Official Edgar Rice Burroughs Tribute and Weekly Webzine Site
Since 1996 ~ Over 10,000 Web Pages in Archive
Volume 1798
R.E Prindle's Themes and Variations:
The Tarzan Novels Of Edgar Rice Burroughs
The Deconstruction Of
Edgar Rice Burroughs
Part 1 of 7
By R.E. Prindle
The Deconstruction Of Edgar Rice Burroughs America by R.E. Prindle
1. Random Notes 2. Organizing the Unorganizable 3. Organizing the Revolution 4. Deconstruction Begins
5. The Byss and the Abyss 6. Freud & His Unconscious 7.  Lad and the Lion .

I. Random Notes

Hey mama, mama; hey papa, papa
Ridin' On The Mobile Line.
Hey mama, mama; hey papa, papa
I'm talkin' 'bout the Mobile Line.
Theys a road to ride baby,
Ease your troubled mind.

     The time is 1912.  the place is Harry Hope's bar in New York City.  A number of hapless alcoholic anarchists and socialists lay about waiting for the Revolution, Lefty, Godot or the one bright spot in their year, the appearance of a traveling salesman named Hickey who will regale them all with free drinks until his money runs out.

     Larry Slade, a despondent tired anarchist sits numbly staring into thin air when Don Parritt a young Movement member blows in from the Coast.  The utopian revolution has crashed on the rock of psychological realities.   Don Parritt could not tolerate his mother's one night stands turning her and the West Coast Movement in to the police.

     The scene now shifts to the inside of a rundown movie theatre in Manhattan in 1943.  On the end seat of a row in the middle back slumps a tall gangly man of twenty-eight intently almost breathlessly watching the flickering movement on the screen listening with great concentration to the words booming from the loudspeakers.

     Well he might for the movie is one of the most amazing ever filmed.  Originally shot in Germany in 1932 the movie had been confiscated by Dr. Goebbels shortly thereafter as subversive.  Dr.  Goebbels was right on the mark.

     Thus the film disappeared to be reconstructed only in post-war years.  Wait!  How then could the man be watching The Testament Of Dr. Mabuse in 1943?  The director, Fritz Lang, well knew his film would be suppressed by the German authorities so he had a parallel copy filmed in French.  This version was smuggled from Germany to France and from Occupied France to the United States even as the war raged.  What was so important about this film that it had been rescued twice and shown in the middle of the war?

     The film was and is subversive.  It is quite frankly a blueprint for the subversion of society, indeed, of all civilization.  Anarchism perfected.  The faithful were being given their post-war marching orders.  The Communists, of which faith the tall gangly man was, cleverly described the movie as an anti-Nazi polemic which it definitely was not.  They fooled a great many people but at the same time the faithful were directed to see the movie.  The message struck home.  The capitalist State could be undermined.  As the man left the theatre he would always recall the moment as one of the great moments of his life.  He would subsequently review the movie many times, finally watching the original German version when it was released.  The movie so overwhelmed his senses he never could get the story right.

     Three years later in 1946 the now thirty-one year old sat in a theatre watching a play with the same rapt intensity. This too electrified him as much as the Testament Of Dr. Mabuse had in 1943.  The play depicting an earlier time had been written in 1939 but for various reasons had never been produced until this evening.  The scene was set in Harry Hope's bar in New York City in 1912.  A group of alcoholic socialists and anarchists sat around waiting for the Revolution, Lefty, Godot or the appearance of a traveling salesman Hickey whichever came first.  Hickey  was first on the spot with money for drinks.

     Yes, the play was Eugene O' Neill's The Iceman Cometh.  The opening scene of the play occurred only in Eugene O' Neill's mind.  True enough the story was nevertheless.  The tall gangly man watched this greatest of all American plays with feelings mixed with admiration and loathing.  Stunned with its brilliance, he resented the depiction of his fellow anarchists and socialists as bums.  The play was the antithesis of his favorite movie, The Testament Of Dr. Mabuse.

     As he left the theatre he was one of the few who realized he had watched a masterpiece.  He had to strike back in the name of subversion.  The character of Hickey, the traveling salesman, haunted his mind mixed with images of the terrifying sociopathic and insane, Dr. Mabuse.  As he brooded the faint outline of a play of his own formed in his mind.  His play would be about a traveling salesman but would combine both efforts to attack and undermine the fabric of the American State.

