STEPHEN KING – JOHN MELLENCAMP – T. Bone BURNETT – GHOST BROTHERS
OF DARKLAND COUNTY
The format is so strange that we
remain aghast and flabbergasted for at least five minutes when we open the delivery
box. The size of the “object” is that of the long play vinyl record of the old
days, and thick enough to contain maybe three or four records of that type, and
the whole thing is intriguing. The libretto which is the only thing that comes
out is the same size and we find out this libretto encloses two CDs and one
DVD.
Let me look at this singular
assortment in the most incredible disorder.
The first CD is the songs of the
musical play in disorder as for their chronological order in the libretto with
small in-between tracks to link them all in a way or another with some dramatic
dialogue. That gives dynamism to the music since we are within a story that is
being told. We discover the order of the songs is not that of the libretto
because we are a good audience and we look for the lyrics. This is a very good
idea to give the seventeen songs in a dramatized presentation, hence with an
obvious added value. That’s ten times
better than the second CD that gives the songs in proper order in the classical
format, one after the other. I guess that will give choice to listeners, on one
hand the traditionalists and on the other hand the innovators. The first CD is
like a presentation of the songs on a radio with an actor saying a few words
between each song. Pretty awesome it is, as the new generation seems to like
saying after Supernatural and the Winchester brothers. This
allusion is not gratuitous.
But before moving to the libretto
let’s say the music is very good and somewhere between some swinging
country-leaning rock music and then some more meaty fleshy sanguine music from
the rock planet of more recent times and yet the general format is very
regular, the way people like Jimmy Hendrix used to do things. It does sound
like a good modern advanced form of music for some Broadway show, some musical
dramatic production that wants to attract the theater audience of major stages
in major cities.
I then got into the libretto, the
play itself, the story and there we get two brothers, in fact two sets of two
brothers as if we had Dean and Sam Winchester as well as Michael and Lucifer.
And of course each pair is duly associated with Cain and Abel, page 31 for
Drake and Frank, the more recent real live ones, and page 58 for Andy and Jack,
the older ghostlike ones from the past, and that reference to Cain and Abel is
in proper order, older brother and then younger brother, because Stephen King
knows his Genesis by heart. He of course knows the older son is the killer of
the younger son because the older son fails to capture the attention of God and
the younger one succeeds..
And of course, since we are in
the 21st century we can take some liberty with the Bible, and the
two pairs of brothers invert the order of the model, and it is the younger son
who kills the older son both because the older son is the failure and the
younger son is the winner of something, no matter what, on the background of
teenage hatred that has to do with girls, with one girl because these two pairs
of hormone-dominated non-castrated draught animals, generally known as
brothers, are not satisfied with draught beer, or drafting any kind of plan to
conquer the moon: they have to fall in love with the same girls who prefer the
older brother at first and is attracted by the success of the younger brother
afterward and change their allegiance. More horrible that that you cannot
imagine and you may die. It is squalid, bleak, awful this time and in no way
awesome, but definitely horrible. Girl-friends sure do not get the good side of
the deal.
One generation of brothers (in
fact the two older brothers of the father of the second generation of brothers)
are playing their parts as ghosts and we learn more or less that they are
trapped on the earth because the third brother of this older generation, hence
the father of the two brothers of the younger generation, is carrying a deep
sense of guilt in his mind about the event that killed his two brothers. It is
his telling the truth, in fact a first part that is innocuous and then the
second part that is somber and dense, that is supposed to free the ghosts that
can move on to another world. Unluckily this telling of this old story starts a
whole chain of events that will fatefully get rid of the younger pair of
brothers.
