The Language Of Cannibals Part 1

The language of Cannibals.

by George C. Chesbro.

For Judi and d.i.c.k Ragone, Krysten, Kara, and Michael, and for all those.

who respect language.

CHAPTER ONE.

In the purple distance neatly scripted alphabet vultures with Zs for eyes soared in the thermals swirling over and around an alphabet volcano spewing what appeared to be incomplete, fractured sentences and cl.u.s.tered gobs of words that were half submerged in a river of blood red lava. Block-letter trees formed an oppressive jungle that appeared like a great fungus growth that was an infection on, rather than a part of, the land. The exhausted, hapless soldier who had wandered into this eerie and alien landscape was hopelessly entangled in a web of punctuation-mark vines. His boyish features twisted in anguish and horror as crablike creatures a" rendered, like everything else in the landscape except the soldier, of a profusion of single letters and half-formed words or sentences a" dined on his left leg. The foot had already been consumed, and a gleaming white shaft of bone protruded from the ragged flesh of his ankle, which was spewing blood of red and blue. I looked for some pattern, complete sentences or phrases, in the maelstrom of letters and words but couldn't find any; in this haunted place, the twenty-six letters of the alphabet were just the skeletal matter of mindless creatures that existed to rend, consume, and infect, not make sense. The painting, t.i.tled The Language of Cannibals, was by a man named Jack Trex, and I rather liked it. I found the notion of these flesh-eating letter-creatures food for thought.

The hand-printed placard taped to the wall beneath the painting identified Trex as the commander of the Cairn chapter of Vietnam Veterans of America, whose members were the sole contributors to the exhibit of art and crafts.

For some time, I'd been reading and hearing good things about Cairn, a small town on the banks of the Hudson River a few miles north of New York City. Noted for its many art galleries, antique shops, and fine restaurants, as well as its thriving community of artists, Cairn is a mixed society of very rich, some poor blue-collar families, and a.s.sorted celebrities who like their yachts close at hand but have tired of Connecticut and the Hamptons. Bed-and-board establishments, most of them operated by the blue-collar families who once supplied manpower for the now-defunct stone quarry on a mountain at the edge of town, have proliferated, and of late tour buses operating out of New York City bring weekend day-trippers to Cairn to enjoy street fairs, antiquing, or simply the bucolic atmosphere, and perhaps catch a glimpse of the occasional rock or movie stars who eat, shop, or stroll on the narrow streets of the small business district. For longer than a year I'd been meaning to spend a weekend checking out Cairn with some lady friend, or maybe my brother, but simply had never gotten around to it. Now I was in Cairn, but definitely not under circ.u.mstances I would have chosen.

Four days before, a troubled friend of mine died in this area. Certain specifics in the news reports of his death, most of which focused primarily on his notoriety and disgrace of the past year, did not square with the Michael Burana I had known. I was in Cairn to supply information and ask a few questions, not necessarily in that order.

It was a Friday evening in early August, and it had been oppressively hot for more than two weeks. Since March, Garth and I had been working on a particularly Byzantine case of industrial espionage, commuting at least once a week to Silicon Valley, and using our weekends to try to deal with Frederickson and Frederickson's mounting ma.s.s of paperwork, mostly detailed reports that had to be filed with our client. We were still at it, and I had no time for an outing, but I'd figured that the business I had to take care of in Cairn should take no more than one or two hours, a morning at most, and I'd planned to drive up early Sat.u.r.day. But when the air conditioner in my apartment in our brownstone on West Fifty-sixth Street broke down in late afternoon, I'd decided to immediately head for cooler climes, namely someplace with air-conditioning in or near Cairn. I'd left a message for Garth, who was out meeting with our client's battalion of attorneys as they prepared for the impending court trial, had hopped into my modified Volkswagen Rabbit, Beloved Too, and headed for the George Washington Bridge. a.s.suming that all the bed-and-board places in town would be full, I'd checked into a motel on Route 9W, which forms the western boundary of Cairn. I'd immediately turned the air conditioner on full blast, showered and changed into fresh clothes, then gone out to get something to eat and poke around town.

