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189 189 AnarchistDevelopmentsinCulturalStudies Art&Anarchy 2011.2 Becoming Anarchist: The Function of Anarchist Literature Sandra Jeppesen * Abstract Mappingtypesofanarchistliterature,itsmodesofproductionand typicaltropesandthemes,thispaperarguesthatthereisaconsistency invaluesproducedthroughmodesofproductionandbothcontent andforminanarchistliterature.Furthermoretherearetwofunctions ofanarchisttexts:interventionistrepresentations,inwhichanarchists interruptthedominantimagemachinery,andculturalprefiguration wherebyanarchistvaluesareengagedwithinthetext,prefiguring thesocietywearebuildingthroughouractions.Anarchistliterature therebybothreflectsandproducesamodelfortheprojectofbecoming- anarchist,aliteraryexpressionofthealways-incompletepermanent anarchistrevolution. MyfriendCocoandIwererecentlytalkingaboutwhywemake art. Cocowasreallyinterestedincreatingimagesofourselvesthat couldinsomewayinterruptadvertising,TV,Hollywoodandother celebrityimages—interventionistrepresentationsagainstthecul- turemachine. Also,Cocosaid,itisimportanttotellstoriesthatother peoplelike,anditisverysatisfyingwhenpeoplecomeuptoyouand say,hey,thathappenedtometoo,orthat’showIfelttoo. I’vebeen awriterforalongtimenow,andIfeelthatanarchistsoftendonot valueourownwriting,orwehideourbookishness,becauseweare unsureoftheroleortheimportanceofliteratureinanarchistsocial SandraJeppesenisAssistantProfessorofMediaStudiesandEnglishLiteraturein * theInterdisciplinaryStudiesDepartment,LakeheadUniversity,Orillia,Canada.She hasbeenazine-maker, activistandwriterformanyyears. Heracademicwork onalternativemediaanddirect-actionactivismhasappearedinjournalssuchas Sexualities,andtheCanadianJournalofCommunication,andshehascontributed chaptersonanarchisttheorytoPost-Anarchism:AReader(2011),NewPerspectiveson Anarchism(2010),andConstituentImagination(2007). 189 189 190 190 190 SandraJeppesen movements. AsMargaretKilljoywritesinher“Conclusion”toMyth- makers&Lawbreakers(2009),“Ithinkthatperhapsweanarchists, inourdesirefordirectaction,overlookthebeautyandsubtletyof the symbolic” (p. 185). But is it just beauty and subtlety that we are after when we write or read? What types of publications do anarchistsliketoproduce? Whataresomeofthealternativeliterary value-basedstructuresthatwehavecreatedtopublishanddistribute anarchistliterature? Whenwedowrite, whataresomeofthere- curringthemes,images,tropesandfigures? Thispaperwillexplore thesequestionsinordertoinvestigatethefunctionandrelevanceof anarchistliterature,arguingthattherelationshipbetweenanarchist lifestylesanddirectactions,asrepresentedinanarchistliterature,is crucialtounderstandingboththeconcernsofanarchistpoliticsand thefunctionofanarchistliteratureindisseminatingtheseconcerns. 1 TypesofPublications Itwillcomeasnosurprisetoanyonethatbothfictionandnon- fictionanarchisttextsarepublishedinarangeofformatsandbya varietyofpublishersbeyond(andsometimesincluding)themain- stream. Certainlyanarchistspublishbookswithanarchistpublishers, suchasBlackRoseBooksinMontreal,FreedomPressintheUK,or AKPressandPMPressinCalifornia. Typicallyanarchistpresses publishnon-fictionbooks,includingeverythingfrompoliticalanaly- sis to autobiographies to vegan cookbooks. Anarchist publishers sometimeshesitatetopublishfictionorpoetry,buttherearesome exceptions. PM Press, for example, has recently come out with a stellarlineofradicalfiction;CrimethInc. publishesbooksofpoetry; Autonomediaalsopublishesfiction,ifinfrequently. Anarchistfiction