Anarcast #4: Issues and Art

The Playful Anarchist podcast, with Asher Black (Anarcast #4, AsherCast #4). Better audio quality. Late night. An anarchist will acknowledge that everything is political, which is why turning it into something with a life of its own makes little sense. Talking about politics, social issues, and art, as well as health claims in TV commercials. Music is by Fernwood – “Music played by hand on instruments made of wood”. Song is called “Sandpiper”. It’s on the Magnatune label.

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Concerning Black Asher

From a Haunt Resident:

Asher Black is rumored to have an alter ego.

Black Asher has the voice of a smoker. Not dry, but a little rough. But his voice is also like the bitterest and smoothest of chocolate, the kind one takes in small bits and toasts over the flame of candle late at night. One sinks slightly into that voice whenever he speaks, without quite being aware of it until one must move to extricate oneself afterward.

He has been called “persuasive”, “resourceful”, “ingenious”, “impetuous” and something of a “miscreant”, but he has a penchant for conspiracy. He has a tendency to teach, even when he doesn’t mean to. His style in everything has the flair of the passionate romantic. He is moody, ranging from delirious comedy to fits of dark brooding.

He is tall, very dark haired, limber, always wears all black, down to his exquisite socks and lacy black wingtips or calf-length black boots. Favors trenchcoats, sometimes but rarely wears a “sam spade” hat. Smokes a pipe – generally black sandblast briar.

He will not say where he is from, and is capable of a variety of strange or foreign accents, and bits of language. His parents, he says, are long dead, and he has no family. It is rumored that he has a secret love. He is also a heretic of several churches.

Familiar with the knife, suggesting a rough background, yet his tastes run to fastidious refinery. He cooks, usually Italian, favors certain wines and liquors but is never drunk, prefers a blend of tobacco that is moist pitch black but not overly sweet laced with spicy turkish and pungent American indian varieties. He tends to look angry or unhappy when he is only thinking, which is most of the time.

Black Asher has certain unusual capabilities or tendencies.

Overstate News 3-11-03

The main cellblock taken by ghostieguide dec 2...
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The pageants and parades continue. Almost every film and new broadcast is a glorification of the OverForces, OverIntelligence, or else an attack on They. The perpetual enemy. The enemy whose face changes with each battle. The enemy who might one day be our friend, our ally, or someone so helpless that in other times we’ve sent them rice or beans.

The colors of the Overstate emblazon all our cultural displays now. The red of blood and fire and anger. The blue of bruises and cold death, of strangulation. The white of obliteration, of blinding light – the erasure of opposition, of those who do not glorify the Overstate. Our songs are anthems. There are comedies that mock our next adversaries.

And there is talk now of sedition and anti-Overstatism – of so accusing those who protest our actions.

Now, too, we are asked to report on our neighbors, our families, on those with different skin and religion. We are charged now with public surveillance. And we are told not to discuss or presume to know the reasons or the rights, if any, of those in prison. They have no trial, as we once understood a trial, no representation, no protection under the documents of the old order. They have been accused of high treason, when anyone has bothered to accuse them at all.

Brotherhood of the Wolf

Brotherhood of the Wolf is a veritable party tray of a film. Director/co-writer Christophe Gans has put together an action/horror/thriller/period piece/mystery/martial arts flick that literally has something for everyone.

A lifelong film fan, Gans was involved in several fan publications in France. He has taken bits from nearly every type of film and placed them within the context of his story so that the seams don’t show. A technical achievement in the success of the blending, even if the story peters out before the end.

Welcome

Asher Black opens the tall oaken doors that moan on their hinges. It is quite apparent that he has no butler. He is wearing a black smoking jacket, black reverse pleated gaberdine wool trousers, and black leather house slippers. He is smoking a black sandblast 90 degree drop briar pipe that smells at once spicy, pungent, and aromatic.

“Do come in,” he invites. “I hope you’ll be comfortable here, that you’ve brought writing, or at least your excellent minds, and will be pleased to stay for some time.”

Childhood

When Asher was a child he was afraid of the dark. Not so much the dark as the sense that it seethed with intelligence, and that intelligence seemed to want him dead. It would linger a while even if one suddenly threw light upon it, as if to say “I am only blind, not toothless”. “In the dark”, thought Asher, “it can see me”.

When he was older, Asher realized that he too could be formidable in the dark. Here the enemy was on equal footing. He could see in it, if he let his eyes adjust, had taught himself to walk without sound, and could restrain his breathing. And he could hide not from but hide in wait for his enemy. “It too can be prey,” he thought.

Asher feels now most comfortable after dark, though he prefers to light lamps in order to read or write. He is at home in the night; it is his world. And whenever he feels a slight chill at the neck, he pulls his muffler a little tighter, holds his breath, and slips into the black… waiting.

Sometimes if he seems short of breath, he has probably forgotten to resume normal breathing.

Setting

The tables were sticky. It didn’t matter where one would move. Pull out a chair… it was sticky too. Dim lighting didn’t hide it. Even the missing bulbs at some of the booths failed to conceal the tacky syrupy sheen over everything. Even the waitresses seemed to have it. I wondered if, bumping into one of them, I’d have to pull my loose shirttail from her as though it’d been caught in taffy. The booth-backs were straight as boards, since that’s what they were – boards covered with a janitorial grey vinyl, like smooth icing on maple cake, punctuated only by a column of tufted buttons on each side. One had to lean forward – towards the slime – as soon as one sat down. Like the thickly caked makeup on a faded southern belle, someone had tried to liven it all up with a plastic garland arond each of the suspended lights, which were in fact suspended over the black treadmarked tables only by their black electrical cords from the black foam ceiling panels. There were the usual pufferies: a smoke plastic rack of 1-inch jelly tubs on each table, a shaker of white sugar, some sweet and low packets, salt, pepper. There wasn’t a napkin in sight. Not anywhere. Nothing with which to create a sanitary spot. There was perhaps one ashtray on every fifth table in the designated smoking area, so designated by the occasional stray ash or butt. It is as though any possibility of sensory pleasure had deserted along with any hope of hygiene. One waitress with swampy black hair and a lazy eye which it was difficult not to watch stood resting with arms crossed over the back of one booth. Another sat on a stool at the counter, holding two yellowy fingers to her mouth in which was a half-spent slim brown cigarette, staring vacantly from sunken black spots that could almost have been eyes. I didn’t look at the carpet, fearing it might be the one thing that remained alive after the holocaust that was this diner. The pie cooler chugged away. Something made an occasional shuffling sound through the window to the kitchen. Olivia Newton John crooned, barely audible, over the ceiling speakers – “You have to believe it is magic.” And it was. Black magic, with eye of newt no doubt today’s special.