Ken Kesey - Demon Box

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From Publishers Weekly
The central theme running through this collection of stories (many of which seem to be primarily nonfiction with elements of fiction thrown in) by the author of One Flew Over the Cuckoo's Nest is the struggle to come to terms with the legacy of the 1960s. Kesey draws largely on his own experiences after returning to his Oregon farm following a brief stint in prison on drug charges. A series of tales, apparently sections from a novel in progress, star an alter-ego named Devlin Deboree: his relatively tranquil post-jail farm existence is disturbed both by memories of now-dead companions and the seemingly extinct passions of the '60s, and by burned-out refugees from that era who intermittently arrive on his doorstep, hoping for some sort of help from the most famous survivor of the psychedelic wars. Pieces on visiting Egypt and covering a Chinese marathon examine the complex relationship between Americans and people from other cultures. Kesey's distinctive gift with language and tough sense of humor unify this somewhat disorganized collection, and his elegy for the passing of the mad energy of the '60s will strike a responsive chord with all those who lived through those dangerous, liberating years. 30,000 first printing; BOMC and QPBC alternates.
From Library Journal
Kesey fans have waited long for his latest offering, a collection of experiences, stories, and poetry. Most of the tales concern the life and times of "Devlin E. Deboree," a counterculture author who serves time in Mexico on a narcotics charge and later returns to his family farm in Oregon. Though he gives himself an alias, Kesey usually identifies his friends, including Jack Kerouac, Larry McMurtry, Hunter Thompson, and a Rolling Stone reporter who accompanies him to the great pyramids. The collection fluctuates in mood, ranging from warm "farm" pieces such as "Abdul Ebenezer" (concerning a bull and a cow) to pieces dealing with loss of friends and a common cause that reflect a nostalgia for the Sixties. These more personal pieces, especially the title essay, are particularly strong. Susan Avallone, "Library Journal"
***
"Here's good news for pundits and pranksters everywhere: Ken Kesey can still write… Those metaphoric tales illuminate our lives and make us laugh and cry." – San Francisco Chronicle
Ken Kesey: legendary writer, counterculture folk hero – chief trickster of the sixties' tuned-in, turned-on generation. Now, kesey comes to terms with his own legend, as he reveals his fascinating passage from the psychedelic sixties to the contradictory eighties.
Assuming the guise of Devlin Deboree (pronounced debris), Kesey begins with his release from prison and his return to an unusual domestic life; recounts various foreign excursions (to Egypt to visit the Sphinx, and to China to cover the Bejing Marathon); relates lively stories of farm and family and, in the voice of his grandmother, a tall tale and a narrative prayer. Most poignantly, Kesey looks at the hard lessons to be found in the deaths of Neal Cassady and John Lennon.
As always, Kesey challenges public and private demons with sure, subtle strokes – and with the brave and deceptive embrace of the wrestler.
"In these forceful, engaging, sometimes touching pieces, Kesey shows that he remains a concerned, sometimes vitrolic, but ultimately responsible observer of American society and and the human condition." – The Philidelphia Inquirer

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(The group giggles. He waits until they stop.)

So. I am not Papa Genius but I can play Papa Genius. Or Papa God, or Mama God, or even the Wailing Wall God. I can take on the role for therapy's sake.

My therapy is quite simple: I try to make you aware of yourself in the here-and-now, and I try to frustrate you in any attempt to wriggle away.

I use four implements to perform this therapy. The first is my learning and experience… my years. Second is this empty chair across the table, the Hot Seat. This is where you are invited to sit if you want to work with me. The third is my cigarette – probably irritating to some but I am a shaman and this is my smoke.

Finally, number four is someone who is willing to work with me, here and now, on a few dreams. Eh? Who wants to really work with the old Herr Doktor and not just try to make a fool of him?

BILL: Okay, I guess I'm game. (Gets up from the lawn and takes the chair; introduces himself in a droll voice. ) My name is William S. Lawton, Cap tain William S. Lawton, to be precise, of the Bolinas Volunteer Fire Department. (Long pause, ten or fifteen seconds. ) Okay… just plain Bill.

W: How do you do, Bill. No, do not change your position. What do you notice about Bill's posture?

ALL: Nervous… pretty guarded.

W: Yes, Bill's wearing quite an elaborate ceremonial shield. Unfold the arms, Bill; open up. Yah, better. Now how do you feel?

B: Butterflies.

W: So we go from the stage armor to stagefright. We become the anxious little schoolboy in the wings, about to go on. The gap that exists between that "there" in the wings and here is frequently filled with pent-up energy experienced as anxiety. Okay, Bill, relax. You have a dream that we can work with? Good. Is it a recent dream, or is it recurring?

B: Recurring. About twice a month I dream of this ugly snake, crawling up me. Hey, I know it's pretty trite and Freudian but -

W: Never mind that. Imagine that I am Bill and you are the snake. How do you crawl up me?

B: Up your leg. But I don't like being that snake.

W: It's your dream, you spawned it.

