wise old Jew in The Moon Maid in attempt to do his penance.  I can’t recall any more references to Jews in the corpus after this period.  If you know of any, let me know.

     The result of the conference between the two Chosen ones is that Senator Chase I is to settle twenty thousand on the Sacketts while providing Marcia with an income of a thousand a month.

     Here ERB goes into some interesting ruminations on the effect of coming into money when you’ve never had any.  Probably by 1924 he was wishing he had his finances to do over although he does say of Mark Sackett that he would never learn the value of money.

     The intention of Heimer was to receive the twenty thousand from Chase, keep fifteen for himself and give five to the Sacketts.  Berlanger is ahead of him giving the twenty directly to the Sacketts.  Don’t rule out Max yet though; he’s one canny Scot.

     Watching Mark come into money provides some amusing moments and an insight of how it had been with ERB.  Mark goes out and buys a car which allows ERB to work in his accident with the taxi in Chicago.  Charming passage though.

     The old ham Sackett decides to use the money to bring back the glories of the stage; he wants to organize a touring Shakespearean company.  There is some really nice wordplay as he attempts to inform Max of his plans.  Max on the gui vive.  He had not been denied that twenty thousand he had only been forestalled.  He appoints himself the tour’s business manager so not only will he embezzle the tour’s profits but the original capital.  But I get ahead of myself.

      Bear in mind that all along Della Maxwell is aware of what a shyster Max is as she knows for a fact that Chase II wasn’t close to being the father of Marcia and she is also absolutely certain that Mame Myerz isn’t the mother.  She keeps trying to warn Mark of what a shyster Max is without giving herself away to Mark.

     As far as Max and the Sacketts go in the first 125 pages of the book, that covers it.  The first third is of very nice quality, notwithstanding the ‘Politically Incorrect’ aspects.  If ERB could have sustained this level of concentration throughout the book he would have had a truly excellent story.

     Marcia is the other story line which has to be followed.  When this precocious girl comes into her money, and twelve thousand dollars a year was nothing to sneeze at in 1922, her life changes also.  Prior to the advent of her wealth she had been virtually betrothed to young Dick Steele.  Marcia is troublesome as a character becasue ERB portrays her with such incredible maturity for a young girl.  She’s barely legal, completely inexperienced but handles herself so well.

     Dick with quick prescience realizes that this is the end of the line for his hopes but he’s going to hang on as best he can.  He immediately quits school and gets a job in an airplane plant to make lots of money fast because he knows he’s going to need it.  This employment leads to his job as a stunt pilot.

     Marcia had been taking voice lessons for some time where she had met a wealthy young socialite named Patsy Kellar.  When Patsy learns that Marcia is worth twelve thousand a year she invites her to join her circle.  Marcia snaps into place like a memory stick in a digital camera.  Personally I think ERB is pushing his luck here.  The only thing that makes Marcia’s ability to fit in plausible is that she comes from a family of actors who may have aped the manners of the well-to-do.  Indeed, ERB has speeches coming out of Sackett’s mouth that prove his ability to use the King’s English just in case anyone thought ERB was an illiterate, fantasy writer.  ERB shows ’em how to in this one.

     The Ashtons to whose circle Patsy belongs are about to take a cruise into the South Seas in their yacht, the Lady X.  They think this sixteen year old flower of youth would be a delightful addition to their party.  Which, in fact, she turns out to be.

     Patsy takes her on a buying trip for clothes during which Marcia finds out how little a thousand dollars is.  This also allows ERB to build some female interest a la Zane Grey to appeal to the lady readers of the Saturday Evening Post.  So, the crew splits for Hawaii via San Francisco.

     Now, when Chase II chose to exit rather than face the music he had a little son, Chase III.  J.H. Chase III is now a twenty some odd Lieutenant in the US Navy and is stationed in- ready?  Hawaii.  Does he know Patsy Kellar and the Ashtons?  Darn right.  Old buddies.  Welcome aboard.  Chase III could have used his leave to go back to NYC to visit Grandpa but he opts for those soft South Sea breezes instead.  Who can fault him except Grandpa and Grandpa doesn’t.  Alright.  So now he’s on board the Lady X with Marcia.  All sixteen lovely years of her.  Now begins the action of the middle part of the book.

