The Jew Scams of Hebron....

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New Book by Zionist Scam Jew James Howard Kunstler...............

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Journalist/Author Peter Golden interviews James Howard Kunstler about The Witch of Hebron (Atlantic Monthly Press, 2010), the second novel in Kunstler's World Made By Hand series.

Without giving away any important plot points, Golden explores the major themes in this autumn story set in a world after the lights have flickered out and the oil has dried up. Topics include: the rule of law, the importance of ritual holidays, and the role of religion in a tight-knit community. In this novel, Kunstler has revealed more about the circumstances that have placed his characters in a world after the fall of modernity. Golden ask if Kunstler believes that people are happier in this imagined future than they are in today's high tech world.

Music: "Be Thou My Vision," performed by Ed Lowman & John Kirk, recorded specially for the World Made By Hand series.

http://traffic.libsyn.com/kunstlercast/ ... Golden.mp3


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Interview:

Peter Golden: Jim, you seem a lot more comfortable in this world you've created in The Witch of Hebron. How has this universe evolved artistically inside of you, and how was that realized as you started writing?

James Howard Kunstler: Well, I am comfortable in it. And the sort of shape and texture of the town and the relationships between the characters were established in World Made By Hand. And they were just waiting there for me to reenter the scene and pick it up.

The thing that I've tried to do in both of these books very consciously is to avoid being didactic. And telling the reader every last detail about what happened in this sort of post-oil, post-collapse world, I wanted the information about it to emerge as naturally as possible in the course of the action. And I wanted the story to really drive the reader forward.

Peter Golden: Well, that was the sense I got while reading it. One of the most remarkable characters you've created in this book is Billy Bones. He's a young criminal. And I was curious, do you see many of these wandering the earth [laughter] in this post-collapse world?

James Howard Kunstler: Well, I see...I imagined that there would be a lot of people at loose ends—a lot of people who really had no vocation, a lot of people who didn't have to show up for work, a lot of people who had lost their families, their places, the places that they lived.

And people...to me, in a way, it was similar to what happened, I think, in Europe in the Middle Ages, where the social disruption was so tremendous. And people were uprooted so badly that there were a lot of people kind of just wandering to and fro, just trying to get enough food to eat and keep going.

Peter Golden: Billy Bones sees himself as sort of the ultimate realist. Was that something that was intended, or was that something you looked back and saw artistically that you had created as sort of a logical result of this kind of character? But what's striking, at least early on in the book, is that you're sympathy is, to some degree, with him, because you understand his plight very much, as you just said, about not having anywhere to land.

James Howard Kunstler: Well that's very astute, actually. And it's true. And it's consistent with one of my rules for writing fiction, which is that you can't really deal in black and white personalities—people who are all bad and all good. That if you don't create bad guys or villains who don't have some comprehensible reasons for why they do what they do, then I think you're failing.

And it's important to understand what drives this person. And in the process of that, you do kind of hook the reader into at least empathizing with some of the situational things that are occurring, even if you don't approve of the choices that these guys are making.

Peter Golden: Well one of the issues you'd talked about in your nonfiction, and it's here again, is this notion of hoarding times. Billy Bones is, to some degree, a result of these hoarding times. Can you go a little into that and talk about the connection between the way you understand this through nonfiction and the way you've presented it here in The Witch of Hebron?

James Howard Kunstler: The way I presented it in was in terms of scarcity. That you're living in a society in which all of the normal things of everyday life are increasingly absent, and you become more hard pressed to just get on with everyday life.

And Billy Bones is more of the scavenger. He really doesn't stay [laughs] in place. He's roaming around. And he styles himself as a romantic bandit. He's got a very romantic idea of what he's doing. He thinks it's really kind of an enchanted way of life.

And he's got a song about himself that he adds stanzas to whenever he [laughs] commits a crime or hurts somebody. But he is essentially a sociopath. And he's a very dangerous guy. He's also a joker.

Peter Golden: And that's a very interesting way of putting it. And to some degree, he has that kind of feeling you get from the dark portrait that the comic books used in portraying The Joker. With Billy Bones though, I've found, he had a tendency often to speak the truth about things.

James Howard Kunstler: Yeah.

Peter Golden: And what was disconcerting was, in light of his own view of the world around him, he wasn't as pathological as you might have judged him, let's say, were he living in the world today.

James Howard Kunstler: Well he's very concerned about other people's comportment [laughs] when he's doing things to them. He's traveling around with this 11 year old boy, more or less in his captivity.

Peter Golden: Jasper.

James Howard Kunstler: Yeah, who's at the center of the novel; the son of the town doctor. And every time they encounter somebody and he sets about to rob them or in some way get into their life, he justifies what he ends up doing on the basis of what they did to him. "Of course I had to kill this guy. He tried to shoot me. He pulled a shotgun on me and pulled the trigger and just missed by accident. So I had to kill him."

But there's a very telling line late in the story where Jasper is still sort of hooked into him, can't get away from him. And he says...they're having a conversation and he says something like, to Billy Bones he says, "You gotta stop killing people." [laughs]

And Billy says, "I don't mean no harm by it." You know, it's not a completely [laughs] self conscious moment, but it's not completely un-self conscious either.

Peter Golden: Right.

James Howard Kunstler: It does show that he is aware of the fact that he's hurting other people and that he really doesn't understand [laughs] the profound meaning of depriving another person of their life.

Peter Golden: If you strip away all of the verbal finery of this world you've created, aren't you really longing for a world of more control and personal responsibility?

James Howard Kunstler: The reader might sense that, although it wasn't conscious on my part. I think what we're dealing with here is really a matter of scale. Everybody in our culture right now, whatever phase of modernity we're in or we're about to exit, lead very, very complex lives, subject to very, very large forces, and big corporations, and big governments, and things that they can't control.

And when life devolves to the more local level of just your family, your town, your community with a very, very short reach beyond that, then it has much more to do with the choices that you're making, not the choices that other people are making for you.

Peter Golden: There also seems to be...I don't know if I'd call it a longing at the end or an advocacy, but this notion that frontier justice was more efficient and, in many ways, fairer than the kind of legal system we've put in place today.

In fact, judging from what's happening or not happening to many of the Wall Street bandits, one could make the argument that in The Witch of Hebron, people are dealt with far more fairly than they are today.

James Howard Kunstler: Yeah. Well...

Peter Golden: Especially the victims.

James Howard Kunstler: One of the things that annoys me and troubles me the most about what's going on right now in 2010 is that increasing absence of the rule of law in all these things that are so important to us, especially the big things, like how the banking system works, and...even on the basis of ordinary so-called justice, the wheels of the law grind so slowly now that that in itself is just unbelievably cruel, to have to wait a year to go to trial for something. And then to have to wait a half a year to be sentenced for whatever the determination of that is, even when stuff works.

In the World Made By Hand books, the law has really ceased to exist as we know it. The courts are not working. And nothing connected to that is working.

And so, one of the issues in both books has to do with the character Steven Bullock, who is the largest landowner in the region and has a lot of people who depend on him who have become, in effect, his sort of live-in peasant brigade. He's got about 50 people living on his very large farm in a village that he's built for them.

The people of Union Grove have more or less asked him to be magistrate. He is a lawyer. He at first refused to serve, like General Sherman, you know, after he was elected. But he's been induced in the previous book to take up his duties as magistrate.

In this part of the story, The Witch of Hebron, he undergoes a home invasion. A bunch of bandits, or "pickers," as they style them in that world, have invaded his house. And he's killed three of them himself. And his people are alerted by an alarm, and they round up the rest of the gang , about nine other guys. And he has them all hanged. And he does it pretty much summarily.

But even that is kind of...there are sort of comic elements to that. He, in effect, has appointed himself not only judge and jury, but [laughs] the lawyer for the people who he's about to hang.

Peter Golden: I wanted to read you an excerpt from your book, and then I wanted to ask you a question. But, so that everyone knows what we're talking about, let me read this. It's beautifully done.

"It all happened so quickly. And then the United States itself got some kind of fatal thrombosis of the economy. And the people all over Scott County lost jobs and couldn't pay their obligations. And the malls shut down one by one. And the oil stopped coming from Mexico, and Venezuela, and Africa, and wherever else it used to come from, until neighbor was fighting neighbor for it at the pumps. And then the pumps shut down.

And then things really started going downhill. The lights went out. Folks started shooting. The whole Sun Belt was boiling over with gunfire and with animosities that everybody thought had been left behind in the old century."

Jim, is that your vision for what's going to happen in the country? I know you've addressed some of this in your nonfiction. But now it's come full-blown and beautifully done, and succinctly written in The Witch of Hebron .

James Howard Kunstler: I think it is pretty close to what I expect to happen in the USA over the next decade or so. And it may seem a little extreme; I think we're headed for a lot of trouble. And I think that our economic trouble is going to very soon translate into political friction, political mischief, and political conflict, right here in the USA.

Peter Golden: One of the fascinating insights in The Witch of Hebron is the connection between the religious Brother Job and how religion served as an organizing principle of community. Can you talk a little bit about that?

James Howard Kunstler: Yeah. These are people who are living in a time when all of the other armatures of daily life have gone away, have disappeared. There's no corporate structure anymore to hang your life on, to tell you to show up on time, to provide you with a regular, predicable income. All of the, really, other parts of the framework for people to lead a coherent life are gone, including the justice system, including the money system, and banking, and they're really reduced to their household and the people around them.

The one thing that's endured has been the church. And not necessarily the religion that dwells within the church, or that it was originally intended to be the dwelling place for. But the church has now become, really, the only social structure that's left for people. And in the case of Brother Job, he's running a very rigorous organization that's taking care of a lot of people and doing it pretty well. In the case of the townspeople they have, really, the congregational church.

And it's kind of a loose social structure, but it's all they have. And they're not necessarily religious either. In fact, I think the travails of the post-economic collapse time have made them really come to doubt the existence of God, or at least the existence of a God who cares about them. And this is one of the struggles that Loren Holder, the minister of the congregational church, goes through in both books, World Made By Hand, and The Witch of Hebron.

And for him the question really is, is his faith in God redeemed? And I'm not a very religious person myself, but I can see that if you were living...I can imagine that if you were living in a world full of sudden deprivations and troubles that these things would start to preoccupy you a lot.

Peter Golden: To some degree, people have already lived in that world. And it's one of the features of this book which is marvelous, for anyone who loves 19th Century haunted American fiction, which this book bears an enormous similarity to.