You already have your plans your image of the women coming to you blond and used to the water you smell salt in the air and money when you close your eyes and you decide to come
You pack your toothbrush
you try it on your friends
you stop for cigarettes in a gas station
And it takes you coming out again
the way the trucks pass
I think how you stand there
feeling for your wallet or your breathing
striking a light then
as you step down off the curb
They do it the same way in the movies first with the wind and then
a Greyhound sign a kid with a botched haircut and a dufflebag maybe two girls seen only once laughing and turning away outside the terminal
Inside a drunk and his paper suitcase get tagged and separated one ticket apiece someone puts his last nickel in the pinball machine They get it right the producer the director thin as it is and sad as it is they get it right
And we sit there
watching the places we start from
the places we wind up in
sooner or later
pass over us
and no one blinks
no one wakes up afterwards
Everyone but everyone a moviegoer Even the drunk great once at following the hero and the waving grass at stepping over the derelict lightly with the rest of us Before the bottle took him and the fog inside him rose and left him a six-part ticket to the coast and forty maybe fifty cents The westbound express is now boarding passengers at gate five Places everyone
It was just like in the movies the way I remember it There was hardly anything left of him then except for the eyes except for the way he sat there with the light on him looking out and me across the aisle the whole time thinking
“It all comes easy to him the storefronts and railroad crossings here the lumber yards car bodies bars it all comes easy” But for me this is how it is in the towns The children run and you pass them At the crossroads faces women’s faces most of them turning away from you inside the glass outside the glass the same
I have never found it easy I find it the way it is the land like a flatiron there to here the towns small and broken at the hinges and wind and too much light all of it out of our reach now anyway no matter what my friends tell me who rub their hands together and the dust escapes them who walk through looking at scenery
I have no respect for the land I think
I think of you
shielding your eyes when you travel
the sun at noon
standing on the broken ridgelines
“Half chalk” you think
standing like that…”
But you go on following electric wires
letting your eyes glaze
shift a little
and when the weather changes
you watch the Indian beside you
the one with the crewcut and bow tie
fold his hands
He’s made the trip before this Indian or his uncle has or his sister Forgetting the hawk the shadow where their horses go to water forgetting the slap of the wind and the broken rock standing like that they pack overnight and make their way here with you
they all come here to California
stays close to the heart
so they think
and they come
I know the way they come to it finally
leaving the smell of sweat and alcohol behind
the uneasy breathing
They roll their magazines
and step down blinking
in their new sunglasses
they get picked up
or walk toward town against the wind
And when I look again
cypresses and redwoods cover them
girls with copper earrings
fire in the hills
(if they’re lucky)
I have been here ten years now
doing what they all do when they need to eat
or stop for a smoke
or be remembered
I check the mail put the water on for coffee find my way downtown I come home at night and open up my curtains over California palm trees California-loving-the-water
“And when it’s like this” I think “I could come to it still the way they do the way you do all heart and teeth”
But after ten years
the suntan oil and chlorine and success
run in me like a river
cheap thrills cheap thrills on signs
burning under the offramps
acres of carpeted hallways
doors with numbers on them
something like regret always part of it
It weighs too much with me the traffic and the leaden air love the way my neighbors work at it upstairs with the lights on and the TV going all this time and it never changes
There’s a swimming pool in Burbank like they say a yacht a white sand beach in Venice lettuce in the desert
And in Hollywood a man I admire stumbles in his bedroom Drunk undoubtedly drunk again and I think “Night and his arms around it night and the wind in it making something for his middle age and mine” while people pull up in their cars outside and park and walk away while I sit up half the night with a light on still and curtains blowing listening to the palms outside my window bend and rattle and it weighs with me
And if you had What you thought you had When the trees Turned with you And the times Out of all time Came And you could see what they said What they all of them said Was true
No measuring here No defense necessary Sing with me now No iron intrude between us
Break your vow here And no fire burns The way we burn already The living and the dead Together Cold fire Even when the lot of us are ash
I will tell you Did you think that I’d Forbear to tell you How we are? How Broken by the knowledge Broken All the pieces find Their voices here Speak here Thigh-deep in lupine Dead-white Cypress arms and fingers Over us And our eyes on the gull
This is from the first issue of a two-issue, tabloid-format newsprint magazine Stephen Williamson (no, not the economist) and I published as undergraduates in 1970, and which I long thought had been lost forever. Steve, as it turns out, is — fortunately — more of a packrat than I am, and preserved some copies, so I get to republish it 50 years after its first appearance. I’ve corrected a couple of typos, but otherwise left it as it was, including the abhorrence of contractions which I’ve long since overcome, assorted capitalization and punctuation crimes, and a grating insensitivity to 21st century gender pronoun and racial nomenclature norms, which I’ll just have to live with. We all have a past, no?
If the twentieth century had any essential lesson to teach us, it is this: we are finally on our own. Kings have been dead since the French Revolution. Nietzsche broke the news about God a century ago, and to any perceptive observer it is obvious that the state suffers from a terminal cancer. We are running out of history. What has brought us the concentration camp and the H-Bomb no longer has much to offer us.
For anyone born after 1940, independence is the natural attitude; the illusion of authority has evaporated. Our generation feels free to snicker when the thought police masquerade as destiny, an achievement George Orwell clearly believed to be impossible. Nevertheless, the baggage of the past has not been as easy to dump as we thought. What began as the Aquarian Age has recently come to look more like a kind of simultaneous rerun of all but the most irrelevant episodes in history. The remnants of the student radical movement have restricted themselves to recovering the nineteenth century millennium, as though they somehow had forgotten that Stalin was the result of the first run-through. People in communes wait patiently for technology and international culture to disappear. What a damn shame it would be if someday their descendents had to fight the Sioux-Blackfoot wars over again!
There is certainly a kink somewhere when a generation with as good an understanding as ours has had of the gap between reality and human perception starts producing astrologers, communists, and subsistence farmers. Given what we know, it makes as much sense as Free Enterprise or the Cold War. I suspect the explanation lies somewhere in the difference between the extent of the possibilities we can see and the amount of personal energy required to realize even the most limited of them. We want a lot, and we can have only a little. Our tendency is to make up the difference by magic. We blame our impotence on a “Power Structure” that is already discredited, and play at revolution. We’re more ready to believe in Tarot cards or the Great Spirit than to live with our natural limitations. We have yet to learn that ending repression does not give anyone supernatural powers, or maintain his innocence.
The issue isn’t whether or not other cultures and ideologies reveal wisdoms ours lack, but whether we’ve picked up on them for the sake of wisdom or for an easy way out of our own troubles. There is quite a difference between learning from the Indians to respect the ecological balance and believing yourself to be the reincarnation of Crazy Horse. Like practicing astrology seriously or advocating guerrilla warfare, living in tepees in the twentieth century United States amounts to schizophrenia, and it’s dangerous. The bombs and concentration camps will remain, and we won’t be able to see enough of the world that produces them to discover where they are coming from. Chances are we won’t be able to understand even the simplest of things that happen to us from one day to the next.
There is good evidence that this is going down already. The illusions of youth culture or hip culture or whatever are almost as strongly defended as the illusions we call the American Dream. Everybody is hip to what the cops did in Chicago, and says so. With considerably less provocation the Hell’s Angels did a lot of the same at Altamont, and no no seems to notice the similarity, let alone the analogy it implies between us and Mayor Daley.
When we don’t notice, people get hurt, just like they did when the Haight went under and acid visionaries were replaced by needle freaks; just like they did when the Weathermen decided they had a right to crack heads, or Charles Manson decided he was Attila the Hun.
Peter Fonda and Dennis Hopper have noticed and they’ve made a fine film about it. I can’t think of a more convincing image of the unpleasantness that can come from parts of the world a man has chosen to ignore than the end of Easy Rider. A lot of people have put it down for being paranoid, but they are missing the point. Of course it’s paranoid — a paranoid dream from beginning to end. That is its strength.
This film, unlike any other I have seen in a long time, openly prefers the psychological reality of experiences to the realistic description of an objective world in which such experiences presumably take place. Nearly everything which happens in Easy Rider is seen as Billy and Wyatt, the two main characters, would see it, and every character except them and possibly their lawyer is as two-dimensional as their understanding of him. I wouldn’t argue that Fonda and Hopper intended to make the film that way, but I would argue that they showed good sense in leaving it that way once it was edited. It sets up the audience beautifully.
Billy and Wyatt are not aware of what is going on around them outside the limits of their perception. Neither is the audience — the film represents Billy and Wyatt’s perception as reality. For those in the audience who belong to our generation the identification is particularly strong. Like Billy and Wyatt, we know that the world is fucked, and that there isn’t much we can do about it. We are on the same trip. Making a big dope deal, buying a beautiful motorcycle, and heading down the road to Mardi Gras appeals to us. There doesn’t seem to be anything wrong with it.