     He and his had been attacked and ridiculed by what he considered the reactionary Eugene O' Neill.  In only one or two years Arthur Miller's Death Of A Salesman would assault and insult the American people.  Miller was clever, the Boobocracy didn't even know it had been insulted.  The Judaeo-Communist propaganda machine went to work.  Today O' Neill is all but ignored while Arthur Miller's insignificant piece of fluff is mentioned in the same breath with Shakespeare.

     Back once more to 1912 where a thirty-six year old man toils over what will be his second published novel.  The first novel was strange enough but the novel he is now writing will become perhaps the most unusual novel to ever become a best seller.

     O' Neill wrote conventional prose, long winded sucker too; Lang's Dr. Mabuse was comprehensible to the simplest mind although understood by few; the novel being written in 1912 would leave men and women scratching their heads incredulously.  The novel defied conventional literary logic speaking instead to unspoken hopes and desires.  The author himself was terrified that the novel was too strange.  But as he put a period to the last sentence of Tarzan Of the Apes and mailed it off Edgar Rice Burroughs heaved a sigh and sat to wait for the verdict of the publisher.  It seems almost incredible that such a bizarre story was immediately accepted with such enthusiasm.

Disaster by any other name is disaster

     The heir to the first disaster, Woodrow Wilson, Franlin Delano Roosevelt was elected President of the United States of America in 1932.

Twenty Years Of Treason Begins

     Samuel Dickstein, a congressman from New York, sitting in the House of Representatives was on the payroll of the Premier of the Union of Soviet Socialist Republics, Joseph Stalin.

     In this capacity he pushed for a house Un-American Activities Committee to root out and punish opponents of the Soviet Union and Communism.  These people were labeled Fascists whatever their actual politics.  They were usually anti-Communists, opposed to the Soviet government or perhaps Uncle Joe himself.  Needless to say they were also characterized as anti-Semites.  This was done with the full blessing of Frank Roosevelt himself.

     In 1938 HUAC was created but the chairmanship went to a Congressman from Texas by the name of Martin Dies.  Although his name has been blackened by the Judaeo-Communist Propaganda Machine Dies was a good man.  A very good man.

     He promptly went after Communists as well as Fascists, which was not in Uncle Joe's, Frank's or Sam Dickstein's script.  Dies was given a very hard time.  Captured by Parnell Thomas and the Roman Catholic religious faction after the war HUAC became dedicated to anti-Communism.  this was definitely not in the Red script so the Propaganda Machine was turned against HUAC after initially agitating for it.  The Communists now did everything they could to destroy the committee they had created.

With A Song In My Heart

     Israel Baline, giddy with the success of the Russian Revolution sat down in Tin Pan Alley to write a sweet little song to the tune of an earlier hit, When Moses Led The  Band With His Nose, entitled God Bless America.  He exhorted his fellow Culturalists to 'stand beside her, and guide her' as presumably he thought Americans were incapable of navigating a course without Jewish assistance.

     Presumably as part of this assistance and guidance the media of his 'home sweet home' was taken over and administered by his fellow Culturalists.  Tin Pan Alley, a Jewish cultural economic niche, was already accounting for a large part of culture forming popular songs.  Now in the twenties a flood of books was written by Jews debunking 'Bad Old America', as Greil Marcus characterized it, and the poor ignorant boobs who formed the country the songwriter claimed to love, appeared.  Israel Baline's Home Sweet Home was never to be the same as another of his culture, Philip Roth, wrote a book eighty ears or so on, The Plot Against America, in which, backdating a little to that critical year of 1943, Roth gives the Jewish Culture credit for creating the 'land that he loved' while the Bad Old American true creators are accused of corrupting it.

     God Bless America wasn't originally all that successful.  In the critical year of 1938, when HUAC was formed, Irving Berlin, for that's who Israel Baline became, dusted the song off and rewrote it.  For now the game was afoot indeed.  In 1918 spreading a new song by sheet music and phongraph was a long, laborious effort.  Things had changed by 1938.  In one night a new song broadcast over radio would be heard instantly by millions of people all over this great land of ours.

     The contest between the Communists and Nazis was raging.  Uncle Joe Stalin, Sam Dickstein and Frank rRoosevelt had established the House Un-American Activies Committee for the purpose of rooting our not only Nazis but, you guessed it, 'anti-Semites.'  Irving Verlin's song reintroduced in 1938 was a very strategic placement.  The same words have different meanings for different cultures.  Thus the message sent tothe Jewish Culture by the song was different from what was heard by the general culture or most of it.  I always had difficulty with the song as a child, refusing to sing along.  I couldn't reconcile the words:

God Bless America land that I love.
Stand beside her,and guide her
Thru the night with a light from above.