     ERB begins to fall back into his old ways although he has two stories to keep going.  In the story of the Sacketts everyone considers Mark’s dream of bringing quality theatre to the heartland of America the height of foolishness but, I’ll be darned, the Heartland flocks to Mark’s performances to lap up the Bard.  A little touch of culture really finishes off the man, you know.  The tour is a huge success playing to SRO houses everywhere.  The fly in the ointment is Max.  The guy just can’t keep his hands off the money.  He embezzles everything except for pocket cash of 300.00 for the Sacketts.

     Stranded in San Francisco again, Max got the loot while the Sacketts got the hotel bill.  The question is where did ERB get the story?

     I had the haunting feeling the story was familiar.  ERB didn’t have any theatre experience, nor did Emma, so he must have gotten the story, or combination of stories, really, from somewhere.

     By 1924 he had been in LA for four years so he’d plenty of time to pick up theatre lore.  The story of the tour sounds very close to the tour that brought Charlie Chaplin West.  Chaplin wasn’t doing Shakespeare on that tour, that tour may have been another one ERB heard of.  As I recall the Chaplin tour went bust in Salt Lake City also with Chaplin hoofing it to Hollywood.

     In Salt Lake Max tells Mark that the jig is up, the show has gone bust, financially that is.  Mark is incredulous as he has been playing to sold out houses but Max tells him there is no money and that is a fact difficult to argue about.  Mark accepts the fact and, indeed, even if he knew Max had embezzled the money whatever records Max kept he said he had sent back to New York while as Mark was broke he couldn’t afford to sue anyway.

     Now, let’s look to see if we can relate this to ERB’s life.  ERB had had his best year ever after the move to LA in 1921 in which he earned approximately  one hundred thousand dollars which might equate to the twenty thousand Mark received.  While Mark lost his money in this improbable Shakespeare tour, or rather it was embezzled, ERB lost his on his pig farm.  Who knows what was going on there? ERB had his income from 1919, 1921 and 1922 which must have amounted to from 200,000 to 250,000.  Multiply that by fifty or so for inflation and that is a tremedous expenditure.  It seems improbable that anyone could spend that much on a pig farm.  Perhaps ERB thought someone had embezzled from him.  Probably could use some investigation if for no other reason than to clear it up.

     OK.  Why Salt Lake City?  If ERB is following Chaplin’s story then Salt Lake City would logically follow.  However Salt Lake is one of ERB’s critical geographical locations.  His interest in the Mormons hasn’t been properly examined although Dale Broadhurst made a stab in that direction.  ERB made a special visit to Salt Lake in 1898 just after he purchased his stationery store.  That was his first visit.  Then in 1904 he and Emma resided there for several months during a very crucial period in his life, even a terrifying, desperate, excoriating one.

     One that had him at his wit’s end shaking in his boots.  While it is difficult to accurately pinpoint when his attitude toward Emma turned sour the several months in Salt Lake as a railroad shack may have been it.

     Thus the tour breaking up in Salt Lake City may represent the beginning of the breaking up his marriage in 1904.  The city certainly held a lot of memories for him.

     Mark and Clara are left high and dry in SF.  While Clara is out Mark turns on the gas and sticks his head in the oven.  I’ve read that exact story before too but I can’t remember where.  Or, perhaps, it is standard theatre fare.

     From the Land of Fogs Mark and Clara wend their way down the coast to the Land of Smogs, the mecca of all actors.  Mark is still too proud to work in the movies…but, we’ll leave the Sacketts in Hollywood while we follow out the story line of Marcia.  This one is pure Burroughs.

     While ERB has written Emma and himself into the story as Mark and Clara Sackett, Chase III and Marcia also represent his Anima and Animus.  This central section is essentially a retelling of The Mucker ten years after.  ERB no longer feels like the low brow scuzzy Billy Byrne, who was nevertheless ‘all man’, but is attempting the high brow Chase III.  ERB has changed back from the Pauper to the Prince.  His Anima presents a different problem.  He didn’t feel up to Barbara Harding so he married her off to Byrne in Out There Somewhere.  In Bridge And The Kid   he scaled down from a New York socialite to the daughter of a big man in a small town.  Gail Prim was apparently too much for the beat up hommy he was so now he scales down even further to a girl who is an orphan left on a doorstep to be brought up by strangers.  Thus the role of Harding and Byrne are reversed.  The Animus, Chase III, now has social standing while the Anima, Marcia does not.  However everybody loves her and she is acceptable wherever she goes.  There is some competition for her between the foppish socialite Banks Von Spiddle, the humorous name is a giveaway, and the military officer Chase III while the latter wins as might be expected given ERB’s prejudices.  This very likely reflects the competition between ERB and Frank Martin that ERB won and is a recurring theme in his writing from his unpublished first story, Minidoka, and this one.

