Friday, June 26, 2015


Chicanonautica discusses the infamous racist novel The Turner Diaries, over at La Bloga.

Of course, this sort of things goes way back in America:

And Europe, too:

Young Nazis have been getting hip:

And look what's happening on the cutting edge of electronic pop culture:


Monday, June 22, 2015


I was reading a crazy book, when the craziness started spilling over into the real world:

Donald Trump annouced that he's running for president, and mentioned Mexicans: “They're rapists. And some, I assume, are good people.” 

A young man named Dylann Roof told a group of black people in the Emanuel African Methodist Episcopal Church in Charleston, South Carolina, most of whom were women, You're raping our women and taking over the country,” and killed them.

On Facebook, Ishmael Reed said the The Turner Diaries were “Required reading. If you want to know what motivated this church killer read this book.”

The crazy book? The Turner Diaries, the infamous novel written by Nazi William Luther Pierce, under the pseudonym Andrew MacDonald. It inspired Timothey McVeigh to blow up the Alfred P. Murrah Federal Building in Oklahoma City.

I had wanted to read it ever since I read Ishmael Reed's essay about it, in his book Another Day at the Front, and  The Turner Diaries can be downloaded for free on Internet Archive.

I'm happy to report that it doesn't work as a manual for guerrilla warfare. Developments in communications, surveillence, and military technology have made the practical advice in the book obsolete. Whew.

The Turner Diaries is not a literary masterpiece. It's not even good fiction. Pierce tells more than he shows, avoiding drama for monologue. There isn't much dialogue. The one attempt to show “the negro dialect” is pathetic. And all the characters are one-dimensional.

The narrator/hero Earl Turner has no past, no family, no motivation. The mere existence of Jews, Blacks, and other non-Whites is presented as enough for his rage. As for plot, entire chapters could be cut without taking away from the “story.” This is partially due to the details that are gone into about making an ammonium-nitirate bomb (the book begins with all guns being confiscated by Black agents of the government after they are banned by the Cohen Act) and counterfeiting that is done to destroy the American economy (because apparently the efforts of the Jews and non-Whites to do so isn't working fast enough). There's also a Mansonesque/hippie counterculture that sells White girls to Jewish-run white slave rackets.

Dispite the racist agenda – Blacks are shown as criminals/rapists/cannibals, and are killed like vermin – “racism” is often put in quotes, a "lie" that the liberal media is spreading. And though at first the word “patriot” is used, later the U.S. Constitution is sneered at, and conservatives are mocked as weak. Hitler is mourned and defended.

As if all this wasn't enough to boggle the mind, when the Great Revoltuion finally starts, after the Organization gives up on winning over the public and decides that terrorism is the way to go, Jews and race-traitors hanging from every lampost in L.A. are just the beginning. It's a sadistic orgy of bloody vengence. Over and over, we are told that it's all “their” fault. After all, they aren't human, er, White . . .

Refusing to recognise the humanity in others is the core of The Turner Diaries. It's the most single-minded book I've ever read. There are no real characters. No one is human. Mass slaughter is reasonable, if it helps make Earth into the Planet of the White People.

So, what's the appeal? It's feel-good reading for racists.

And it is ridiculous. Like the White teenagers who happily take the place of Mexican migrant workers. (Would Dylann Roof take the job?)  Like the very idea of an all-white planet.

Yet, we hear such ideas being taken seriously.

This book should not be banned, but brought out into the light. Let everyone see how absurd it is.

Chester Himes said, “Realism and absurdity are so similar in the lives of American blacks one cannot tell the difference.”

But if we don't try, we all become absurd, and the Dylann Roofs of the world win.

Friday, June 12, 2015


Chicanonautica reviews a book on the Mexican avant garde, over at La Bloga.

Estridentismo was started by Manuel Maples Arce:

It raised some hell:

¡30-30! took it's name from the rifle that was popular among the revoulutionaries:

And the tradition lives on:

Friday, May 29, 2015


That's thanks to a documentary by Paco Ignacio Taibo II in Chicanonautica, over at La Bloga.

