If western culture is a woman, the 60s counterculture is a tramp stamp tattooed on her ass. It was exciting at the time. As she ages, she’s regretting it more and more.

She wanted to expand her mind. She got a drug problem that exists today, dissolving America’s inner cities like psychotropic acid. She wanted an alternative to the sexual mores of Leave it to Beaver. She got a sky-high divorce rate and a generation of kids raised in dysfunctional “all you need is love” relationships. She wanted new ways of seeing the world. She got Charles Manson and Jonestown. As Peter Fonda said, “We blew it.”

Black Hole is a graphic novel about a bunch of flower power children who are going through changes. Ch-ch-changes. As they immanentize the eschaton with acoustic guitars and reefer, their bodies are starting to transform, their skin melting like congealed fat before a blowtorch.

Sometimes the physical deformities are mild, even photogenic. One girl grows a cute demonic tail. Others look like the Elephant Man. One has pustules erupting on his face like the Yellowstone supervolcano. You’d call him pizza-face, but real pizzerias are never so generous with their toppings. Some have deformities that seem to change with unknowable and perhaps eldritch patterns.

Kid after kid comes down with the “bug”. They all become social outcasts, living on the fringes and stealing from convenience stores. One thing the graphic novel hammers home: being an outcast is overrated. Yeah, disconnecting yourself from the normies sounds great and romantic. In practice, it usually just means a lonelier cage.

Charles Burns art and writing is sparse, and leaves much unsaid. Sometimes it seems like there’s unwritten pages (or perhaps unwritten novels) hiding between his panels. That too seems to evoke a period where revelation was meant to come from within.

It’s confusing and not exactly accessible, partly because of its tone and content and partly because it draws a cultural aesthetic that sunk like Atlantis. The one slight umbilicus to the present (or at least the less distant part) is the character construction. It reminds me a little of that 90s style of cartooning: think Daria, or maybe the work of Mike Diana.

Despite its difficulty, Burns has created a comic about a subject that cannot be explained: the non-religious religions and thoughtless thought-processes of the 60s. It’s an absorbing read, though a hard one. We never find out what it was that caused the deformities: my perspective is that this is something that doesn’t need to be explained. All you need to do is witness it, or at least its aftereffects. Compare and contrast with the medieval plague. Was it cats? Rats? A cesspool of  sin rising to the nose of a vengeful God? None of its victims came close to understanding it. But it didn’t matter. In the end, they still died from it.

The Alchemist is about a shepherd who receives a dream from God. It’s always a shepherd. If you’re a pig herder in a fable, then aren’t you just shit out of luck.

Have you ever installed a sound system in a cheap car? The panels shake. The floorboards hum. Each bass hit is accompanied by a dying asthmatic rattle from your car, because the chassis is thin and nothing is spec’d to exact tolerances. It doesn’t matter how expensive the amplifier, speakers, and subwoofer is: you also need a good, solid car to put them in.

I was constantly aware of rattles and hums while reading the Alchemist. I think Coelho is a cheap car – or perhaps he had a poor translator.

Santiago, a young shepherd in Andalusian Spain, begins a journey to find his Personal Legend (portentously capitalized). He gets around a lot. He goes to Morocco, the Sahara desert, and Egypt, while meeting people such as a crystal merchant, an Englishman, and the king of Jerusalem. These were the strongest parts of the book – going places and doing things. The book has a simplicity and directness when relating day to day events that made me wish it had been about someone else, someone unburdened by a dream from God.

But all through the book there’s a falseness to it. It’s partly undone by its need to be a fable, and partly undone by the fact that Coelho never got me to buy into the story. Santiago rides through the desert on a horse named Author’s Convenience. You soon adapt to the book’s approach, and feel no worry or alarm at anything happening: there’s always an amazing stroke of luck around the corner. A fortuitous meeting. A freak meteorological event. Hard to care about Santiago’s fate when you know Paulo Coelho has a skyhook ready to yank him to safety.

Is this the point? That when you trust your life to fate things work out? Who gives a shit? It’s a fictional book – there’s an author operating the gears here. When Santiago receives a pair of stones that allow him to predict the future, you’re not awed by the wonder and whimsy of the universe. You’re aware that this is a MacGuffin in a preconceived plot and that it’s going to be used by Coelho to cheat.

Perhaps the book cleverly (or unintentionally) breaks the fourth wall. Santiago becomes aware he’s a fictional character, and that his author has teleological ends. I think we’d all be a lot bolder if we knew there was a sympathetic author writing our story. But this isn’t compelling reading.

