Obscene chronicles one man's lifelong crusade against censorship
BY DENNIS HARVEY
Wednesday September 3, 2008
Apologies to all Nathaniel Hawthorne and Herman Melville fans out
there, but the American novel didn't get good until it shook off the
last vestiges of Puritanism and risked a certain shock factor. It
wasn't just the authors pushing potentially offensive social-realist
(Stephen Crane, Theodore Dreiser, Upton Sinclair) or unflattering
social-elite-portraiture boundaries (Edith Wharton, Henry James,
etc.) who made the upstart nation's lit suddenly comparable to the
Old World's new output. By the dawn of the 20th century,
non-rabble-rousing Yank fiction (not to be confused with today's
street-corner favorite tabloid, Yank) had also matured stylistically.
Still, it's those "dirty books" that somehow still stick out in
well-read readers' back pages. American censorship battles in the
20th century were, until well into the sexual revolution, largely
fought on literary terrain.
Barney Rosset, the subject of new documentary Obscene, should be
canonized by First Amendment fans as the patron saint of key
mid-20th-century obscenity cases.
As founder of Evergreen Review and Grove Press, this "smut peddler"
published everyone from Harold Pinter to Octavio Paz to Kathy Acker,
as well as a whole lot of unapologetic porn (mostly the Victorian
kind). No wonder Rosset was behind some of the central court
struggles against censorious US standards for both literature and
movies. He consorted with yippies and Black Panthers, produced close
friend Samuel Beckett's only film (1965's Film), and was called a
"tragic hero" by his own analyst (one of many). He is an interesting
enough guy that one wishes codirectors Neil Ortenberg and Daniel
O'Connor's admiring portrait was longer it gets the career
highlights down but barely touches on what sounds like an equally
colorful personal life.
Weaned on the radicalism of Depression-era East Coast experimental
schools, Rosset was an Army combat cinematographer during World War
II. He returned home to produce 1948's virtually unknown Strange
Victory a movie about American racism so incendiary that only one
New York City theater would consent to show it. Having been checked
out by the FBI as a possible "Communist filth racketeer" while in
grammar school, he was on familiar ground when he commenced the first
of many legally challenged literary ventures in the late 1950s.
Evergreen Press republished Allen Ginsberg's suppressed epic poem
Howl; Grove launched US printings of D.H. Lawrence's Lady
Chatterley's Lover and Henry Miller's Tropic of Cancer, both already
decades-old yet still banned on our shores. Other causes célèbres
included William S. Burroughs' Naked Lunch, The Autobiography of
Malcolm X (published just after his assassination), and Che Guevara's
diaries (which angered somebody enough to get Grove's offices bombed).
As if this wasn't drama enough, Rosset's business and personal
fortunes experienced considerably more disorder as the turbulent '60s
turned into the oversatiated '70s. Importing a Marxist
quasidocumentary art film from Sweden, 1967's I Am Curious (Yellow),
made cinema safe for sex after protracted court battles. It also made
millions, which perversely hurt Grove in the end forcing an
expansion that proved disastrous, particularly when 1968 sequel I Am
Curious (Blue) bombed. The CIA put Rosset under surveillance and
women's liberationists assailed his catalog as sexist, yet
threatening calls and sniper fire at his home did not exactly
discourage his alcohol and amphetamine abuse. He was even fired from
Grove itself after a supposedly friendly takeover.
Too bad Obscene just skims over the less-public chapters in its
subject's life, like his four marriages. Now a dapper and delightful
old man, Rosset has long since burned through the last of many
fortunes made and lost. He's broke but blithe about it, as if
cocooned by admiration the eccentric lineup of praise-singing
interviewees here include Jim Carroll, John Waters, Amiri Baraka,
Erica Jong, and Gore Vidal. Perhaps the best testaments to Rosset's
character, however, are priceless excerpts from a cable-TV
interrogation in which he responds to actual smut peddler Al
Goldstein's exasperatingly crude questions ("How do you get sucked
into marriage?" being the least of them) with charming, earnest
self-examination.
--
OBSCENE: A PORTRAIT OF BARNEY ROSSET AND GROVE PRESS
Opens Fri/5
Nightly at 7, 8:45 p.m. (also Sat–Sun, 3, 5 p.m.), $5–$10
Roxie Theater
3117 16th St., SF
(415) 431-3611, www.roxie.com
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