Hollywood has givien us its version of the Yaquis:

They are used in action-packed westerns:

And sexy stars have played them:

It's so difficult to see the real thing:

Monday, May 25, 2015


Riots in the streets. Conflicts spreading like viruses. And a presidential election looming. Looks like it's time to go searching for America again.

It's not that we lose America. It's more like we lose track of it. It's especially easy in this days of social media, when you can fine tune your input according to your tastes – then, oh, the shocks when your step out of your comfort zone onto . . . the road.

That's where you find the real America, on the road. Huckleberry Finn knew it. So did Jack Kerouac. And Hunter Thompson.

And so does John Waters.

His latest book, Carsick, is another fine example of the Great American Road Book. He tells of hitchhiking across America, and more.

Carsick is another work of American literature that straddles the borders between fiction and nonfiction. After an introduction, he presents two outrageous novellas: one presenting the best case scenario, the other the worst. Waters' own twisted utopian and dystopian visions. Magnificently outrageous. The kind of stuff that makes you fall in love with America as the fantastic place where anything is possible, the way it should be, if only so many Americans weren't afraid of everything.

This gets into speculative fiction territory, crashing through alternative universes and all. Maybe John deserves a Hugo award for this.

Then, he goes on to document his real trip. Celebrity hitchhiking in the time of interwebs. Real people that are strange in ways his imagination didn't expect. The amazing, mind-blowing thing is – and I'm fighting the urge to commit spoilers here – it leaves you feeling good, and hopeful about this country.

It's the sort of book we need right now. And it makes me once again think of John Waters as a Great American.

Friday, May 15, 2015


In Chicanonautica, over at La Bloga, I go from my art at Sector 2337, to the subject of Chicano art:

As in, what is it?

Are we fine art?

And who know's where could this lead?

Monday, May 11, 2015


Here's what they had to say:

Hogan's debut, first published in 1990, introduced the subgenre of Chicano SF to a startled, dazzled American audience. Now, 25 years later, the book's Spanglish prose and freeform plot still amuse. All Pablo Cortez cares about is creating art, whether it's humongous graffiti sprayed across Los Angeles or zero-gravity paint slinging in space. Uncool authorities and timid collaborators can't stop him. When he confronts the alien Sirens of Jupiter, who have zapped the minds of earlier explorers, he takes their overwhelming flood of bizarre images as subject matter for new masterpieces. Hogan keeps Pablo's obsessive rants from becoming too intense by working them into a collage of comments from friends and enemies, along with hefty chunks of Aztec mythology, as he builds a jangling, rambunctious picture of artistic genius. This is tons of fun for freethinking readers who appreciate heroes with cojones. (Mar.)

Note: PW called Pablo "Pedro" at one point, but I corrected the error.

Buy it now!

Wednesday, May 6, 2015


As if there weren't enough turmoil sweeping across the planet, it looks like not even the art world is safe. After years of being seen only in obscure publications, the interwebs, and on those rare occasions when I show off my sketchbooks in person, some of my drawings are making it into an art gallery.

To be specific, Sector 2337, in Chicago, thanks to Josh Rios and Anthony Romero.

From the web page:

On view in the Project Space from May 09-Jun 13 2015
Josh Rios and Anthony Romero will present Part Two of Please Don’t Bury Me Alive!—a project space installation that features various arrangements of the artifacts from their inaugural performance alongside other works that deal with Chicano centered imagery and histories. In addition, a suite of drawings by Chicano sci-fi writer Ernest Hogan will be on display. The collection of works on paper represents the smallest of fragments culled from Hogan’s vast archive of sketchbooks, notes, and drafts, which Rios and Romero are working to curate for an exhibition in the Summer of 2016.
Did I mention that said drawings will also be for sale?

Just what is the world coming to?

Friday, May 1, 2015


Chicanonautica reviews Lowriders in Space over at La Bloga, and there's even trailer:

Used to be Mexicans in space were the stuff of comedy:

But lately, it's gotten serious:

And even on Earth, things are changing: