Not truly an erratum but a big error by the old WWWiz.
In the article "Cowboys, Injuns and Boozes" I state that in Stephen King's "The Shining" the character of Dick Halloran is Irish.
I haven't read the book, and in my twisted, tragic mind, I superimposed the character of Red from "The Shawshank Redemption", who, in Frank Darabont's movie, was changed from an Irish to an African American.
I will leave the article in its original state, to reflect my error. In spite of this error, I continue to aver that there is an overtly nasty racially motivated message in "The Shining". I am more than willing to admit that the orientation of this messaging is ambiguous in extremis.
I may be totally wrong, but I am never altogether in doubt.
Thanks to Diane Marie for pointing out this long standing error of mine.
I do not understand why you call us "black". We are more "brown", really. - Stephen Biko
I think Stanley wanted this movie to hurt people. - Stephen King
The Shining contains many clues about racial oppression. Two of the subjects of Room 237, Rodney Ascher's incendiary documentary, find that Kubrick's film contains powerful themes of both American Indian Genocide and the Nazi Holocaust. They are both correct, but they are wrong in the way in which they interpret the presence of these themes.
The Shining does not decry these phenomena, these terrible acts of racial genocide. It celebrates them.
The tougher question is that of the Nazi Holocaust, but it is less interesting, less subtle than the Amer-Indian question. It can be quickly dismissed.
In the allegory of Christ, we are told that Jewishness is not racial. After the sacrifice of Christ, Jewishness becomes a form of the direct consciousness of Godhead, available to all who seek after it. Christ identifies that in the latter days there will be Jews, racial Jews, who are not Jews, because of a pact they have made with the forces of Evil. These are called The Synagogue of Satan. In the 20th century, Stanley Kubrick was at the tippy-top of this Vampire Synagogue. His deft reference to matters of the Nazi Holocaust, available in almost all of his films, does not decry the atrocity--but celebrates it. He wants you and everyone to know how much power he really has. He wants you to know you can't do anything about it. He wants to make you mute and servile. He wants to mystify you.
Nice try Stan, but no cigar.
The Amer-Indian theme is where things start to heat up. To glow. To Shine.
Those whom the Gods wish to destroy, they first make mad. If you can't drive them to madness, you can't destroy them. You can kill them, you can not destroy them. The Synagogue of Satan has real admiration of those it wishes to merely kill. Satan loves a fighter. He is a boxer Himself. He loves conflict. He loves Christ, the Supreme Champion of The UFC. Upon these worthy adversaries, Satan heaps great accolades. Sure, He has killed them, but they battle on. They deserve respect.
The Catholic Church tried to force feed their "religion" down the throats of all the natural people of the Americas. They succeeded with the Southern Aborigines, the Maya, the Aztec, the Toltec. In the North they failed. The American Indian, though we beat and whip and flay him, will not eat the pablum. He will outright reject the false interpretation of Christian Scripture. He is too smart and too tough.
Later, in the North, the Protestant interpretation of Bible Scripture was presented to another conquered people. This conversion process was not violent. Protestantism is flawed, because Gnosis is a tough proposition, and mistakes were made in the efforts to convert The African American slave class, but the movement was driven by compassion. The early Protestant, the Quaker, the Lutheran, was among the first of the White class to call out the inhumanity of slavery. To be Protestant is to Protest. Even in error, people do not protest in the name of Evil, but in the name of Justice and Mercy. Evil does not protest. It doesn't have to.
It is worth noting that the Protestant hierarchy of today does not represent real Protestantism. Satan seeks to deceive many and his moles are everywhere. Nevertheless, the philosophical equality of the Protestant Gnostic Individual Tradition stands firm.
And so it came to pass that the African American Slave accepted quickly the proper interpretation of Christian Scripture, and integrated it seamlessly into their own tradition, a tradition that comes to the same conclusion as the Protestant, but with different data.
What must be stressed is the absolutely unique situation of the African American.