Descriptions are thin and perfunctory. He journeys through the Sahara, but we don’t hear about grit under his fingernails and the agony of climbing shifting sand dunes. Somewhere in the book he meets an Arab girl called Fatima, who he vows to marry once he fulfills his Personal Legend. I don’t recall the part where they discussed the fact that he’d have to convert: Muslim women cannot marry unbelievers.

The book is based off an old Yiddish fable, about a Jew who has a dream about a fortune buried somewhere in Venice. He travels there, digs fruitlessly, until eventually he meets a man who scorns him for his foolishness. “Why, for years I’ve been dreaming of some nonsense about Jew with massive fortune under the basement of his house!”

It’s an interesting premise for a book: a treasure right under one’s nose that you’d have to go around the world to find. Maybe someone is actually searching for treasure right now. If you’re that person, put this book down. It isn’t it.

April 22 1993. The 37th President of the United State, Richard Milhous Nixon, passed away. He was carried by motorcade to the Richard Nixon Presidential Library, was then buried Yorba Linda, a suburban city in Orange County, California. You might be thinking this is boring and useless information. You’re right. It is.

What’s interesting is that he was buried within a few feet of the place he was born, giving his life an almost palindromic quality. From birth to death, his planetary displacement was almost zero.

“Almost palindromic” describes many things about Nixon. His surname isn’t a palindrome, but it clearly wants to be. Five letters. An N at beginning and end. A pivotal X in the middle. Vowels in the spaces between. “Nixon” means “Son of Nicholas”, and “Nicholas” contracts to “Nick”, evocative of how “Richard” contracts to “Rick.”

He was born on January 1913. If he’d been born a few months later or died a few months earlier, he would have been exactly eighty years old. Eighty is a nice, symmetrical number, easy to derive as a product and palindromic in base 3(2222₃), 6(212₆), and 9 (88₉.)

The situation is almost poetic, which is to say, it’s truly and deeply aggravating. I can handle the universe not making sense. What I can’t handle is when the universe almost makes sense…and then doesn’t. It’s as infuriating as a basketball shot that scrapes the rim and misses.

Imagine a more poetic and elegant universe, where Nixon/Noxin’s life truly was a palindrome: the second half a reversal of the first half.

Let’s call 1952 the midway point. Nixon was suffering the first major scandal of his career: an investigation on the misuse of Republican party funds. He looked uncomfortable, and guilty. Some women have resting bitch face. Nixon had resting guilt face. The poor guy could have said “I’m the devil” and make everyone wonder what he was really hiding.

During the speech, he told an awkward anecdote about a black-and-white dog called Checkers.

In my universe, Nixon closes those guilty eyes, the universe crunches and inverts like the X in his name…and Noxin opens them. And begins to talk.

“…As it happens, I also own a white-and-black cat called Chess.”

From there, the rest of his life plays out like falling dominoes. Or perhaps someone re-setting dominoes that have already fallen.

1954: expelled from the US Senate.

1960: fails to win California’s 12th congressional district against a Democrat challenger. Tragically loses his daughter in an unexplained accident. Noxin feels nothing. Whatever grief a man would normally feel is expressed only in negatives.

1960: returns to military service in the US Navy.

1962: War. Massive US deployment of soldiers in Vietnam. The Cuban Missile Crisis occurs – the United States enters DEFCON 2. Noxin is now part of a new form of war: one that might see nobody surviving to be a winner or a loser – a war fought by the hawks of plutonium and uranium, with humanity as their inept and feeble falconer.

1965: The Tet Offensive overruns key US positions. Vietnamization is failing, and detente is no longer possible. Behind the Iron Curtain, the USSR marshalls its strength like Zeus gathering up thunderbolts.

1966: While overseas, Noxin realises that his wife Pat has left him. He doesn’t understand why, but he also doesn’t understand why he married in the first place. It seems like something that happened to a different person.

1968: all storms break. Europe is under attack. The nukes start to fly. Noxin serves, until the point where he doesn’t. He doesn’t need to see Germany or Poland get taken, added to the Soviet urheimat. He wants to see the rot take hold in his own country. He arranges an honorable discharge, and returns to law.

1973: Noxin watches as the US implodes inwards. This is fundamentally satisfying for him. The stock market crashes. Nuclear fallout terminates the bread basket forever.

1993: Noxin returns to his place of birth, his life a blind-ended worm: no differentiation possible between one end or the other. Then he’s buried in Yorba Linda. The last men of the United States shovel irradiated dirt into this second womb.