Lonely California slough

Source


Norms

I read that Norms on La Cienega, a classic LA diner, may be replaced by a Raising Cane’s.

This Norm’s is the subject of a famous painting by Ed Ruscha:

I asked different AIs to generate some versions of this painting if it were a Cane’s instead of a Norm’s.

From The LA Times:


[Senator Lyndon Baines Johnson with U.S. Representative Victor Anfuso and his daughter (right) at a party at the Shoreham Hotel, Washington, D.C.] / MST. digital file from original

source. I’ve been listening to Caro’s Years of Lyndon Johnson: Passage of Power. Very calming in a way.

Caro makes much of the cruel “Rufus Cornpone” nickname (although he never says who made that up). JFK had his own nickname for LBJ. He called him “Riverboat.”

A tactic LBJ used was getting people to feel sorry for him:

Having observed Johnson close up for more than twenty years, Rowe was aware, he says, that Johnson would always use “whatever he could” to “make people feel sorry for him” because “that helped him get what he wanted from them.” But that awareness didn’t help Rowe when, in 1956, the person from whom Johnson wanted something was him. Having observed also how Johnson treated people on his payroll, he had for years been rejecting Johnson’s offers to join his staff, and had been determined never to do so. But Johnson’s heart attack in 1955 gave him a new weapon—and in January, 1956, he deployed it, saying, in a low, earnest voice, “I wish you would come down to the Senate and help me.” And when Rowe refused, using his law practice as an excuse (“ I said, ‘I can’t afford it, I’ll lose clients’ ”), Johnson began telling other members of their circle how cruel it was of Jim to refuse to take a little of the load off a man at death’s door. “People I knew were coming up to me on the street—on the street—and saying, ‘Why aren’t you helping Lyndon? Don’t you know how sick he is? How can you let him down when he needs you?’ ”

Johnson had spoken to Rowe’s law partner, Rowe found. “To my amazement, Corcoran was saying, ‘You just can’t do this to Lyndon Johnson!’ I said, ‘What do you mean I can’t do it?’ He said, ‘Never mind the clients. We’ll hold down the law firm.’ ” Johnson had spoken to Rowe’s wife. “One night, Elizabeth turned on me: ‘Why are you doing this to poor Lyndon?’ ”

Then Lyndon Johnson came to Jim Rowe’s office again, pleading with him, crying real tears as he sat doubled over, his face in his hands. “He wept. ‘I’m going to die. You’re an old friend. I thought you were my friend and you don’t care that I’m going to die. It’s just selfish of you, typically selfish.’ ”

Finally Rowe said, “Oh, goddamn it, all right”—and then “as soon as Lyndon got what he wanted,” Rowe was forcibly reminded why he had been determined not to join his staff. The moment the words were out of Rowe’s mouth, Johnson straightened up, and his tone changed instantly from one of pleading to one of cold command. “Just remember,” he said. “I make the decisions. You don’t.”

Amazing. But:

Now this technique was used with Jack Kennedy. At meetings, the soft voice was coupled with a face that varied between sullen and sorrowful—the look of a very sad man. And if pressed particularly pointedly by the President for an explanation or a recommendation, he would say, “I’m not competent to advise you on this,” sometimes adding that he didn’t have enough information on the subject, statements that Kennedy viewed, in Sorensen’s phrase, as being Johnson’s “own subtle way of complaining to the President” about his treatment. With Kennedy, however, the tactic had no success at all. “I cannot stand Johnson’s damn long face,” the President told his buddy Smathers. “He just comes in, sits at the Cabinet meetings with his face all screwed up, never says anything. He looks so sad.… You’ve seen him, George, you know him, he doesn’t even open his mouth.” Smathers suggested foreign travel. “You ought to send him on a trip so that he can get all of the fanfare and all of the attention … build up his ego again, let him have a great time”—and also, although Smathers didn’t say it, get him out of Kennedy’s hair. “You know, that’s a damn good idea,” Kennedy replied—and at the beginning of April sent him to Senegal, which was celebrating the first anniversary of its independence.”

Here they are the return from that trip. The man in the middle is listed as “Unidentified.”


A galled crotch

Reading at last J. Evetts Hayley’s biography of Charles Goodnight.


Querencia

Goya

The first page of Proust: I woke up, and I never knew in the beginning where I was, so I went through all the bedrooms of my life. The way I think of it is like a Disney film. First, you think it was better when you were seven years old, and furniture looked a certain way. Then you think, no, it was best when you were twelve, so all the chairs dance around and restructure themselves into the bedroom you had when you were twelve. Finally, you reach your current age, and, here, they find their places in yet a different arrangement. Territorialization works in this way. In music, the refrain is making that home for yourself in music by territorializing sound through repetition.

What does it mean to have a home?

I don’t know whether any of you have seen bullfights; maybe you think they are horrible, or maybe you are interested in death, like Hemingway. In a bullfight, the bull emerges out into a world which is completely unfamiliar. The bull must then territorialize this world, so he finds a part of the bull ring—it’s arbitrary, because the space is all the same-which will be his terrain. In bullfighting language, this is called the querencia, from querer.

This space belongs to the bull. None of the actors in the bullfight, and especially not the matador, will ever try to get into that place. They have to identify it, because there the bull is supreme. They have to lure it out of its querencia in order to fight it in some other place. All of this is in Hemingway’s Death in the Afternoon, his book on the bullfight. As he says, he was interested in the bullfight because, as a writer, he wanted to know what death was, and the bullfight often results in the deaths of the bulls and also of the mata-dors. But you can see the usefulness of understanding territorialization as your querencia, the way you naturalize, normalize, make your own space, space being understood in the sense of the plane of immanence, that is to say, the connections of all these things. Some are interests or pas-sions; some are objects, tasks, or habits. All that you organize into something which I guess you call your identity, but it isn’t your identity; it is your territorialization, and you are caught in it. For the infant, that will be the parents. Why do you think Deleuze and Guattari attack Freud and the Oedipus complex? Who wants to be caught with their parents their whole life?

You want to get away from them. Kristeva and Irigaray’s description of the mother:

You have to get away. You have to deterritorialize.

And now another crucial Deleuzean ex-pression: the line of flight. You must try to invent lines of flight out of your territory, because your territory is going to be taken over by Google, by General Motors, by Coca-Cola. It will lie in the globalized world of the great corporations. It doesn’t belong to you anymore. You can try to make a little space that you call your own, and that will be what Deleuze calls your secret garden.

that from Jameson’s Years Of Theory.