     'Land that I love' implies a choice of lands and I knew no other lands nor any other choice.  As I was 'America' to 'stand beside her, and guide her' meant that I would have to be beside myself which was clearly impossible.  I considered the last line pure nonsense.

     I couldn't articulate my understanding at the time but I was not alone in my perception.  Apparently feeling the insult, Woody Guthrie wrote an answer in 1940 originally entitled God Bless America For Me.  It seems clear he understood the cultural implications.  He later changed the title to the very aggressive 'This Land Is My Land- this land is your land, from California to the New York island.'  I didn't know it but I wasn't alone.

     One of the most popular radio shows of 1938 starring the most stellar of Anglo-Saxon singers was chosen for the debut to make sure the song had strong 'American' credentials.  Georgie Jessel wasn't right for this one.  Kate Smith could really belt it out too.

     The Kate Smith Society historian Richard K. Hayes tells the story like this:

Now Kate Smith was the No. 1 popular songstress in America in 1938, and her weekly Kate Smith Hour was heard by many millions of radio listeners that Thursday, November 10.  The shy composer was invited to attend the show but he declined, opting to listen with a few friends in his office at his music publishing company in New York.  Kate sang it as her closing number after which Berlin's phone began to ring, as people began to ask, 'Where can we get that song that Kate Smith just sang?"

The new anthem electrified the nation and Kate sang it on nearly every broadcast through December 1940.

     The song was revived in the equally crucial year of 1943 when Kate Smith rendered it in the Warner Brothers movie This Is The Army.  This was the year it became clear in Jewish circles that the Nazis were bent on exterminating European Jewry.  It would be more urgent than ever to reinforce the notion of a Jewish and American partnership which is what the song implies.  The protection by America of the Jews was paramount in Jewish minds.  Now more than ever it was necessary for the Culture to 'stand beside her, and guide her.'

So long, it's been good to know ya

     FDR did the United States a favor by passing away in 1944.  Could have been earlier.  Succeeded by his VP Harry Truman the FDR-Truman years would be characterized by the stout Roman Catholic anti-Communist, Joe McCarthy, as Twenty Years Of Treason.  Joe got it right but heavily infiltrated by Judaeo-Communists he was made to look ridiculous and a fool.  Needless to say the Propaganda Machine has ground an honest American to dust.


     The man who created Tarzan had been working away developing his creation, who was well on the way to becoming the religious archetype for the Aquarian Age.  Himself a stout anti-Communist, capable of creating a new scientifically based religion, it became necessary for the Machine to co-opt his creation while neutralizing Burroughs himself.  Accordingly the Judaeo-Communists of MGM lured Burroughs into a contract in 1931 then stripped him of his creation while ultimately exiling Burroughs himself from Hollywood in 1940

Sour Grapes

     Anxious to join the war against Germany John Dos Passos joined the ambulance corps in France.  The experience of the war was the making of Dos Passos (1896-1970) as a writer.  In 1924 he published his novel, Manhattan Transfer, since become a minor classic of the period.  During the thirties he began to write and publish his magnum opus the USA trilogy.  Composed of The 42nd Parallel, 1919 and The Big Money the trilogy would cover the years from approximately the time of his birth to the 1920s.

     In 1906 he would have been called a muckraker; in 1935 he was one of the Jewish debunkers.  He didn't just debunk one person he debunked a whole people.  There is not one single admirable person in his story and few if any immigrants.  He's attacking the 'Anglo-Saxons.'  These are all Bad Old Americans in Bad Old America.  One asks as one reads, why would anyone want to know these people or live in the US.  While others were writing utopias Dos Passos ground out these dystopias - people you didn't want to know in a place you didn't want to be.

     Some caricatures are easily recognizable.  Bernarr Macfadden is laughably present.  There are some incidents reminiscent of Edgar Rice Burroughs who in the 1930s was a world renowned figure.  Dos Passos born in and spent some of his youth in Chicago but would have been too young to  actually have observed what he was writing about.  He was only sixteen when he left for France.  Thus his writing was based on hearsay and rumor.

     John Dos Passos may be considered a key figure in the deconstruction of Edgar Rice Burroughs' America.  His constant derogation of people, places and things either set or reinforced the negative critical attitude which since has become the norm.  My most recent reading left me with a slight feeling of nausea for having visited Dos Passos' dystopian USA.