andpoetrywritersalsopublishbookswithconservativepressesat times. AsanarchistcomicartistAlanMooreargues,thesecapitalist publishers“arepreparedtoforgiveyouanythingifyou’remaking enoughmoneyforthem”(Killjoy,2009,p.53). Theironyofcapitalists publishinganti-capitalisttractsisnotlostonMoore. Ontheother hand,somemoreDIY-orientedanarchistsmaintainconsistencybe- tweenthemeansandtheendsbyself-publishingbookscollectively or individually. Contemporary examples include the CrimethInc. ex-workers’ collective (Killjoy, 2009, p. 58–69) and Toronto’s Jim Munroeatnomediakings.org(p.150–65);historicalexamplesinclude DianediPrimawho,inthe1960sand70sself-publishedimportant 190 190 191 191 BecomingAnarchist:TheFunctionofAnarchistLiterature 191 booksbyBlacklesbianfeministAudreLordeandrevolutionaryBlack BeatpoetLeRoiJones/AmiriBaraka(GianniniQuinn,2003p.185–6), aswellasajournalcalledTheFloatingBear(1961–69). Currently thereappearstobeatrendtowardpublishingautobiographiesby radicalwomen,includingAssataShakur(1987),RoxanneDunbar- Ortiz(2001),AnnHansen(2001),DianediPrima(2001),andDiana Block(2009),tonamejustafew. Beyondbooks,thereisalong-standinganarchisttendencytopub- lish magazines (from Emma Goldman’s landmark journal Mother Earth [1907–1915] to the more contemporary Green Anarchy and CrimethInc.’sRollingThunder)andzines(ofwhichtherearefartoo manytolist—forasampling,seezinelibrary.info/english/anarchism; thereisnowatrendtoanthologizezinesintobookssuchasCrime- thInc’s off the map, and PM Press’s Burn Collector, both personal narrativezines). Morerecentlyacademicjournals(AnarchistStudies, Perspectives,andthisone),comix(WWIIIIllustratedmagazine,and artists Seth Tobocman, Fly, Coco Riot, Alan Moore, Erik Drooker, etc.),comicjournalism,andDIYvideos(e.g. MadeinSecretbythe EastVanPornCollective,aDIYvideoaboutmakingDIYpornvideos) havejoinedthefray. Whatthesetypesofpublicationsallhavein commonisthattheytendtoespouseanarchistpoliticsinoneway oranother,whetherinfictionornon-fiction. Theyalsosometimes shareacommitmenttoalternativesnotjustincontent,butalsoin theprocessofhowtextsarecreatedanddistributed. Althoughmany studiesofalternativemediastartwithapresumptionthatthemost importantaspectis‘alternative’content,Iwouldsuggestthisisnot the case in anarchist texts. For anarchists, the means and modes ofproductionshouldideallybeconsistentwiththeformandcon- tentofthetextsproduced,thoughthisisnotalwaysthecase. An examinationofthesemodesofproductionwillhelpcontextualize thesubsequentanalysisoftheconcernsaddressedwithinanarchist texts. 2 ModesofPublicationandDistribution There are several important features in anarchist textual publi- cationanddistributionthatsetthesemodesofculturalproduction apartfromthemainstream. ThefirstisaDIYorDoItYourselfethic (McKay,1998)whichhasarangeofprinciplesfromanti-profession- alismtoself-determination; from,asCrimethInc. putsit,adesire 191 191 192 192 192 SandraJeppesen to“fuckcapitalism”(Killjoy,2009,p.66)tonotwantingtogiveup creativecontrol. DIYisthenextsteptotakeafternotinghowbadly somethingisbeingorganizedandrun,suchasaparty,apunkscene, orapublisher. Ratherthancomplainendlessly,peoplewithaDIY ethictakeactionanddothingsthemselves. Recentlythishasbeen revisedto‘DoItOurselves’,toemphasizethecollectivenatureof theseundertakings,whichisconsistentwithsocialanarchism,rather thancapitalistindividualism. “Aclearcorrespondencedoesexistbe- tweenDiYcultureandothergeneralanarchistthemes. MostDiY