I'd enjoyed a fine, inexpensive meal in an exquisite Thai restaurant housed in a converted diner next to an old-fashioned ice cream parlor that really is old, then gone out and started down Cairn's Main Street toward the river. I'd pa.s.sed through the business district without attracting more than a moderate number of stares from people standing outside the various rock and jazz bars, then angled off onto a side street to investigate what appeared to be some fine old houses that probably date back to the turn of the century. I'd gone about a block and a half when I saw something across the street that caught my attention and brought me to a stop. A modest frame house that, according to the bronze sign planted in the front yard, had been the childhood home of one of America's finest artists had been converted into an art gallery, and the red, white, and blue banner hanging across the front rend Art of Vietnam Veterans. According to another sign on the lawn, this was the first day of the exhibition, and it looked to me like the doors had just opened. People were starting to go in, the majority of them pointedly ignoring the three young men who stood at the edge of the sidewalk in front of the gallery trying to pa.s.s out literature. The men, all of whom looked to be in their late twenties or early thirties, had longish hair and wore robin's-egg-blue T-shirts with the words COMMUNITY OF CONCILIATION: GIVE PEACE A CHANCE emblazoned in crimson across the front and back. Since the organization that called itself the Community of Conciliation was one of the reasons I was in Cairn, the presence of the three men on the sidewalk in front of the gallery had more than served to pique my curiosity.

I'd crossed the street, debating whether or not to try to engage the men in conversation. I'd taken a mimeographed flier from one of the men, then stepped back off the sidewalk to read it. The sheet, single-s.p.a.ced, outlined the basic goals of the Community of Conciliation, a pacifist and environmental organization, and listed its activities, both worldwide and local. One of the local activities was crossed out, thus making it impossible for a reader's attention not to be drawn to it; a thin line had been drawn through the item, but the text beneath the ink was clearly visible. The deleted item, almost certainly meant to be noticed, read: "Wednesday night fellowship and counseling sessions with Vietnam Veterans of America."

It appeared that the Community of Conciliation was attempting to send a message to the people entering the exhibit, or the veterans themselves, but it hadn't seemed the proper time or place for me to try to pinpoint just what that message was. I'd folded the flier, put it in the back pocket of my jeans, and gone into the house a" to almost immediately be confronted, surprised, and pleased by The Language of Cannibals.

I went looking for Jack Trex, to tell him how much I liked his painting. He wasn't hard to find. In the main viewing area, in what had been the house's living room, five men wearing flag-emblazoned name tags were standing in a tight circle near a fireplace filled with freshly cut flowers. The tallest of them was about Garth's size, six feet three or four, and solid. The man, dressed in khaki slacks, plaid shirt, and running shoes, seemed to be doing more listening than talking. When he stepped back to reach for his drink on a small table behind him he swung his left leg stiffly, moving in the slightly listing manner of someone who has either suffered a severe leg injury or is wearing an artificial limb. I walked closer, and a glimpse at the man's name tag confirmed that he was Jack Trex.

Standing near Trex's left elbow, just outside the circle, I waited patiently for someone to take polite notice of me. When n.o.body did I cleared my throat, twice. The second throat-clearing did the trick; the men stopped talking, loosened their circle slightly, and began looking around to see who was making all the guttural noises. I found myself looking up into five faces that reflected not so much hostility as irritation. Although the occasion was a celebration of their art and craft work, and thus they might be expected to act as unofficial hosts to the public, it was clear that they were not interested in talking to "civilians."

Jack Trex had thinning black hair that was graying at the temples, and a full mustache that was all gray. His pale green eyes shone with an intelligence and sensitivity that belied the rather vacant, remote expression on his face. Two of the other veterans wore camouflage vests over gray T-shirts; one of the men had hostile, mud-brown eyes, and wore his long, yellow hair in a ponytail held in place by a leather thong. The men in the camouflage vests were staring at me as if they'd never seen a dwarf before. The man directly to my left, a Hispanic, wore a heavy flannel shirt despite the heat. Directly across the circle was a spindly, emaciated-looking veteran who wore a blue polyester suit that was baggy on him and which only served to highlight the network of red, alcohol-ruptured veins in his nose and cheeks. Although they'd been carrying on an animated conversation before I came over, all the men were now silent, their expressions wooden as they stared at me.

"Excuse me," I said, addressing all of them, "I didn't mean to interrupt."

The emaciated man with the blue polyester suit and broken veins giggled nervously, an abrupt and grating sound. "I ain't seen anyone as small as this guy since I left 'Nam," he said in a high-pitched voice and giggled again. "Who let the VC in here?"