     Just as there was a shipwreck in The Mucker so there is one here.  Here ERB produces a new variation in that there are two life boats in one of which the best people were to go while in the other the muckers.  In the turmoil of the storm and sinking Chase III and Marcia are separated from the first boat ending up with the muckers including the terrible Bledgo who obviously represents John the Bully as the storm represents the encounter on the street corner.

     After the usual interval of several days adrift on the sea the crew spots the inevitable desert island.  Going ashore the better people separate themselves from the worst of the muckers forming two parties which sends Bledgo searching for Chase III and Marcia.  As the Animus represents the spermatic side of the body while the Anima represents the ovate Bledgo is really searching for the two aspects of Burroughs’ personality- the one he wishes to kill and the other to rape.

     As the rest of Chase’s party realize that Bledgo only wants Chase III and Marcia they urge the pair to flee which they do.  Bledgo doesn’t give up the search but pursues the pair up the mountain.  There is a fight during which Chase III brings the butt of his revolver down on the forehead of Bledgo, reminiscent of ERB’s bashing in Toronto.  The pair then continue their flight up the mountain.

     In this sequence Burroughs takes vengeance on John the Bully by defending himself and his Anima as he felt he should have on the streetcorner while retaliating the horrific blow to the head he received in Toronto on his ancient enemy.

     Thus as Chase III and Marcia continue up the mountain in a torrential downpour ERB’s Anima and Animus are reunited.  He is a whole person again.

     Reaching the top of the ridge they discover the best people singing, playing on the beach on the sunny side of the mountain.  Thus ERB rejoins the people he was supposed to be among but was separated from by his encounter with John.  How well this squares with real life is uncertain.  It may just be wishful thinking especially as ERB is teetering on the edge of bankruptcy.

     Incest and cannibalism are two recurring themes in ERB.  The latter was a concern on the boat, the former now rears its ugly head.  Chase III and Marcia reach the Philippines where they are to be married the next day however Marcia opens the mail waiting for her which includes a letter from Judge Berlanger.  The letter advises her that Jack Chase is her half brother.  Horrified and chagrined Marcia steals away in the night to take ship for San Francisco.  SF and disaster again.  It always happens that way for ERB in Baghdad By The Bay.  Wonder why.

      Aboard ship an entertainment is organized for which Marcia agrees to sing and act in a skit.  She’s emaciated but that can’t mask her loveliness.  Also aboard is a famous Hollywood producter.  Needless to say Marcia is ‘discovered.’  A movie contract awaits her in Hollywood.

     As I pointed out earlier there was a hiatus in the production of movies from Burroughs’ books from about the time he wrote Girl From Hollywood  until 1927.  Part was probably due to ERB’s writing on Jews in this novel but part was also due to his very negative portrayal of Hollywood in ‘Girl’.  Thus just as he portrays a venerable Jew in The Moon Maid  to atone for his portrayal of Heimer et al., here in this novel he lauds Hollywood as the home of the most wonderful people in the world.  He reverses his portrayal of the director Wilson Crumb in the character of the kindly upright director Otto Appel, who also sounds Jewish.

     ERB has now told two thirds of his story and is at page 295 of 351.  He’s got a lot of story to go that he crams into the remaining fifty of so pages.  Honestly, he needs at least two hundred to flesh out his story properly.  Perhaps he had been at work on the story for most of 1924 during which he had generated no new income and wished to get the story off to the Saturday Evening P{ost for that fifty thousand dollar paycheck plus book rights.  The amazing thing is that ERB doesn’t seem to have received advances from his publishers at any time.  Also at this time things were getting strained between McClurg’s and himself.  It won’t be too long before he breaks with them.  We need more information on this aspect of his career.

     So, Jack and Marcia are separated again while Jack has no idea where she may be.  In the interval between their leaving and returning the world as they knew it had broken apart.  No one was where they had been except Grandpa.  Chase III runs into Pilkins, one of the sailors in SF.  Pilkins had taken the same ship back with Marcia so he advises Chase III that she has gone to LA to be in the movies where Chase III follows.