groupsareavowedlyanti-authoritarian,andtheystresstheanarchi- calvalueofleaderless,anti-hierarchicalorganizations”(Blackstone, 2005,p.814). ThisleadstothesecondimportantfeatureofDIY,whichiscollec- tiveprocess. Notallanarchistswriteorpublishcollectively,butthe collectiveoraffinitygroupisnonethelessanimportantspaceforthe productionanddistributionofanarchistliterature. Someonegoing bythename‘ProfessorCalamity’explainstheprocessthisway: Ionlywriteusingacollectiveapproach. Thistakesmanyforms, dependingontheindividualsIamworkingwith. Iwritenon- fictionwiththeCuriousGeorgeBrigadeandwedoitbyarguing abouteverylineandhavinglongdiscussionsabouteverytopic beforewestarthittingthekeyboard. WhenIwritefiction,we usuallytalkfirstabouttheideasandcharacters. Weverbally hashoutthestoryandthenhuddlearoundthecomputerand taketurnstyping. (qtd.inKilljoy,2009,p.73) Collectiveprocess,asweseehere,canincorporatepracticessuch astaskrotation,consensusdecision-making,resource-sharingand skill-sharing. Inthisinstance,peopleengagecollectivelyinartistic production using consensus decision-making, and rotate the task ofcreativeproduction,sharingtheresourceofthesinglecomputer. Thiscollectiveapproachputsintopracticeprefigurativeanarchist horizontalgrass-rootsvalue-basedpractices(Atton,2002;Downing, 2001). Prefigurativepoliticsisunderstoodtomeanthatwearecreat- ingtheworldwewanttoliveinbythewayweorganizeourlives today. Thereforeinuniqueandinterestingways,anarchistcollective writingchallengescommonlyheldconceptionsofthelonegeniusau- thor,orthefunctionoftheauthorthatdetermineshowweinterpret theworkorworks(Foucault,1970). Acollectiveauthorcanproduce 192 192 193 193 BecomingAnarchist:TheFunctionofAnarchistLiterature 193 interestingresultsinthetextitself,leadingtoamorecollectivepro- tagonist,suchasinthefilmTheBattleofAlgiers(1966),wherethe protagonististhebroad-basedAlgerianliberationmovement. Ina moreexplicitlyanarchistfilm,thedocumentaryBreakingtheSpell (1999),weseeacollectiveprotagonistproducedthroughaseriesof interviewswithprotestersandorganizersofthe1999SeattleWTO shutdownincollaborationwiththe“EugeneAnarchists”namedin thesubtitle. Thoughnarratedbythe‘girl’ofthetitle,thenovelA GirlAmongtheAnarchists(1903)wasproducedcollaborativelyby theRosettisisters,anditsprotagonistisactually‘theanarchists’also namedinthetitle. Thenarrativecorpse—inwhichonepersonstarts anarrativeandasecondpersoncontinuesit,andthenathird,until itisdeemedcomplete—isanotherexampleofacollectiveprocess thatcanproducedifferentkindsoftexts,andthatcanarticulatea multiplicityofvoicesthroughadiversityofartisticstyles. AthirdfeatureofanarchistliteratureorDIYproductionisthat specific textual production collectives may intentionally be orga- nizedaroundmarginalizedidentitiesorgroups. Forexample, the zineOurCulture,OurResistance(2004)waswrittenandpublished byaloose-knitAnarchistPeopleofColour(APOC)collective. Other texts may be published by anarchafeminist collectives (e.g. Quiet Rumors(2002)bytheDarkStarCollective)oranarchaqueercollec- tives(e.g. theQueerewindzine(2003)orCréepardesQueersmade this[2010]byQTeam). Sometimestextsareproducedbygroupsor collectives like the Montreal radical queer affinity group, QTeam, whosemaintaskisnottextualproductionbutpoliticalorganizing; othertimesthecollectiveexistssolelyforthepurposeofproducing texts,suchasCrimethInc.,PMPress,andotheranarchistpublishers. Oftentextualproductionisconnected toanarchistorganizing, so thatpeoplewhoareinvolvedinproducingtextsarealsoinvolvedin grassrootsactivism,protests,andotheractivitieswithrevolutionary