Under other circ.u.mstances his remark might have called for a razor-sharp rejoinder from my vast repertory of counter-putdowns, but I decided from the look of him that he already had enough problems; there was pain in his nervous giggle, the soul-ache of a man who must struggle at all times to try to speak and behave normally or risk falling into the scream I suspected was always lurking at the back of his throat, like the tickle of a cough. Certainly, a disproportionate number of our Vietnam veterans seemed to have more than their share of emotional and physical problems, and I hadn't come over to trade barbs with one of the nation's walking wounded.

Turning to Trex, I said evenly, "I just wanted to tell you that I admire your painting."

The big man's features softened somewhat, and he was obviously pleased. He nodded slightly and opened his mouth to speak, but he was interrupted by the braying laughter of the man with the hostile, mud-brown eyes and pony tail.

"Jesus, Jack," the man with the ponytail said, "you finally found somebody who likes the smell of all that s.h.i.t in your head. That painting of yours is the creepiest flicking thing I've ever seen. It doesn't make any f.u.c.king sense."

Trex glanced sharply at the man with the ponytail, and then at the man in the polyester suit. They both abruptly fell silent, and the ponytailed man looked down at the floor.

"Thanks," Trex said simply as he glanced back down at me, "I appreciate the kind words."

I didn't much care for this crew; there was too much alienation, too much insularity, too much thinly veiled hostility radiating from the men like body odor. But I also knew that such feelings were by no means unique to this small group. I tried to make some small talk, in a manner of speaking, and my conversational gambits were met with a modic.u.m of polite, mumbled answers. The tension in the air remained. I felt like the cop who had accidentally wandered into the local gambling den; everyone was covering his hands and chips and waiting for me to go away.

After complimenting Jack Trex once again on his painting, I went away.

I fortified myself with a gla.s.s of white wine and some Jarlsberg cheese from a buffet that had been set up, then wandered through the rest of the rooms on the ground floor, examining the rest of the display of crafts and artwork. I saw nothing else that interested me. Jack Trex, with his primitive technique and sketchy command of material, was in no danger of becoming a professional artist, but there was real pa.s.sion radiating from his canvas, feeling that belied the wooden, remote manner he displayed when I had tried to talk to him. I saw no comparable display of emotion in any of the other paintings, wood carvings, macrame, and pottery that const.i.tuted the rest of the show; it all seemed to me rather inst.i.tutional, like baskets woven by mental patients during art therapy. There were lots of land- and seascapes, but they all lacked depth and feeling, like paintings of paintings or works executed by artists whose minds were on other things a" which, I thought, was quite likely the case with some of them. Post-traumatic stress syndrome, it was called. There was no group that suffered more stress-related emotional and physical problems than America's Vietnam veterans, but with the obvious exception of Jack Trex's painting, none of that inner conflict was reflected in the work I viewed.

A close friend of mine to whom I owed my life, a very mysterious and multigifted man by the name of Veil Kendry, was not only a Vietnam veteran but a world-cla.s.s artist whose works now hung in private collections and museums all over the world. From Veil I had learned not only a great deal about the catastrophically rending effect the Vietnam War had had upon the men who fought there but also about the pain and potential in the human heart in general; from Veil I had learned of, and witnessed, the power of art to transcend a" and, finally, to heal a" that pain, sublimating rage, violence, and vague hurt. But the artist first had to be willing to communicate, to try to describe the shapes and colors of the maelstrom within. Again with the sole exception of Jack Trex, I saw no one in this place making such an effort a" not judging by the flat, emotionless quality of the work I examined.

I decided that there was a great deal of emotional repression in the Cairn chapter of Vietnam Veterans of America. It depressed me.

Before leaving I decided to view The Language of Cannibals once more. I left the main viewing area, turned down the corridor where Trex's painting was hanging in its out-of-the-way, dimly lighted setting. I stopped a quarter of the way down the corridor and studied the man who was studying the painting. He was about five feet nine or ten, with the compact frame and erect bearing of a former athlete who was fastidious about remaining in good shape. He had a full head of chestnut-brown hair, razor-cut in a short, conservative style. He was wearing a finely tailored, brown seersucker suit, light blue shirt and brown tie, pale brown loafers with ta.s.sels. Seen in profile, he had small ears, high, p.r.o.nounced cheekbones, a strong mouth and chin. I felt I'd seen him somewhere before and that I should know who he was.

The solid man in the seersucker suit seemed totally absorbed in the painting, unaware that I was studying him. I watched as he leaned forward, peering closely at individual sections, apparently trying, as I had done, to find some meaning in the strings and clots of the letters themselves. After a few moments he backed away a step, leaned to one side and then the other in order to view the painting from different angles.