     I can’t think of a positive reference to SF in ERB’s writing.  Either he just didn’t like the city or something happened there.  If so, it would be good to know what.

     At this time we have a whole crew in LA:  The Sacketts, Marcia, Dick Steele, Banks Von Spiddle, Chase III, Max Heimer and Abe Finkel with Ike Berlanger to follow.  This may be the alternative version of how the West was won.

     I wish ERB had put more effort into this ending.  Fleshed out this would be a pretty good story of the exodus of the entertainment industry from New York to Hollywood.  This would be good first hand history of Hollywood at least, of which ERB was actually a fairly significant figure.  I get kind of excited trying to piece together how it may have been.

     ERB at one time had been allowed on the lots so we may assume that his production scenes were authentic as well as his depiction of Poverty Row.  the latter was real where the more impoverished companies had their quarters.  Mack Sennet had his quarters on Poverty Row.  Sennet’s autobiography is well worth reading.  Poverty Row is where F&H Studios set up business.  Yes, after embezzling that thirty thousand dollars from Mark Sackett Max Heimer ran into his old acquaintance Abe Finkel.  The two combined to form F&H.  They are the one’s who give Dick Steele his start as a stunt pilot.

     Max is about town where he runs into Mark Sackett frequently.  Max is not a bad guy, in the same circumstances many another who had injured a man would hate him contriving to injure him further.  Not Max.  Once he’s got the money he’s a congenial fellow.  He presses small loans on Mark who after all is only receiving his own again.  Max, who undoubtedly has developed some pull, gives Mark leads to jobs that if Mark had taken them would probably have led to decent prosperity if not more.  As Mark is too proud to accept movie roles he doesn’t follow up but Max does his best by him.

     As I pointed out in Part III,  Sam Goldwyn had revived the Potash and Permutter stories of Montague Glass filming the Broadway play in 1923 which was a great success.  In 1924 he filmed In Hollywood With Potash and Perlmutter that was an equal success while probably charming ERB so much that he based the F&H Studios of Finkel and Heimer on the movie.

     Here ERB compounded his error of the first part of the book by making the two Jews humorous and despicable.  The inference is that because of their cheapness they were responsible for Dick Steele’s death.

     Remember Mame Myerz?  No sooner does Max make a few dollars than he takes up with a gorgeous starlet.  Mame gets wind of this back in the Big Apple where she goes berserk.  She immediately tramps into Judge Berlanger’s office attempting to sell him the true story of Marcia.  The old Judge doesn’t give in that easy so Mame spills the beans that she isn’t Marcia’s mother and she wasn’t anywhere near Chase II.

     Thus the way is cleared for Marcia and Chase III to marry; no danger of incest.  Max hears of this putting the screws to Mame to retract her statement which she does.  Now there’s enough doubt in Marcia’s mind that the marriage is off once again.

     In Max’s last scene, I kinda hated to see the little guy go, Judge Berlanger, also now in LA confronts Max with the theft of Mark’s money.  Chutzpah deserts the wily little attorney.  Unable to brave it out with Berlanger Max accepts defeat turning his assets over to Mark.  He was forbidden LA and New York in which places he hasn’t been seen to this day.  By stories end I kind of liked Max Heimer although it would be best to go the other way if you saw him coming.

     Marcia was lost track of after the Philippines.  She has lost track of everyone else.  She becomes a star but as she had taken another name no one knows where she is.  They don’t go to her movies, apparently.  Mark and Clara’s fortunes continue to decline becasue of his bullheadedness until finally their landlady turns them out into the street.  This was probably how ERB and Emma felt when they had to leave Tarzana after only four years.

     ERB’s situation must have created a lot of gossip.  After all a famous author comes to town buys a huge estate, c;mon 540 acres? and within two years is in financial difficulties and after four a virtual bankrupt forced from the estate.  Tongues must have wagged.  I’d sure like to know what they were saying.  Just exactly how ERB’s Hollywood contemporaries thought of him.

     In the meantime, completely destitute, Mark accepts movie work.  He is sitting on a lounge on the set when the star, Marian Sands, walks on the set.  She sees Mark who recognizes her as Marcia and the family is reunited again.

     Chase III arrives in LA in search of Marcia.  He apparently never goes to the movies so he doesn’t make a connection between Marian Sands and Marcia Sackett.  He enters a career of dissipation turning to drink and gambling.  Too proud to contact granddad he runs through his money. 