aims. Theimportanceofidentity-basedtextualproductionisthat itprovidesspaceforthearticulationofvoicesthataretypicallysi- lencedinmainstreamandsometimesalsoinanarchistspacesand discourses, thereby challenging the perception that the state and capitalismarethetwomostimportantoppressionsthatanarchists critiqueandresist. Instead,textsproducedfromanidentity-based perspectivedemonstratehowthesetwooppressionsareconnected toracism,sexism,ableism,colonialismandheteronormativity,ad- heringtothebroadlyacceptedanarchistprinciplethateachperson’s liberationdependsontheliberationofallothers. 193 193 194 194 194 SandraJeppesen Fourthly,anarchiststendtoapplyanti-copyright,orcopyleft,to theirtexts. EllieClementandCharlesOppenheim(2002)arguethat althoughcopyrightiswidelyunderstoodtobelongtoandbenefit theproducerofanartisticwork,copyrightlawintheUKoriginated toprotectpublishersratherthanauthors(p.44). Thedebateamong anarchists revolves around the question: Is intellectual property theft in the same way that material property is theft? Many an- archistsbelievethatknowledgeshouldbesharedwiththosewho canbestbenefitfromit,basedontheconceptof‘usufruct’rather than possession or ownership of ideas. “Usufruct is the freedom ofindividualsinacommunitytoappropriateresourcesmerelyby virtueofthefactthattheyareusingthem. Suchresourcesbelong totheuseraslongastheyarebeingused”(Clement&Oppenheim, 2002, p. 42). Texts are of course different than land or factories. Thereisadistinctionbetweenland-basedproperty,whichexistsin onelocationandisfinite,andintellectualproperty,whichconsists ofinformation,knowledgeandideasthatcanbereplicatedacross spaceandtimealmostinfinitely(Clement&Oppenheim,2002,p.44). Furthermore,withtheadventoftheinternet,copyleftandanti-copy- right, which were popular in the 1990s, have transmogrified into the legal protections offered by creative commons licenses under fourbasicpremises: attribution,share-alike,non-commercial,and noderivatives(CreativeCommons). Thepracticeof“distributiveuse” (Clement&Oppenheim,2002,p.48)hasalsobecomeimportantto anarchists—apublishingmodethatisbothanti-copyrightandopen distributionoropensource,makinguseofthegrowingcybercom- mons. Anarchists,howevercriticalofintellectualpropertylawsthey maybe,donotliketofullygiveuptheirrightsofownershiptojust anyone,asClement&Oppenheim(2002)foundintheirinterviews witharangeofpublishersintheUK: Manyoftheanti-copyrightstatementsincludestatementsre- gardingthosewhoarepermittedtocopy,typicallyincluding areferencetotheirstatuswithinthecapitalistsociety. Forex- ample,a‘non-hierarchicalrevolutionarygroup’isallowedto copyfreely,but‘governmentsandcorporations’or‘journalists andrichbastards’areexcluded. Anarchistpublishersarefar lesswillingtoallowtheirmaterialtobedisseminatedbythe mainstream capitalist media than by the media within their alternativepublicrealm. However,iftheyweretowriteanovel orcreateamagnumopuswhichinvolvedtheinputofsignificant 194 194 195 195 BecomingAnarchist:TheFunctionofAnarchistLiterature 195 energies,orasonepublisherputit,‘realwork’,thensomecopy- right, control or recognition for the work was desired. Very fewofthosewhocreatedworkswhichweremorepermanent andofsignificantlastingvaluewerehappytorelinquishtheir rightsoverit. (p.61) Thusanarchistsliketoprotecttheirownintellectualproperty,not necessarilysothattheythemselvescanmakemoneyfromtheircre- ativework—althoughitseemssomeformofrecognitionisdesired —butsothatotherswhodidnotdotheworkmaynotprofitfromit, extendingananti-capitalistprinciplebeyondtheselftothetext. Anti-copyrightisbasedonsharinginformationfreely,andisthere- forecloselyconnectedtothefifthimportantmodeofdistribution, whichistheinfoshop. Infoshopsor“streetlibraries”(Dodge,1998, p.62)areakindof“collectivelyrunlibrarythatarchivesalternative- presspublications”(Dodge,1998,p.62)providingothercommunity resourcessuchasfreephotocopying,workshops,andskill-shares. Infoshops“oftenserveasvenuesforconcerts,videoscreenings,and politicaldiscussions,besidesprovidingaspaceforlike-mindedor- ganizationstoholdmeetings”(Dodge,1998, p.62). Infoshopsare thus, Dodge argues, similar to libraries in providing information suchasbooksforpeopletoperusefreeofcharge,butclearlythey aresomuchmore,astheyalsogiveoutagreatdealofinformation intheformofpamphletsandzinesforfree,providingmuchmore currentandperhapsmoreradicalinformationthatisnotavailablein libraries. Theyalsoserveasradicalgatheringspaceswhereknowl- edge can be shared in other ways: through informal discussions, collectivemeetings,andskill-sharing. ForDodge,“infoshopsshare a common devotion to seat-of-the-pants information democracy” (1998,p.64),challengingintellectualpropertyrightsbyproviding knowledgetoanyandallcomers. Infoshopsthereforeareconsis- tentwiththevalue-practiceofhorizontaldirectdemocracyusedin anarchistorganizing. Simultaneouslyengagedwithandinoppositiontocapitalism,like infoshops,anarchist‘distros’arethesixthelementintheproduction anddistributionofanarchisttexts. Distroshavegrownoutofthe ‘merch’tablemodelofthepunkscene,wherepeopledistributepunk records,CDs,T-shirts,pamphlets,zinesandotheritemsatatable set up at the back of a punk show. A book distro is similar to a bookstorebutwithoutthestore. ExamplesincludeKersplebedebin Montreal,andthenow-defunctBlackCatgreenanarchistdistroon 195 195 196 196 196 SandraJeppesen thewestcoastofCanada,amongothers. Booksandotheritemsare warehoused,ofteninaperson’sbasementorapartment,tobehauled out for punk shows, political talks, film screenings, mass protest convergencespaces,orbookfairs. Distrosmayhaveanon-linestore aswell. Theyareusuallyrunbypeoplewhoareinterestedincutting out the capitalist distributor between the book publisher and the book reader. This distribution process includes two steps. First, books go from the publisher to the distributor (such as Disticorp, whichboughtoutmostoftheindependentdistributorsinCanada afewyearsback),andsecond,theygofromthedistributortothe bookstore. Both the distributor and the bookstores take a cut of theprofits,leavingverylittlefortheauthororpublisher. Anarchist distroscutoutthebookstoreandreducethedistributor’smark-up, andcanthusreducepricesontexts. Theycanalsoputfundsraised throughbooksalesintoproducingothertextsthattheymightgive away. Somepublishers,suchasCrimethInc. andAKPress,serveas publishersofcertainbooksandadditionallyasdistributorsofbooks producedbyotherpresses. Anarchistdistrosloveanarchistbookfairs,theseventhelementin anarchistliteratureproductionanddistribution. Anarchistbookfairs havebecomeamainstayinmanycitiesinEurope,NorthAmerica andbeyondoverthepastfifteenyearsorso. ThebilingualMontreal AnarchistBookfair/SalonduLivreAnarchisteisinitstwelfthyearthis year;SanFrancisco,NYCandLondon,UKalsohaveverysuccessful, well-establishedannualbookfairs. SmallertownssuchasVictoria, BChavestartedtoholdthemaswell. Anarchistbookfairsarenotjust spacesforsellingbooks. Theyalmostalwaysintegrateafestivalof anarchythatincludeseverythingfromanarchisttheatreandpoetry