He wasn't a movie or rock star; I was certain of that. And he wasn't a celebrity in the usual sense.

He was . . . the confidant of, an aide to, a celebrity. Ah.

The man's name was Jay Acton, and I had seen him a" very briefly, in an unguarded moment when he was unaware that he was being photographed a" in a PBS doc.u.mentary on extreme right-wing influences in America.

Jay Acton was an aide to a" and, the doc.u.mentary had strongly hinted, the intellect and strategist behind a" a curious fellow by the name of Elysius Culhane, the self-styled "last of the conservative purists." Culhane's words in his syndicated newspaper column and over the air on the political television talk shows he regularly hosted or appeared on were sometimes insightful, but always abrasive, and were raptly absorbed by millions of Americans.

To me, the man was a baying full-mooner. I considered Elysius Culhane a not-so-subtle n.a.z.i sympathizer, a shameless hypocrite, a zealous ideologue, and an aggressive intellectual thug. He was a master of language, despite a slight speech impediment that caused him to occasionally slur two or three words together, but this man's language was not a descriptive or a.n.a.lytic tool for carving truth. It was just one more weapon to be used against what Culhane perceived as America's enemies a" "G.o.dless communism" in general and all Russians in particular, glasnost and perestroika and the crumbling of the Evil Empire or no, liberals, moderates, humanists, women who had abortions and doctors who performed them, the Supreme Court, unmarried people who did not practice chast.i.ty, h.o.m.os.e.xuals, and any nation, inst.i.tution, or individual not reflecting or espousing "Christian values," as he defined them.

In his autobiography, If You're Not Right You're Wrong, rumored to have been ghostwritten by Jay Acton, Culhane described his upbringing as the "runt" in the rough-and-tumble world of a Roman Catholic, working-cla.s.s family with eleven children headed by a hard-drinking father and a manic-depressive mother who spent more time in mental hospitals than her home. I'd thought his father sounded more than a bit abusive, single-handedly ruling his brood of children with fists and a leather strap, but Culhane had written glowingly of a childhood dominated by a father who "taught me what real values are, and wasn't afraid to lay on the leather when you got it wrong." He had been educated in Roman Catholic schools run by priests, nuns, and brothers who "brooked no nonsense when it came to the meaning of the blood of Christ and America's hallowed place in G.o.d's plan for the world." Near the end of the book, after coming perilously close, within a verb or two, to calling for a coordinated, preemptive nuclear attack on Russia, China, and the "Arab world," he lamented the fact that all American children had not had the benefit of his upbringing. Elysius Culhane was always looking to lay on the fists and leather, at home and abroad.

Culhane had cut his political teeth as a fund-raiser in the political twilight world of Lyndon Larouche, a fact he denied but which had been confirmed by a number of reporters, then left when Larouche's ship began to sink under the combined weight of too many preposterous conspiracy theories, charges of widespread mail and credit card fraud, and increasingly frequent visits from the IRS.

He landed on his feet, running, when, through powerful connections he'd made while working for Larouche, he was taken on board by successive conservative administrations that found him, at least for a time, useful as a bulwark against right-wing critics. Then Kevin Shannon was elected president a" an event in which Garth and I played no small part, albeit by default, and through no choice of our own a" and Culhane was out.

Out, maybe, but by no means down. Quite the contrary.

Within a short time after Shannon's inauguration, Culhane was signed for a syndicated column, and began popping up all over the place on various television news and talk shows as a "spokesman for the right." He certainly caught on in this post-Vietnam world among a segment of the population living in an America that no longer quite fit their notion of what America had once been, and should be. Culhane's was an "us against them" view of the planet a" and by "us" he by no means meant all Americans, but only those who shared his views; those who perceived things differently were "dupes of the Russians" at best, and at worst traitors.

It was a song-and-dance revue that played very nicely in Peoria, and a good many other places as well. While I might consider Elysius Culhane a monumental pain in the a.s.s, a national embarra.s.sment, and a transparent demagogue dispensing apocalyptic visions that bore no relationship whatever with reality, a very large ma.s.s of people considered him little less than a potential savior of America.