But inversion is essential:
Stephen King rewrites the Bible in the style of Sigmund Freud who felt so
guilty about his Old Testament and his Judaism that he built his psychiatry on
the Greek mythological model and in the systematic inversion of Biblical
references. It is a basic crime in Mosaic law for a son to look at his nude
father, so Freud made the killing of the father a fundamental symbolical crime
necessary to get to adult age as well balanced as possible. It is a crime in
Mosaic law for a son to desire his mother. Of course Freud rewrites this part
as a fundamental desire that will make you a grown up in no time provided you
symbolically kill your father and then symbolically transfer your desire for
your mother onto another woman who is not a relative or a sister. And he calls
that oedipal of course, a good Greek reference.
So telling the tale of symbolical
guilt for the surviving third brother of the older generation, who is quite alive
as the father of the second generation of brothers, is a way to come to terms
with his purely personal and psychological, sorry psychiatric guilt that
requires immediate psychiatric treatment, in depth if you please. In other
words the telling of it all is cathartic. Cathartic for the father who projects
his guilt into the public tale because then it is assumed and carried by other
people. But it is anti-cathartic for the second generation of brothers who at
once get into a situation that leads them to do the same things as their two
dead uncles. And what’s more whereas the two dead uncles were only responsible
for three deaths, the younger generation of brothers, or nephews if you prefer,
are responsible for five deaths. In the first case the younger brother only
really kills one person, and it could have been seen as an accident caused by
an abuse of alcohol, in the second case the younger brother is directly
responsible for four deaths, including his own and his father’s. That’s
Freudian to a maxium peak of intensity, especially when we know the mother of
that second generation of brothers preferred her older son. In other words the
accidental death of the mother at the hands of a nonsensical fight between the
girl friend and the mother leads to a sort of Freudian vengeance that makes the
younger son kill the father and the older son. Isn’t that twisted and warped,
corrugated would some people say, I guess.
Stephen King in his Freudian
rewriting of Genesis is making the load of guilt heavier than anything you
could imagine and Cain, I am sorry the younger brother Frank in the second generation
has seen his guilt multiplied by four. The modern Freudian world is not exactly
a happy story.
The question we have to ask here
is why that motif of the tale of two brothers is so pregnant in American
literature particularly since the Second World War. Steinbeck had done a lot
already with his East of Eden, Supernatural and Dexter had been particularly heavy on the subject too, and now
Stephen King has transformed the sorry religious or mythical tale of Cain and
Abel into an apocalypse, a mass murder, a case of epidemic serial killing. When
we think how much effort it has taken for all the Christian churches and
temples to hide the fact that Jesus had many brothers, the most important of whom
is James supposedly the Minor (James the Major is a fairy tale) who was stoned
to death after an illegal decision of the high priest of the Jerusalem temple
in 62 CE, when we think of that we can wonder why this story of two brothers is
coming out so strong in modern American culture.
Some will be entitled to wonder
if the USA are not schizophrenic somewhere, more or less carrying in their
collective unconscious the guilt of having killed their brothers, their
European brothers, their English brothers, their Indian brothers, their Black
brothers? That makes many human brothers they have killed and tortured most of
the time to death. The history of the USA
sounds like a giant Guantanamo.
Are the Americans of the USA
in need of a deep and vast cathartic psychoanalysis? Or will it be enough to
prescribe one pill of Prozac to all Americans every day starting as soon as the
first day of conception (via the pregnant mother till the real birth) and then
in the milk bottle of the baby?
The DVD does not add much, except
the three artists sitting; one next to the other, like the three monkeys of the
fable and the song recorded in Studio given at the end of this making-of is
just perfect for them:
But you can
see with those eyes
And you can
hear with those ears
And you can
speak with that tongue
For sure the three members of the
jury really see nothing, hear nothing and say nothing that will change my
approach, but they are quite fascinating speaking of their work as if it were
their new born baby or their teenage high school crush. They sure are
sentimental, especially Stephen King. One thing is sure in this DVD, the songs
and their lyrics seem to have been written by John Mellencamp first and then
Stephen King came along and wove a tale of twice two Cain-like and Abel-like
brothers. I am sure Stephen King must have thought of this two sons quite a few
times.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 2:50 PM