No one discovers what is wrong with it until Billy and Wyatt do themselves. From the second shotgun blast to the silent end of the film, it breaks in a long wave over both the characters and the audience; the horrible surprise of an intrusion from the world outside the myth both are sharing.
What surprises Billy and Wyatt is that the rednecks really are out to get them. What surprises us is the sudden end to the illusion we are into too deeply to back out of in time. The shock of the last scene isn’t the shock of death, but of its opposite; of waking up. When Billy and Wyatt are murdered our fantasies die with them, and for that moment we are uncomfortably exposed to the reality of the theater around us. Psychologically it is akin to being discovered masturbating. The sadness comes in having to stop too soon, not in having to experience someone else’s death. Our sympathy is for ourselves.
Had that been all there was to Easy Rider, identification with the characters, titillating violence for a minute or two, and then a return to our unexciting lives, it would have compared favorably with Goldfinger or Bullitt, but it wouldn’t have had anything to say. The film is important because Fonda and Hopper enclose within it a comment on both the psychological processes involved in identifying too strongly with a myth, and the dangerous consequences which are in store for one who lives his life inside this myth. The danger is not to be taken literally; it isn’t that the rednecks will shoot us down, although that is one possibility. The danger lies in the destruction of our humanity. Being on our own trip isolates us from one another. When finally no one can recognize the real existence of anyone else, just being alive will be danger enough for all of us.
Fonda and Hopper have left to many clues in Easy Rider for us to miss the point, although none are so obvious that they prevent us from making the emotional identification with Billy and Wyatt that gives the film its power. They are there for us to discover in retrospect. After the film is over it remains to us to separate the myth from the reality; to understand what it is that we’ve felt so deeply.
The first hint of what is really going on in the film is, of course, the title. As Fonda has explained it in interviews, easy rider is Southern slang for a pimp — the only one who doen’t have to pay. Responsibility is the price of freedom, deadness is the price of living in a myth — those are the obvious implications.
Again, it is hard to escape the fact that the road Billy and Wyatt are traveling doesn’t lead where they think it does. Instead of ending in Mardi Gras, it ends in death. A night in jail and the murder of their friend the lawyer were warning enough. There were alternate routes, such as that of the rancher who loaned them his tools and fed them. They were even given outright invitations to try another one. As wrapped up in themselves as they were, they were welcome at the commune, and obviously, to at least the whores in New Orleans, they were attractive. What kept them on the move was not really a quest for freedom — possibly just the opposite.
There are reviewers who have pointed out what appears to be another inconsistency. Although it is Billy and Wyatt who introduce him to pot and give him lectures on the evils of society, the lawyer seems a much more well-rounded character than either of them. Whether or not this was the result of better acting on the part of the man who portrayed him, as reviewers have suggested, is not what is important. His presence in the film serves two purposes. First of all, it shows that Billy and Wyatt’s analysis of society is essentially correct. Society is stultifying, and any man who prizes his self-respect would like to break out of it. Hippies don’t bother the lawyer; he recognizes that they have some good ideas. But he does serve also as a kind of contrast to Billy and Wyatt. He is much more firmly rooted in the world than either of them. He feels no need to style himself “Captain America,” but, as the flying saucer tales shows, he is more creative and alive than the two characters for whom freedom is supposedly a specialty.
There are other indications that Billy and Wyatt have a harder time relating to themselves and others than should be true of free men. Wyatt is rebuffed twice by the leader of the commune — once when they are smoking in the abandoned adobe, and later in the commune when he is trying to ball one of the women. It could happen to anyone, but Wyatt doesn’t understand that. He freaks, just as both of them freak later on acid in the graveyard. Despite the jumbled cutting in the graveyard scene, there is solid evidence that both characters have their share of personal demons.
The key to all these indications that Billy and Wyatt are not what they imagine themselves to be lies in the character of the more introspective of the two, Billy. Wyatt is a kind of Sancho Panza — a man interested only in what he can get. Billy is a little more cautious, a little more aware, and consequently a little more stylized, especially as Fonda plays him. His “we blew it” and the image of the burning bike that intrudes on his thoughts provide the context for not only his withdrawn personality but for all the rest of what happens in Easy Rider as well. He begins bit by bit to become aware of what is wrong, but the film ends before he really gets to the heart of it. The rest of the task in dumped in the lap of the audience, where, in fact, it has lain all along.