     He has some amusing encounters with oilmen which probably reflect ERB’s own as he floundered around trying to find ways to make money fast.  There’s a lot to be done here in researching ERB’s business doings in LA.  Later in the decade he will get involved in the Apache airplane engine and airport development so it seems unlikely that he wasn’t trying to be a business success in the early and mid-twenties.  Dearholt showed up a couple years later with movie schemes that ERB bought into so what was he doing in the business sense?

     Chase III who has been hanging around the studios looking for Marcia rather than studying theatre marquees gets into the movies finally locating his loved one.  Some direct borrowing from Merton Of The Movies here.  Moving very rapidly and sketchily ERB throws in a couple suicide attempts as the couple get together.  Resemblance between Edith Wharton and Scot Fitzgerald here.

     Together again there is still no hope of marriage because of possible incest, even though Marcia will never love another or marry.

     OK.  Della Maxwell.  Remember her?  She’s back in Chicago in the hospital dying a slow death.  Well, you know, she is Marcia’s mother.  On her death bed, I mean, the pen falls from her fingers as she signs the letter to Marcia, she makes a clean breast of it telling the story, sending the bigamist marriage license, birth certificate, everything so there will be no doubt that Marcia is semi-legit and not related to Chase III.

     We’re almost there do you think?  Not by a long shot and there’s only ten pages left.  The mail train with Della’s package is held up somewhere in Arizona.  The bandits disappearing over the border with the swag that contains Della’s letter and little metal box.

     Wow?  What next?  OK, ERB’s got a twist or two still hidden up his sleeve.  Banks Von Spiddle- yes, he’s out there, too- has a ranch down in Mexico that the Revolutionaries of 1914 failed to expropriate.  A guy with a name like Banks Von Spiddle ought to get lucky once in a while I should think.

     He and his vaqueros go out coyote hunting.  They have a good day, getting a full bag.  The last coyote tries to hole up in a small cave where Von Spiddle blasts the life out of him.  While he’s drawing the coyote from the cave he notices a decayed leather mail pouch kind of thing.  What do you suppose that might have been?  Yeh, right.  Della’s letter and little metal box intact.  Von Spiddle can be small or he can be big.  He chooses to be big giving the info to Chase III and Marcia so they can be married and live happily for however long marriages last in Hollywood.

     Thus ERB manages to compress a marathon into a hundred yard dash in the last fifty pages.

     Over all a good enough story.  Neither Collier’s, Saturday Evening Post nor anyone else wanted it so ERB lost a year with no income, or income from new work anyway.  If he was living on edge at the beginning of the year he was still on the edge at the end.  Whew!

     How did he get out of that financial bind?

Part VI and End is the next post.



A Review

Conquest Of A Continent


Madison Grant

Madison Grant

Madison Grant

Review by R.E. Prindle


Grant, Madison, Conquest Of A Continent, Liberty Bell Publications, 2004. Reprint of 1933 Edition

Fischer, David Hackett, Albion’s Seed: Four British Folkways In America, Oxford, 1991

Higham, John, Strangers In The Land: Patterns Of American Nativism 1860-1925 Rutgers U. Press 1955

Myers, Gustavus, History Of Bigotry In The United States, Random House, 1943

Wittke, Carl, We Who Built America: The Saga Of The Immigrant, Case Western Reserve, 1939

     In the immediacy of the moment one frequently overlooks or forgets the history leading up to the moment.  One might think for instance that the current flap over Diversity and Multi-Culturalism is a recent occurrence.  While the two terms are of recent provenance the argument under different names goes back much farther while the protagonists are essentially the same.

     The story of immigration into America is almost always told from the point of view of the immigrant.  Few books tell the tale from the Nativist point of view and they are universally and viciously derided as a tale told by bigoted idiots.  While charity is demanded from the Nativists none is to be expected from the immigrationists.

     Thus we get volumes like Strangers In The Land by John Higham and Carl Wittke’s We Who Built America that distort the issue in favor of immigrants while deprecating the Natives.

     Qustavus Myers’ History Of Bigotry In The United States on the other hand appears to be a willful misunderstanding of the nature of the relative status between immigrant and native resulting in a slanderous approach like that of the contemporary Greil Marcus.

     Conquest Of A Continent has been placed on the Jewish Index Of Anti-Semitic Books.  Based on that I expected a detailed derogatory examination of the Jews from their entry into America perhaps being the conquerors referred to.  The President of the American Jewish Committee sent a letter to every Jewish publisher in the United States demanding that they refrain from either reviewing the book  or noticing it at all.  Dynamic silence was to prevail.