B: All right. I am the snake. I'm crawling. A foot is in my way. I'll crawl over it-

W: A foot?

B: Something, it doesn't matter. Maybe a stone. Unimportant.

W: Unimportant?

B: Unfeeling, then. It doesn't matter if you crawl over unfeeling things.

W: Say this to the group.

B: I don't feel this way toward the group.

W: But you feel that way toward a foot.

B: I don't feel that way. The snake feels that way.

W: Eh? You're not the snake?

B: I am not a snake.

W: Say to us all what you're not. I'm not a snake, I'm not -?

B: I'm not…ugly. I'm not venomous, I'm not cold-blooded.

W: Now say this about Bill.

B: Bill's not venomous, not cold-blooded -

W: Change roles, talk back to the snake.

B: Then why do you crawl on me, you snake?

W: Change back, keep it going.

B: Because you don't matter. You're not important.

– I am important!

– Oh, yeah? Who says?

– Everybody says. I'm important to the community. (Laughs, resumes the affected voice.) Captain Bill the firefighter. Hot stuff.

W: (taking over snake's voice): Oh, yeah? Then why is your foot so cold? (laughter)

B: Because it's so far from my head, (more laughter) But I see what you're getting at, Doctor; my foot is important, of course. It's all me -

W: Have the snake say it.

B: Huh? A foot is important.

W: Now change roles and give Mr. Snake some recognition. Is he not important?

B: I suppose you are important, Mr. Snake, somewhere on Nature's Great Ladder. You control pests, mice and insects and… lesser creatures.

W: Have the snake return this compliment to Captain Bill.

B: You're important too, Captain Bill. I recognize that.

W: How do you recognize Captain Bill's importance?

B: I… well, because you told me to.

W: Is that all? Doesn't Captain Bill also control lesser creatures from up on the big ladder?

B: Somebody has to tell them what to do down there.

W: Down there?

B: At the pumps, crawling around in the confusion… the hoses and smoke and stuff.

W: I see. And how do these lesser creatures recognize you through all this smoke and confusion, Captain Bill, to do what you tell them?

B: By my – by the helmet. The whole outfit. They issue the captain a special uniform with hi-viz striping on the jacket and boots. Sharp! And on the helmet there's this insignia of a shield, you see -

W: There it is, people! Do you see? That same armor he marched onstage with – shield, helmet, boots – the complete fascist wardrobe! Mr. Snake, Captain Bill needs to shed his skin, don't you think? Tell him how one sheds a skin.

B: Well, I… you… grow. The skin gets tighter and tighter, until it gets so tight it splits along the back. Then you crawl out. It hurts. It hurts but it must be done if one is to – wait! I get it! If one is to grow! I see what you mean, Doctor. Grow out of my armor even if it hurts? Okay, I can stand a little pain if I have to.

W: Who can stand a little pain?

B: Bill can! I'm strong enough, I believe, to endure being humbled a little. I've always maintained that if one has a truly strong "Self" that one can -

W: Ah-ah-ah! Never gossip about someone who isn't present, especially when it is yourself. Also, when you write the word "self" you would do better to spell it with a lower-case s. The capital S went out with such myths as perpetual motion. And lastly, Bill, one thing more. What, if you would please tell us, is so important over there -

(lifting a finger to point out the vague place in the air where Bill has fixed his thoughtful gaze)

– that keeps you from looking here?

(bringing the finger back to touch himself beneath an eye, razor-blade blue, tugging the cheek until the orb seems to lean down from his face like some incorruptible old magistrate leaning from his sacrosanct bench)

B: Sorry.

W: Are you back? Good. Can you not feel the difference? The tingling? Yah? What you are feeling is the Thou of Martin Buber, the Tao of Chung Tzu. When you sneak away like that you are divided, like Kierkegaard's "Double Minded Man" or the Beatles' "Nowhere Man." You are noplace, nothing, of absolutely no importance, whatever uniform you wear, and don't attempt to give me a lot of community-spirited elephant shit otherwise. Now, out of the chair. Your time is up.

Woofner's tone was considered by many colleagues to be too sarcastic, too cutting. After class, in the tub with his advanced pupils, he went way past cutting. In these hunts for submerged blubber, he wielded scorn like a harpoon, sarcasm like a filleting knife.

"So?" The old man had slid deeper beneath the girl and the water, clear to his mocking lower lip. "Der Kinder seem to be fascinated by this law of bottled dynamics?" His sharp look cut from face to face, but I felt the point was aimed at me. "Then you will probably be equally fascinated by the little imp that inhabits that vessel – Maxwell's Demon. Excuse me, dear -?"

He dumped the court recorder up from his lap. When she surfaced, gasping and coughing, he gave her a fatherly pat.

"- hand me my trousers if you would be so kind?"

She obeyed without a word, just as she had hours earlier when he'd bid her stay with him instead of leaving with the Omaha Public Defender who had brought her. The doctor toweled a hand dry on a pant's leg, then reached into the pocket. He removed a ballpoint pen and his checkbook. Grunting, he scooted along the slippery staves until he was near the brightest candle.

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