According to the PBS doc.u.mentary, stating an opinion reflected in a number of articles I'd read since then, the eminence grise behind Elysius Culhane's relatively rapid rise to his present position of celebrity, power, and wealth was none other than the mysterious, rarely seen Jay Acton. Acton was the strategist who'd found the right formula to successfully mix hot air, flaming oratory, flammatory ideas, and uncanny skill at obfuscation into a potent brew that fueled an increasingly powerful political infernal medicine of divisiveness and hatred.

I wondered what Jay Acton was doing in Cairn, at this art exhibition.

"Dr. Robert Frederickson, I presume?"

Ah, again. Jay Acton was in Cairn, at this art exhibition, because his boss was here.

I turned around to face Elysius Culhane, who was standing directly behind me. I was used to seeing him in close-up on a television screen, perspiration filming his high forehead and upper lip as he leaned forward to launch into one of his harangues about "cleaning up the soul of America." On television he always loomed large, and I was surprised to find that he was no more than five feet six or seven, stocky. He was wearing an expensive gray silk suit with a cream-colored shirt, patterned silk tie, and black alligator shoes. His graying black hair was combed straight back. He had piercing black eyes, a nose that looked as if it had been broken at least once and not properly set. There was a comma of scar tissue at the corner of his right eye. His deep tan nicely highlighted the unnatural white of his capped teeth. I thought he looked like a Hollywood version of a mobster, but then I was prejudiced.

"Elysius Culhane," I replied. When I shook the hand he extended I noted a slight tremor.

"I'm flattered that you recognize me," he said with a disingenuous smile that indicated he certainly wasn't surprised I'd recognized him.

"Do I detect a note of false modesty? You're the celebrity here, Mr. Culhane, not me."

"From what I've heard about you, I wouldn't think that you'd be one of my viewers."

"I don't know what you've heard about me," I said with a little bit of my own disingenuous smile, "but the fact of the matter is that you're pretty hard to avoid these days if you watch any news shows at all."

He smiled thinly and nodded, obviously pleased with my observation. "Well, you and your brother aren't exactly just faces in the crowd, are you? It seems to me that I've been reading and hearing about the exploits of Mongo the Magnificent, ex-circus headliner turned criminology professor and private investigator, for years. You're quite a colorful character, and I'm pleased to meet you."

"Likewise," I said, trying as best I could to mask my lack of enthusiasm.

"You're in partnership now with your brother, aren't you?"

"You're very well informed, Mr. Culhane."

"It's my business to be informed, Dr. Frederickson, especially as it concerns the waxing and waning of political fortunes in Washington."

"You must have the wrong dwarf, Mr. Culhane. Frederickson and Frederickson has nothing to do with politics or power in Washington."

Culhane narrowed his eyelids and pursed his lips. "Now I think it's you who's displaying false modesty. It's well known in the circles I travel in that you and your brother are personal friends of the president, as well as of that aging, cagey old fellow who's director of the Defense Intelligence Agency."

Elysius Culhane's tendency to slur words together was becoming gradually more p.r.o.nounced, and he seemed slightly nervous. It occurred to me that he was digging for something.

"You'd better get some new sources, Culhane. Kevin Shannon would probably be highly amused to hear me described as a friend of his. He knows how I feel about politics and politicians."

"Oh? How do you feel about politics and politicians?"

"Anybody who expresses a desire to run for any office should automatically be disqualified."

"An interesting notion."

"Not original. Power doesn't necessarily corrupt, but power always holds a fascination for people who are easily corrupted."

Culhane's highly polished manner was growing a coat of tarnish; his smile had wrinkled into something approaching a sneer, and something that looked very much like contempt was glowing like banked coals in his black eyes. "Come now, Frederickson. Would you deny that Frederickson and Frederick-son has grown enormously wealthy and powerful because of business that has been steered your way by this administration?"

"If it has, I don't know about it. I a.s.sume that Mr. Shannon and his a.s.sociates have better things to do than steer business our way. Sometimes they even make decisions I agree with."

"Surely you're aware that yours is the investigative agency of choice for those corporations and individuals who want to stay in the good graces of this administration."

"I'd like to think that Frederickson and Frederickson is the investigative agency of choice for corporations and individuals who want topflight investigatory work done."

His sneer was becoming even more p.r.o.nounced. "I've offended you."

Ordinarily I would have considered it time for a tart exit line, but I continued to experience the feeling that Culhane was after more from me than casual conversation. I couldn't imagine what, but my curiosity was sufficiently strong to keep me toe-to-toe with him for a while longer. I glanced over my shoulder, found that Jay Acton was gone. "Not at all," I said, returning my gaze to the other man. "You were suffering from a misconception, which I hope I've corrected. I've observed that not many people ever get a chance to get a word in edgewise with you, much less enjoy the opportunity to try to straighten you out on some of your quaint notions."