For those of us who went to this film just to get stoked up on our own innocence and the evil of rednecks and other oppressors, there are a couple of other scenes that remain to be considered. Neither are acted in the usual sense of the word. The first is hardly more than a couple of seconds long, and appears to have been shot in the streets of New Orleans without any prior planning.
Billy is careening down the street during Mardi Gras with an open bottle in his hand, which, in the spirit of things, he offers to a passing black. The look on that man’s face and his gesture of refusal are enough by themselves to sum up the whole peculiar history of the South. His is the classic double-bind. A drunken white has offered him a drink, a drink which other whites might beat him or worse for accepting. Yet, when he turns it down, he must also keep smiling. Otherwise his refusal might be interpreted as an insult to white generosity, also a dangerous offense. Billy doesn’t understand the black’s behavior and blunders on down the street. He is too busy with his own problems.
The other scene takes place in a southern cafe. All those rednecks trading jokes about how people in their county customarily handle “Yankee queers” were real live rednecks, not actors. They were showing off, of course. The movie people indulged them in a little play-acting, and they enjoyed themselves at it, that’s all. Still, there was no script. Just where in hell did they get that long list of epithets and tortures they were tossing back and forth, I wonder.
At that point in the film everyone should wonder. The boundaries between acting and reality are not clearly drawn in Easy Rider, but neither are they in the world of experience. From the black man’s point of view, there must not seem to have been much difference between the man whose dream prevented him from noticing another’s pain, and one whose dream is to inflict pain. One of the corollaries to the central point made in Easy Rider is that the two dreams lie very close together, and the transition between them is as hard to spot as it is frequent.
If that seems hard to believe, get a copy of the January 21st Rolling Stone and look at the picture of Mick Jagger at Altamont. There he stands, with his high-heeled boots, and his knuckles in his mouth, watching four or five Angels butcher a man on the stage ten feet away. It must have been one hell of a rude awakening for the author of Street FIghting Man, and for the other 300,000 people who were watching, too, for that matter.
It is the same kind of awakening that is previewed for us in Easy Rider, one which awaits every one of us, who, considering ourselves beyond the errors of past times, refuse to pay attention to anything but our own dreams. In the twentieth century, we are all being forced to live outside the law. If there is one thing for us to remember, it is this: to live outside the law, you must be honest. (Anybody can say that.)
A couple of years ago, a friend of mine who’s relied on me off and on for thirty years for tech advice, came to me with a complaint that his iPhone 6 — then barely two years old, out of warranty, but a month or so short of being off contract — was shutting down at random, even though it still seemed to have plenty of charge left in the battery. We rounded up all the usual suspects to no avail, then hauled ourselves off to the nearest Apple store, where the genius at the genius bar, assisted by Apple’s own diagnostic tools, rounded up all of her usual suspects, and concluded that there didn’t seem to be anything wrong with his phone — except, of course, that the random shutdowns made it at best unreliable, and at worst, unusable. At my suggestion, my friend paid off his old contract, and replaced his suddenly unfaithful companion with the then current model, an iPhone 7. Two months later, I read that Apple was replacing batteries for free in out-of-warranty iPhone 6’s exhibiting random shutdowns, with no questions asked, and, as usual for Apple, no explanations given. A year later, again with no explanations given, Apple began throttling iPhones with aging batteries which could no longer supply the necessary voltages under peak load conditions.
It’s been painful to watch Apple get Twittered, Facebooked, and ultimately sued over this whole affair. The fact is that those of us who were aware of the limitations of lithium-ion battery technology, Apple engineering executives above all, should have seen this coming. The very things that make the iPhone magical — its pocketable size, its ever-increasing computing power, and its appliance-like simplicity and ease of use — are also, to a greater degree than Apple marketers would have us believe, based on an illusion.
The sad truth is that Apple had painted itself into a corner bounded on the one side by an understandable, if misplaced confidence in its own hardware and software innovations, and on the other by a misguided attempt to protect the technological innocence of its customers from the consequences of their own addictions.
Marketing has its own imperatives, and as any marketing expert worthy of the name would probably concede, a certain blindness to the long-term consequences of its own cleverness has never been much of an impediment to its operating budget, or to its status in the corporate hierarchy. Until, of course, the shit hits the fan. Then the public dance of recriminations is performed, and everyone concerned goes back to business as usual. Except for the hapless consumer, who’s inevitably forced to grumble, sigh, roll his or her eyes, then pay whatever the going rate is to get back on the road.
