I have elsewhere spoken of the endless Winter of Mono, California, and but this moment of the eternal spring of San Francisco. Now if we travel a hundred miles in a straight line, we come to the eternal Summer of Sacramento. Not always and unvaryingly, but about one hundred and forty-three months out of twelve years, perhaps. Flowers bloom there, always, the reader can easily believe — people suffer and sweat, and swear, morning, noon and night, and wear out their stanchest energies fanning themselves. It gets hot there, but if you go down to Fort Yuma you will find it hotter. Fort Yuma is probably the hottest place on earth. The thermometer stays at one hundred and twenty in the shade there all the time — except when it varies and goes higher. It is a US military pot, and its occupants get so used to the terrific heat that they suffer without it. There is a tradition that a very, very wicked soldier died there, once, and of course, went straight to the hottest corner of perdition — and the next day he telegraphed back for his blankets. There is no doubt about the truth of this statement, there can be no doubt about it. I have seen the place where the soldier used to board. In Sacramento it is fiery Summer always, and you can gather roses, and eat strawberries and ice-cream, an wear white linen clothes, and pant and perspire, at eight or nine o'clock in the morning, and then take the cars, and at noon put on your furs and your skates, and go skimming over frozen Donner Lake, seven thousand feet above the valley, among snow banks fifteen feet deep, and in the shadow of grand mountain peaks that lift their frosty crags ten thousand feet above the level of the sea. There is a transition for you! Where will you find another like it in the Western Hemisphere? And some of us have swept around snow-walled curves of the Pacific Railroad in that vicinity, six thousand feet above the sea, and looked down as the birds do, upon the deathless Summer of the Sacramento Valley, with its fruitful fields, its feathery foliage, its silver streams, all slumbering in the mellow haze of its enchanted atmosphere, and all infinitely softened and spiritualized by distance — a dreamy, exquisite glimpse of fairyland, made all the more charming and striking that it was caught through a forbidden gateway of ice and snow, and savage crags and precipices.
It was in this Sacramento Valley, just referred to, that a deal of the most lucrative of the early gold mining was done, and you may still see, in places, its grassy slopes and levels torn and guttered and disfigured by the avaricious spoilers of fifteen and twenty years ago. You may see such disfigurements far and wide over California — and in some such places, where only meadows and forests are visible not a living creature, not a house, no stick or stone or remnant of a ruin, and not a sound, not even a whisper to disturb the Sabbath stillness you will find it hard to believe that there stood at one time a fiercely-flourishing little city, of two thousand or three thousand souls, with it newspaper, fire company, brass band, volunteer militia, bank, hotels, noisy Fourth of July processions and speeches, gambling halls crammed with tobacco smoke, profanity, and rough-bearded men of all nations and colors, with tables heaped with gold dust sufficient for the revenues of a German principality — streets crowded and rife with business town lots worth four hundred dollars a front foot — labor, laughing, music, dancing, swearing, fighting, shooting, stabbing — a bloody inquest and a man for breakfast every morning — everything that delights and adorns existence — all appointments and appurtenances of a thriving and prosperous and promising young city — and now nothing is left of it all but a lifeless, homeless solitude. The men are gone, the houses have vanished, even the name of the place is forgotten. In no other land, in modern times, have towns so absolutely died and disappeared, as in the old mining regions of California.
It was a driving, vigorous, restless population in those days. It was a curious population. It was the only population of the kind that the world has ever seen gathered together, and it is note likely that the world will ever see its like again. For, observe, it was an assemblage of two hundred thousand young men — not simpering, dainty, kid-gloved weaklings, but stalwart, muscular, dauntless young braves, brimful of push and energy, and royally endowed with every attribute that goes to make up a peerless and magnificent manhood — the very pick and choice of the world's glorious ones. No women, no children, no gray and stooping veterans — none but erect, bright-eyed, quick moving, strong-handed young giants — the strangest population, the finest population, the most gallant host that ever trooped down the startles solitudes of an unpeopled land. And where are they now? Scattered to the ends of the earth — or prematurely aged and decrepit — or shot or stabbed in street affrays — or dead of disappointed hopes and broken hearts — all gone, or nearly all — victims devoted upon the alter of the golden calf — the noblest holocaust that ever wafted its sacrificial incense heavenward. It is pitiful to think upon.
It was a splendid population — for all the slow, sleepy, sluggish-brained sloths staid at home — you never find that sort of people among pioneers — you cannot build pioneers out of that sort of material. It was that population that gave to California a name for getting up astounding enterprises and rushing them through with a magnificent dash and daring and a recklessness of cost or consequences, which she bears unto this day — and when she projects a new surprise, the grave world smiles as usual, and says "Well, that is California all over."
— Mark Twain, Roughing It
5 comments:
Interesting and beautiful literature. Also interesting that you rewrote a classic for the blog. I saw the GONZO movie last weekend and it mentiond that Hunter S. Thompson would retype the entire Great Gatsby several times to get the "feel" of being a great American writer.
yeah, i've heard something of those sorts myself. its actually a quite fruitful exercise in general multi-tasking, and an even greater study in the value of a singular body/mind. posture, accuracy, technique of habit . . . its all there.
how was the film?
The movie was fantastic, especially if you're a HST fan to begin with. It did contain a lot of scenes from the bonus footage Criterian Collection version of Fear and Loathing. It wasn't 100% biographical, focused a lot on his writing, and how ultimately drugs were his downfall. One topic pondered after the movie: Who is more glorious? HST who created a persona and stuck with it until his untimely death OR someone like Bob Dylan, who creates personas and destroys them, only to reinvent himself later on?
Ultimately I give GONZO two thumbs up. Mosdef worth seeing.
interesting ponder . . . i don't know. i think the nature, and intentions, at which the persona was made has most to do with it.
i get the idea that hunter deliberately created a situation where he could explore a more advantageous approach to saying what (and how) he wanted to say. with a simple wink of drama he was all the sudden able to shrug all the "rules" his colleagues were professionally bound to uphold. this probably gave him an incomparable sense of his own world, and essentially a sort of top-tiered freedom.
bob is a bit of a different beast all together, almost more of a reactor where the enthusiasts/followers did most of the talking for him. i'd imagine we laid out his supposed "strategy" more than he ever deliberated, or probably even realized. granted, the significant changes in his music and demeanor are pretty undeniable, but they hardly seem manufactured. i think i tend to see those personal changes as more of the natural appropriation through the course of one's life, more like a mirror or by-product of a legitimate artistry/observation.
i guess i see the hunter persona as more of a vehicle, but by no means superficial or impersonal. i'd imagine that's pretty obvious given the sheer originality and bizarre nature at which he led his life and work. maybe i see the dylan characters to be less strategic in the professional sense.
for only the sake of a comparison between the two, i'd imagine hunter to be a man riding the vehicle he designed, whereas dylan became the vehicle itself.
i guess i never bought the idea that a work of art lives and breathes on its own, unbound to the artist who made it. it seems that most artists prefer this fate. i've always seen the work as a mere (but not MERE) checkpoint, or record of the man and times that brought it to its so-called "life."
why is it we expect to relate to something AFTER taking people out of the picture? we ARE people, right?
Interesting comparison here, I wish I knew more about Journalism and Journalists because the comparison might be tighter than what we anticipate, as I'm assuming we know much more about a characters role in popular music than popular writing.
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