The Americas were invaded, but those who survive the invasion with tradition intact, the American Indian, are not fooled. The South was fooled. The finishing touches of the extermination of South American indigenous culture is happening right now. They are being jailed and murdered. The have no treaty.
The African, on the other hand, was not invaded, but kidnapped. Rendered violently asunder from both their natural tradition and the land that nurtures the tradition. This vicious and totally amoral process, which is the ugliest act of murder in history, belongs to the people of Africa alone, and in particular the African American Protestant Slave. Satan despises the African races. He hates how they smell. He hates the shape of their bodies and faces. He finds them lurid. By the likes of the Black Slave Traders, the turncoats under Jay-Z-Hova, Satan seeks to destroy the African American protestant. To drive them into madness. This influence is recognized by many level-headed African American Protestants. The soporific Lenon Honor is a good example. He has done his homework and sees what is what.
It is this particular racial atrocity that is the real standout of The Shining's hidden thema. In King's novel, Chef Halloran isn't of the African race, he is fucking Irish. And he doesn't die either. Kubrick makes him "black", and then ritually murders him.
The dead central image of The Shining, the precise mid-point of the film, is of Halloran in bed, receiving Danny's invitation to sacrifice. Halloran's room is the key of it all. The way in which it is decorated. The kitsch just oozes out of every corner. Halloran has marginal taste. Some may find this choice of design quaint and even refreshing, but you will never, never-ever find a design scheme such as this in the Halls of Earthly Power. Yaphet Kotto may be become President someday, and occupy the White House. But there ain't gonna be no African American booty-call decore in a single room. No sir. It upsets the white folks.
|Whose the sex machine the ladies love? Halloran, Dick Halloran|
Compare this decoration to the soaring honor given to both American Indian and Satanic Synagogue design features found in The Overlook. The whole place just drips in in praise of the proud and spirited Injun. You can find his presence in expensive and beautiful art in every room and on every wall of the Main Hotel except one, The Gold Room, which is for whites only, and honors the Nazi Holocaust, carried out by the Synagogue of Satan. The shimmering Golden stage wall is a collage of Swastikas. Good thinkers have already conflated The Overlook Hotel into a Western White House, and they are dead-on to do so. Amer-Indian and Nazi traditions are in a place of respect and dignity--they are cherished American values. It is worth mentioning that in modern Germany, the fascination with American Indian Iconography borders on a fetish.
When we meet Halloran, manager Stuart Ullman makes a revealing statement, when he explains to Jack that in order to carry insurance in the off-season, they must "remove all the booze". This is a nasty pun, a play on the slur of boos, which is short form for jigga-boos, a term used to demean the African American Slave. The phrase is introduced at the precise moment that Halloran is introduced. What Ullman is saying, by way of Kubrick himself, is that niggers aren't allowed in the Gold Room. In fact, for the African American Protestant, the entire guest area of the hotel is strictly off limits. When he says "remove all the booze" he is telling Halloran to get his shine-ass back in the kitchen where he belongs.
You may argue that Kubrick was trying to reveal the atrocity of the Imperial Destruction of the African Nation, and not identify his participation in the design of the destruction. This is a mistake. The use of imagery and code is simply too subtle, too difficult to find. Too cruel and demanding. Kubrick hates the African Race. The Overlook is his play ground, his hall of sado-masochistic delight, his Somerton Estate. The African Man is his slave--spirited away from his natural home in Eden. A man with Stan's talent could have made a revealing film about the true history of the slavery of the African, he certainly knows this secret history, but he chooses to encode it, not to reveal it.
When the African nations were kidnapped and enslaved, it was not to provide service to the American economy at bottom dollar--white-trash honkies can be persuaded just as easily. The reason for the African Slave trade is to destroy Africa from the inside out. To make it mad. Africa is a sacred paradise, but the Nazi Synagogue want it all for themselves. For the rare metals they need, to build their bullshit rocket to the stars, and a few Golf courses too.