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3. Leave clear traces of your progress: hoofprints, smoldering campfires, feathers, and amulets allowing identification of tribe.

Attacking the Stagecoach

4. In any attack on a stagecoach, always follow the vehicle at a short distance or, better still, ride alongside it, to facilitate your being shot.

5. Restrain your mustangs, notoriously faster than coach horses, so you won't outstrip the vehicle.

6. Try to stop the coach single-handed, flinging yourself on the harness, so you can be whipped by the driver and then run over by the vehicle.

7. Never block the coach's advance in a large body. The driver would stop at once.

Attacking an Isolated Farm or a Circle of Covered Wagons

8. Never attack at night when the settlers might not be expecting you. Respect the tradition that Indians attack only in daytime.

9. Insist on making your presence known by giving the coyote cry, thus revealing your position.

10. If a white man gives the coyote cry, raise your head immediately to offer him an easy target.

11. Attack by circling the wagons, but never narrow your circle, so that you and your companions can be picked off one by one.

12. Never employ all your men in a circle, but progressively replace those that fall.

13. As you lack stirrups, manage somehow to entangle your feet in the reins, so that, when you are shot, you are dragged after your mount.

14. Use rifles, bought illegally, whose operation is unfamiliar to you. Take a considerable amount of time loading them.

15. Don't stop circling the wagons when the good guys arrive. Wait for the cavalry without riding out to confront it, then scatter at the first impact in total disorder to allow individual pursuit.

16. In preparing to attack an isolated farm, send only one man to spy on it at night. Approaching a lighted window, he must observe at length a white woman inside, until she has become aware of the Indian face pressed against the pane. Await the woman's cry and the exit of the men before attempting to escape.

Attacking the Fort

17. First of all, turn the horses loose at night. Do not steal them. Encourage them to disperse over the prairie.

18. In using a ladder during the assault, climb up it one man at a time. First allow your weapon to appear, then your head, slowly, and emerge only after the white woman has indicated your presence to a marksman. Never fall forward, inside the fort, but always backward, toward the exterior.

19. In shooting from a distance, assume a clearly visible position on the top of a peak, so that you can fall forward, to be shattered on the rocks below.

20. In the event of a face-to-face confrontation, wait before taking aim.

21. In the same situation, never use a pistol, which would resolve the confrontation at once. Only naked steel.

22. In the case of a sortie on the part of the whites, never steal the weapons of the slain enemy, only his watch. Wait in wonderment, listening to its tick, until another enemy arrives.

23. On capturing an enemy, do not kill him immediately. Tie him to a stake or confine him to a tent, awaiting the new moon, by which time others will come to free him.

24. In any event, you can be certain that the enemy bugler will be killed the moment the signal of the Seventh Cavalry is heard from afar. At this point the bugler inside the fort always stands up and returns the signal from the highest turret of the fort.

Further Instructions

25. In the event that the Indian village is attacked, rush from the tents in total confusion. Run around every which way, trying to collect weapons previously left in places of difficult access.

26. Check the quality of the firewater being sold by the peddlers: the sulfuric acid-to-whisky ratio must be three to one.

27. In the event of a train's passing, make sure there is an Indian hunter on board and ride alongside the train brandishing rifles and emitting cries of greeting.

28. In leaping from a roof to seize a white man from behind, always hold your knife in such a way that he is not immediately wounded but is allowed to engage in hand-to-hand struggle. Wait until the white man turns around.

1975

How to Recognize a Porn Movie

I don't know if you've ever happened to see a pornographic movie. I don't mean movies with some erotic content, a movie like Last Tango in Paris, for example, though even that, I realize, for many people might be offensive. No, what I mean is genuine por-noflicks, whose true and sole aim is to stimulate the spectator's desire, from beginning to end, and in such a way that, while this desire is stimulated by scenes of various and varied copulations, the rest of the story counts for less than nothing.

Magistrates are often required to decide whether a film is purely pornographic or whether it has artistic value. I am not one of those who insist that artistic value excuses everything; sometimes true works of art have been more dangerous, to faith, to behavior, to current opinion, than works of lesser value. But I believe that consenting adults have the right to consume pornographic material, at least for want of anything better. I recognize, however, that on occasion a court must decide whether a film has been produced for the purpose of expressing certain concepts or esthetic ideals (even through scenes that offend the accepted moral view), or whether it was made for the sole purpose of arousing the spectator's instincts.

Well, there is a criterion for deciding whether a film is pornographic or not, and it is based on the calculation of wasted time. A great, universal film masterpiece, Stagecoach, takes place solely and entirely (except for the beginning, a few brief intervals, and the finale) on a stagecoach. But without this journey the film would have no meaning. Antonioni's L'avventura is made up solely of wasted time: people come and go, talk, get lost and are found, without anything happening. This wasted time may or may not be enjoyable, but it is exactly what the film is about.

A pornographic movie, in contrast, to justify the price of the ticket or the purchase of the cassette, tells us that certain people couple sexually, men with women, men with men, women with women, women with dogs or stallions (I might point out that there are no pornographic films in which men couple with mares and bitches: why not?). And this would still be all right: but it is full of wasted time.

If Gilbert, in order to rape Gilbertina, has to go from Lincoln Center to Sheridan Square, the film shows you Gilbert, in his car, throughout the whole journey, stoplight by stoplight.

Pornographic movies are full of people who climb into cars and drive for miles and miles, couples who waste incredible amounts of time signing in at hotel desks, gentlemen who spend many minutes in elevators before reaching their rooms, girls who sip various drinks and who fiddle interminably with laces and blouses before confessing to each other that they prefer Sappho to Don Juan. To put it simply, crudely, in porn movies, before you can see a healthy screw you have to put up with a documentary that could be sponsored by the Traffic Bureau.

There are obvious reasons. A movie in which Gilbert did nothing but rape Gilbertina, front, back, and sideways, would be intolerable. Physically, for the actors, and economically, for the producer. And it would also be, psychologically, intolerable for the spectator: for the transgression to work, it must be played out against a background of normality. To depict normality is one of the most difficult things for any artist—whereas portraying deviation, crime, rape, torture, is very easy.

Therefore the pornographic movie must present normality—essential if the transgression is to have interest—in the way that every spectator conceives it. Therefore, if Gilbert has to take the bus and go from A to B, we will see Gilbert taking the bus and then the bus proceeding from A to B.