He didn't much like that, and he flushed slightly. "I've even heard it said that you and your brother, with certain knowledge in your possession, could perhaps have prevented the election of this accursed administration; I have to a.s.sume that the same information could bring down this administration. It wouldn't be hard for a neutral observer like myself to conclude that more than natural market forces have been at work in your firm's huge and relatively recent success. There may be powerful people who don't want to see you or your brother . . . disgruntled."

I was going to have to try to ignore the gross insult, because the first part of his statement happened to be true, and Elysius Culhane was the last person in the world I wanted to know. The knowledge he'd referred to could not only topple an administration but send a lot of people, including Garth and me, to prison. The realization that Elysius Culhane, with his complex web of confidants, contacts, and rumor-mongers, was sniffing the shreds of flesh left on these particular political skeletons chilled me.

I smiled, said, "You've got to be kidding me."

"Is it true?" he asked in a flat tone. A bead of perspiration had appeared on his upper lip, just as if he were on television, and he quickly wiped it away.

I smiled even harder, baring my teeth. "If it was, would I tell you?"

"There might come a time when your sense of patriotism and duty to your country will a" "

"What are you doing in Cairn, Culhane?"

The interruption seemed to throw him off balance. He stared at me for a few moments, obviously debating whether or not to pursue his examination of my sense of patriotism and duty to country, apparently thought better of it. "I live here," he said with a shrug. "I moved from Washington to Cairn just about a year ago."

"Oh. Nice town."

"And you? Would you, uh . . . be here on business? I can't imagine what there would be in Cairn that would require or test the keen investigative skills of the famed Mongo Frederickson."

"You're too kind. Actually I'm just visiting; I happened to be pa.s.sing by here, saw there was an art show, and decided to check it out."

"See anything you like?"

"As a matter of fact, yes," I replied, turning around in the otherwise empty corridor and pointing toward Jack Trex's dimly lighted painting. "I was rather taken with that work over there."

Culhane grimaced, as if something he'd had for lunch or dinner had just repeated on him. "Really? I don't like it at all. It doesn't make any sense, and it's depressing. In fact, I recommended that it not be included in the exhibit, but since the artist is the commander of this particular chapter of Vietnam Veterans of America, I was overruled."

"You recommended that it not be included? What are you, the local censor?"

"No," he replied in what I may only have imagined was a wistful tone, perhaps missing my sarcasm. "I underwrite a good many activities of the Vietnam veterans; as a matter of fact, this exhibit was my idea, and I'm sponsoring it. That painting has no place in a show like this. It does nothing to improve the image of the Vietnam veterans; it gives people the wrong impression. I think it was Patrick Buchanan who wrote that the food you put in a man's mind is at least as important as the food you put in his stomach."

"By golly, that sounds almost Marxist. I think most people would rather have food in their bellies and be left alone."

"That painting is just garbage, and it's not good for people to eat garbage."

"You think image ranks high on the Vietnam veterans' list of problems?"

"Yes. I think their image ranks high on the nation's list of problems. They're perceived as a bunch of drug addicts, alcoholics, adulterers, and sissies who can't handle stress."

"I always thought they were perceived as a group of fighting men who have some special problems because they were unfortunate enough to have been caught up in a special kind of war we weren't really prepared to fight."

"They have problems because they fought in a war America lost, Frederickson," Culhane said with real emotion, his slur once again becoming p.r.o.nounced. "America now has special problems because it fought a war and lost, a war that was lost because of fuzzy-headed thinking and cowardly actions by leaders like Kevin Shannon. The Vietnam veterans were betrayed; the country was betrayed. Many of these men don't really understand that to this day. When they do understand it, and when they, or men like them, can be unleashed to fight communists once again and win for a change, they'll feel better. The country will feel better. When people see a painting like Trex's, their image of the veterans is that they're a group of cowards who blame America for what happened to them. It's defeatist."

"An intriguing political and artistic a.n.a.lysis."

"You're patronizing me."

"What do you expect me to say, Culhane? You expect me to argue with you? I'm not interested in politics, and I'm even less interested in political discussions. Sometimes I suspect that strong political ideology, like religious fervor, has a genetic as well as a cultural basis. Maybe they're just two faces of the same psychological phenomenon."