Apple could have done a lot better a lot quicker. Its customers love what it promises, even those of us among them who know to what extent the promise exceeds the current limits of technology. Progress requires us to dream forward, and to accept that sometimes along the way our reach will exceed our grasp. That said, a little more transparency from those at the pointy end would be welcome. Infantilizing the consumer as a path to marketing success has all sorts of support from the countless schools of social science pilot fish who’ve attached themselves to corporate C-suites in the postwar decades. God forbid that I should deny what their statistics are telling them about our human vulnerabilities. I would ask them, though, to consider how they feel when their own strings are pulled.
*The Yanks have colonized our subconscious (A quote from Wim Wenders’ film Im Lauf der Zeit)
Well, you may be old now, I told myself at sixty, but at least you haven’t started reading obituaries. Now that I’m past seventy, I know damned well that it doesn’t matter whether we read them or not. We have Twitter, we have Facebook. Unwelcome news will get to us.
When the unwelcome news of Harry Dean Stanton’s passing arrived on my iPhone a few mornings ago, just ahead of the overnight summary of White House twitter atrocities, I did what we do — I winced and scrolled up to breathless estimates of impending nuclear war. That evening, though, I poured a second beer, dimmed the lights in my living room, dug Wim Wenders’ Paris, Texas out of my essential films library, and watched it again after who knows how many years.
The Sam Shepard screenplay was as laconic, as precise as ever, Ry Cooder’s guitar licks were as haunting as ever, and there, at the center, the Old Man was as magnificently himself as ever, even though he wasn’t nearly as old as I’d remembered. When he died, I said to myself, something about what it means to be an American died with him.
But what is it about these Germans? Wim Wenders, Percy Adlon — who gave them permission to put Harry Dean Stanton and Nastassja Kinsky together in the lonesome American Southwest, or Jack Palance and Marianne Sägebrecht, for that matter? What kind of muse, what kind of genius is this?
Yeah, well…. It’s a long story. If you live in Arizona, as I do, it’s impossible to miss the German cousins in our midst. Go anywhere around here in the summer months and there they are, seemingly impervious to sunstroke, peering into their guidebooks for directions to the local Sehenswürdigkeiten, more familiar with our landmarks — even the ones they haven’t seen yet — than we are ourselves. I used to wonder, now and then, if there could possibly be as many Germans in all the other deserts of the world — the Sahara, the Gobi, the Kalahari, the Atacama, the Negev — as there were in the Sonora and Mojave.
With all due respect to the insatiable German curiosity about the world we share, I doubt it. For all sorts of historical reasons — never mind the two world wars — our national mythologies harbor semi-disclosed affinities that appeal to both our populations more or less equally. Whether we acknowledge it or not, we’re constantly in and out of each others’ pockets, sometimes with a pessimism bordering on the morbid, but more often than not with the kind of cross-cultural fertility that levels empires, confuses dialects, and assists in the birth of things no single individual could ever have dreamed of.
Case in point: Wim Wenders. The French famously lead the rest of Europe in complaining about us, but Wenders, who knows us far better, gives us the benefit of a doubt that admittedly we don’t always deserve. It’s not exactly a get-out-of-jail-free card, though, this Paris, Texas of his. It’s an admonishment, if a gentle and sympathetic one, of our chimerical American dreams. Fair play to him. Having colonized the German subconscious, as Wenders himself so elegantly put it, we can hardly complain when a German artist of his stature returns the favor.
Someone should arrange to show Paris, Texas to the pig* vile creature currently posing as our president, not that it would do any good. He’s as American as I am, but he’ll never have any idea what that actually means, let alone honor it in his actions. How much better off would we be, do you think, if the qualities that Harry Dean Stanton embodied in his best performances informed the day-to-day actions of our politicians? In the meantime, all I can say is that I’ll miss that grand old man, and so will a lot of other people, Wim Wenders fans or not.
*It’s long after the fact, but I just can’t let this stand as originally written. Pigs have good reasons for being how they are. Trump doesn’t. I’m not sure he deserves all the blame for what he’s become, but at this point how he got to be what he is matters less than putting him in a place where he can’t do any more harm to anyone who hasn’t volunteered for his abuse.