A Soldier Of Fortune Moves On
                      W. E. Henley

Out of the night that covers me
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable Soul.
In the fell clutch of circumstance
I have not winced nor cried aloud,
Under the bludgeoning of Chance,
My head is bloody but unbowed.

Beyond this Place of wrath and tears,
Looms but the Horror of the Shade,
And yet the Menace of the years
Finds and shall find me Unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the Master of my Fate,
I am the Captain of my Soul.

     In March of 1950, if not one of the greatest men of the 1850-1950 period, certainly one of the most influential shuffled off this mortal coil and did his cake walk over to the other side.  Edgar Rice Burroughs had seen enough.

     It was a tough fight, Burroughs was a tough fighter but life is a fight one must inevitably lose.  Like his generation and three or four following it Burroughs embraced Henley's Invictus of 1896 as his own creed.  There are no golden ages except in retrospect; his was as tough and violent as they come.  Born at the end of that great criminal holocaust known as Reconstruction, Burroughs was always sympathetic to the South.  He owned volume three of the Thomas Dixon's trilogy on Reconstruction while certainly having read the first two.

     When it comes to holocaust denials Liberals have no interest in acknowledging the great crimes they perpetrated.  The Reconstruction period is barely mentioned in US histories and then with no references to the egregious crimes committed in the name of 'social justice.'  This is not the place to go into them.

     Suffice it to say that the bigoted Old Testament Hebrew imitating Puritans of New England - read New Anglia - meant to reverse the situation in the South making the Whites virtual slaves of the Negroes.  That they failed is one of the great epic histories of mankind.  In control of the media, text books and all, Liberals have attempted to bury the truth with a slight condemnation of a 'small minority' of Yankee thieves known as carpetbaggers.

     The crimes of the Reconstruction period rival and surpass even those of Hitler against the Jews.  Many more people were affect by Reconstruction while millions lost their lives during and in the vicious war that preceded it that had nothing to do with Negro slavery.

     Filled with stories of the evils of Reconstruction perhaps heard from the lips of victims and victimizers, young Burroughs followed the Indian Wars of the eighties in the pages of his native Chicago papers.  He in fact participated in the final suppression of the Apaches.

     As a young man he witnessed the terrific technological expansion of America.  All the inventions we take for granted today were invented in his lifetime with the exception of photography.  He saw the first aeroplanes fly and watched them metamorphose into supersonic jet airplanes.  He saw the first Model T and watched it metamorphose into what is now considered the classic 1949 models.  Movies, radio and even the first glimmerings of commercial television.

     Amongst all these positive developments he also watched the deconstruction of the America he grew up in.  The advances in technological developments themselves brought about incredible changes.  The propaganda capabilities of movies, radio and TV by a process of gradualism in the hands of a selfish culture gradually eroded the values of his childhood and youth beginning their replacement by the antithesis of everything he believed in.  They turned the Bad Old America of their fancy into this cesspool America has become under their guidance while they stood beside us.

     He had been a central figure in the deconstruction of America whether he knew it or not.  He embodied his character of Tarzan with all those venerable American values placing himself under attack by those who wished to replace them.  He survived the brutal battering he took in the thirties his 'head bloody but unbowed.'

     In the menace of those years he continued to patiently endow Tarzan with those qualities we successors would need to be the "Masters of our Fates; the Captains of our Souls."  He was able to organize a hope and belief for the coming Aquarian Age.

       So here's to Edgar Rice Burroughs and his great projection, Tarzan

     Rest not in peace Old Warrior but alert to the dangers we face on this side of the divide.  Live on in our hopes and needs.  You continue to inspire and guide us.  May we be worthy of your trust.

The Deconstruction Of Edgar Rice Burroughs America by R.E. Prindle
1. Random Notes 2. Organizing the Unorganizable 3. Organizing the Revolution 4. Deconstruction Begins
5. The Byss and the Abyss 6. Freud & His Unconscious 7.  Lad and the Lion .

R. E. Prindle welcomes your comments at:

Meet R. E. Prindle
and Follow the Navigation Chart for the
Entire Series of Articles
Visit the Prindle Forum and join in on the discussions.
Differing viewpoints are welcome.
The views expressed by Mr. Prindle in his series of articles 
are not necessarily those held by ERBzine 
or by Edgar Rice Burroughs, Inc.

Visit our thousands of other sites at:
ERB Text, ERB Images and Tarzan® are ©Edgar Rice Burroughs, Inc.- All Rights Reserved.
All Original Work ©1996-2010 by Bill Hillman and/or Contributing Authors/Owners
No part of this web site may be reproduced without permission from the respective owners.