     After reading Conquest I can only conclude that the AJC was hyper sensitive to a degree.  Since his 1916 Passing Of The Great Race Mr. Grant had learned that ‘You Don’t Mess With Rohan’ to quote Adam Sandler.  Grant all but ignores the Jews in his volume.  No, his offense, according to the AJC was even more egregious, he uses the world Nordic and dares to imply that they are ‘the Great Race’ rather than the AJC’s own Semites.

     The other volumes mentioned and, indeed, all writing in this genre which is pretty extensive, defers to the Jews as ‘the Great Race’ probably genetically superior to all others.

     So Madison Grant is interested in telling the story of how the Nordic race conquered the continent.  This approach can only be considered as a sin by non-Nordics.  Grant then tells the story of how the US and Canada were occupied by peoples other than the native Indians.

     He begins early referring to twelfth century attempts to settle by Scandinavians.  In the 1100s the firece native Indians were able to exterminate the invaders and may well have been able to exterminate the Puritan settlers but for the fact that a small pox epidemic shortly before the Puritan arrival had reduced the native population by as much as half while weakening them concomitantly.  Such is the luck of the draw.

     Grant thus traces immingration back to its origins colony by colony and then State by State as the Nordics moved Westward.

     David Fischer in his excellent Albion’s Seed retraces the same ground fifty years after Grant with much addional detail concerning the places of origin and their activities once in the US.

     Grant’s approach is in some ways superior to that of Fischer since as an unabashed Nordic advocate he is interested in detailing the exact racial content of the occupation of the various states and provinces.  If you aren’t aware of the progress of settlement and by whom there are numerous surprises.  My own notions were certainly vaguer before I read Grant.

     I was surprised at the seeming numerical superiority of Southern migrants in the Westward movement.  It seems that Whites did not like to live in the South where they were compelled to compete with slave labor while being despised by both the plantation owners and their slaves.  Thus there was a constant stream of the best and brightest  of the South moving into the North and West.  As Grant notes, Virginia was the mother of States.

     Then too some of Grant’s population statistics are of interest also.  At the 1790 census before the invention of the cotton gin in 1793 there were less than a million Africans in the United States.  Seventy years later as the Civil War began the number had increased to four and a half million. Thus natural increase was out of the question.  It follows then that between 1800 and 1860 more Africans were brought to the US than there were before 1800.  As a result the slave trade fluorished more than ever.

     Prior to 1800 Alabama and Mississippi had no settlers so that in 1860 these two States were still rough frontier States still in a state of organization.

      There is much good background here as to how the US came under settlement.  The continent was accupied in its entirely when the truly major immigration from Eastern and Southern Europe began to accelerate in the 1870s and 1880s changing the basic Nordic institutions  of the country.  The change in Grant’s eyes was much for the worse.

     Carl Wittke’s We Who Built America published in 1939 was undoubtedly in response to Grant’s Conquest Of A Continet.  Wittke, was published by Case Western Reserve University.  Grant explains the meaning of The Western Reserve which has always puzzled me.  The Western Reserve was three million acres set aside as a concession to the State of Connecticut for giving up other territorial rights.

     Wittke made a great impression with his his volume, his opinions being taken as overriding fact.  I remember my sixth grade teacher in Michigan lauding the book to the skies.  I finally read it a couple years ago.  Not so much.

     As is usual with books and writers of this type Wittke overstates his case and underproves his facts.  A contribution to the dialogue at best.

     Grant’s book should prove useful to any unbiased reader.  If his attitude of Nordic superiority offends you, ignore it.  His history as history is sound.  For those of you reared on Myer’s History of Bigory attitude you will probably be surprised to find that there is another point of view.  Bigotry is not a matter solely of American destestation of immigrants as the program of Diversity and Multi-Culturalism indicates, bigotry is a red herring and not the issue.  The issue is who will be Top Race.  The contestants for the Top Spot have turned out to be the Africans, Semites (both Jews and Arab Moslems) Hispanics, Chinese and Euro-Americans. (Grant’s Nordics)  As you can see race has replaced nationalism.

     The contest is real and ongoing.  Peace is merely another form of war.  The prize will go to who wants it the most.  If you don’t see the contest in these terms I suggest you remove your rose colored glasses.