Combat! blog belches blood, isn’t useful

The pacu, a fish with human teeth that must be stopped immediately.

The pacu, a fish with human-like teeth that must be stopped immediately.

Owing to a dispute wherein I wanted him to stop fucking up and he didn’t, I stopped seeing my old dentist. It had therefore been a while since my last cleaning when I consulted Ike Heaphy, DDS. Reader, let me tell you about a phenomenal dentist. Not only did he look in my mouth and find no cavities, but he also scheduled me for a two-hour, comprehensive cleaning. That cleaning occurred this morning, and now I am just blood. I belch and it tastes like blood. I eat a Triscuit, stupidly, and my gums emit blood. I run my tongue over the pleasing, tartar-free contours of my lower dentarinos and taste blood. I’m squeaky clean but pretty gross, is what I’m saying here, and my usual gameness was spent in the chair. I’m going to sip La Croix, shiver a little, and get back to you tomorrow. In the meantime, how about you watch some epée videos. Did I tell you I competed in an epée tournament for like six hours on Saturday? My legs were feeling pretty sore, until I did this thing with the teeth.

Friday links! A powerful misanthropy edition

"The Misanthrope" by Pieter Bruegel the Elder, 1568

“The Misanthrope” by Pieter Bruegel the Elder, 1568

A powerful misanthropy came over me last week, and I wanted to do justice. It came over me in the street. I was walking up Higgins Avenue toward the Pie Hole, where I might nervously eat pizza before the comedy show. A drunk man leaned in the doorway of an empty storefront. I passed him at the same time a woman in business casual negotiated the space between us.

“Hey,” he said to her, “can I ask you a question?”

“Nope,” she said and kept walking.

“Well I already did, so ha ha, bitch!” he shouted after her.

I turned and told him not to fuck with women on the street. I did so loudly, in the voice I use to command strange dogs. I walked toward him in a game fashion. As soon as he started to speak, I repeated myself.

“Don’t fuck with women on the street,” I said. We were close now. He stepped back and said all right, all right. I turned and walked away, feeling tall and jumpy.

“Jesus,” he said, “call the cops or something.”

I turned and walked back to him, swiftly. He put his palms up and shrank into the doorway.

“Don’t hit me,” he said.

Reader, I realized what a heel I am. I had been feeling pretty good to that point, expressing my values through bystander intervention and all. I had never thought to hit him. I only thought, I realized, to correct him publicly, before my god and that woman. I wanted to be good: the kind of good that bosses up on a drunk. Today is Friday, and it’s a fine line between bullying and justice done. Won’t you stand athwart it with me?

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Cultural appropriation? Day of the Dead parade ignores Mictecacihuatl

Mictecacihuatl, the Aztec goddess of death, goes totally unrepresented in Missoula's Day of the Dead parade.

Mictecacihuatl, the Aztec goddess of death (artist’s rendering)

Next week, Missoulians will put on skeleton costumes and parade down Higgins Avenue in one of this town’s oddest observances: the Day of the Dead parade. They’ve been doing it for 24 years, despite the fact that approximately 0.0% of the local population is Mexican. We love parades, though. This one concludes the Zootown Arts Community Center’s monthlong Festival of the Dead, which the ZACC describes as an “all-inclusive multicultural event that honors life and death through community involvement in the arts.”

Again, this all-inclusive multicultural event mostly includes white people. Is it therefore not a little problematic? Might the good people of Missoula not be appropriating someone else’s culture by celebrating this holiday? I agree Missoula’s Day of the Dead festivities stray unconscionably from cultural tradition. They make no mention of Mictecacihuatl, the Aztec goddess of death. In fact, when it comes to appropriating the culture behind the Day of the Dead, the only people worse than Missoulians are Mexicans.

You can read all about in this week’s column for the Missoula Independent, in which we chart the fine line between resisting cultural appropriation and enforcing cultural segregation. Centuries from now, when ape-robot cyborgs are marching through the ruins of Washington-Grizzly Stadium in skeleton costumes, people who are a quarter Missoulian will lambast them for stealing our culture. Fortunately, I will be dead. We’ll be back tomorrow with Friday links!

 

Donald Trump loves Citizen Kane but maybe doesn’t understand it

Rosebud...

Rosebud…

There is very little Combat! blog today, because I have been assiduously preparing my application for the Clickhole writing fellowship and assiduously stretching my supraspinatus in yoga. In the midst of all that, bills must be paid. So I have neglected most of my duties today in favor of gross commerce. Fortunately, A. Ron Galbraith has ridden to the rescue. He recently sent me this unsettling essay on Donald Trump and his favorite movie, Citizen Kane.

You know Citizen Kane—it’s the one about a guy who inherits a fortune at age 25 and goes from playboy to media magnate to politician, before he flames out spectacularly and tells his supporters the election is rigged. Trump seems to have sympathized with the pathologically ambitious plutocrat without realizing he was also supposed to hate him. That’s one of the hypotheses Anthony Audi puts forward:

Trump either fails to see the moral emptiness at Kane’s core, or else he does, and it doesn’t strike him as exceptional. Either way, however we spin it—wherever we draw the line of his self-delusion—Trump is admitting that he’s every bit as hollow as Charlie Kane; every bit “the empty box” (as Welles called him); every bit the liar and narcissist and demagogue.

“And it doesn’t strike him as exceptional” is economical as fuck, brah. Kudos to Audi for so elegantly creeping us out. We’ll be back tomorrow with news from Missoula’s deeply problematic Day of the Dead parade.

 

 

Jack Chick: Artist, berserk, dead

A panel from the Chick tract "Big Daddy," which warns against evolution

A panel from the Chick tract “Big Daddy”

Like a lot of people, Jack Chick had a hard time drawing hands. It’s good that thing on the end of the professor’s sleeve has fingers, or we might not recognize it. But look at his pear-shaped body, his smiling overbite, his stooped mien. He is very much the natural man, trapped in a box—heck, let’s call it cage—made from the rigid lines of the chalkboard, the corner, the portrait, the podium, even the frame itself. Here is a person caught by a fixed idea, a simian out of place in the world of humans. Rembrandt it ain’t, but this work of comic art is at least as good as something you’d find in Mad magazine. And it’s all the vision of one person. The panel above is from a Chick tract, those little black-and-white pamphlets on evangelical themes you have probably found on the bus or at the fair. The man behind them, Jack Chick, died in his sleep Sunday night. I do not admire his beliefs, but I envy his life.

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