events,topunkandhiphopshows;fromworkshopsandwalking tourstoanarchistsoccerandchild-carespaces. Thereareoftenskill- shares,andout-of-townersarebilleted. Peopletravelgreatdistances toattendbookfairs(andnotalwaysbythemostlegalmeanseither, often preferring freight-hopping, hitch-hiking, ride sharing, and scammingbustickets). Thisleadstothelastbutnotleastelement: illegalities. Anarchists tendnottofollowthelaw. Iftheyfindarule,chancesaretheywill wanttobreakit. Thisgoesforanarchistliteratureproductiontoo. Massphotocopyscammingisafavouritemodeoftextualproduc- tion,asdescribedbyAlBurianinBurnCollector(2010),inwhichhe gets a job on the midnight shift at Kinkos and photocopies boxes fullofhiszinesunderthecounter. Manyothershavebeenknown 196 196 197 197 BecomingAnarchist:TheFunctionofAnarchistLiterature 197 to copy zines for free at various workplaces. Pirating of texts is another way that anarchist literature is reproduced, as is evident inmanyofthecopyleftoranti-copyrightstatementsusedbyanar- chistbookandzineproducers. OneproducercallsitselfPiratePress tomaketheirtransgressionsexplicit. Clearlythisisconnectedto thechallengesdiscussedabovetointellectualpropertyrights,but textual production challenges other forms of property rights, too. Here the challenge is explicitly to the ownership of the means of culturalproduction. Writersandartistsalsoengageincreativepub- licspaceredecoration,includingthingslikeguerrillapoetryputup withspraypaintorchalk, culturejammingofbillboards, guerrilla art strikes where public walls are reclaimed with community art, andthelike. Theseactionscombineartisticexpressionwithdirect action protest, using processes that are more directly democratic, interventionistandparticipatorythanmainstream,andevensome alternativeorindependentpressproduction. Throughthesevariouspractices,anarchisttextualproductionbe- comes in itself a form of direct democracy through collective, de- centralized,horizontalprocessesthatattempttocutoutcapitalist hierarchiesandprofits. Itisalsoamodeofdirectactionthatcon- stitutesanattackoncapitalismandotherformsofoppressionand exploitationinitsmodesofproductionanddistribution,andinits challengestointellectualpropertyrightsandinformationcontrol. If this is how we produce literature, what are the concerns of anarchist texts? Is the content somehow related to or consistent withthemodesofproduction? Iwouldsuggestthattheprefigurative politics engaged in producing and disseminating texts are also at workinthecontentproduced. 3 TypicalTropes,Figures,ImagesandThemes Asfarbackasthemid-1800s, thevagabond, thetrampandthe hobo were common images in anarchist literature and art. John Hutton (1990) explores the “anarchist icon of the tramp, a figure conceivedsimultaneouslyasnonconformistheroandprototypical social victim” (p. 296), examining the role of this iconography in anarchistliteratureaswellasneo-impressionistart. Hefindsthat “The vagabond was seen as proof that one could reject bourgeois society and its constraints more or less at will, evading the rules andrestrictionsimposedbythedominantsocialandpoliticalorder” 197 197 198 198 198 SandraJeppesen (p.298). Asanoutlawfigure,sometimesbychoicebutmoreoften bycircumstance,“thevagabondwasoftengroupedwithotherso- cial outcasts as the real enemy of bourgeois society: an essay in theanarchistpaperLeLibertaireassertedflatlythat‘Thosewithout trade,thejobless,trimardeurs,bums,prostitutes,declasses,arethe revolutionariesoftomorrow’”(Hutton,1990,p.299). Certainlythisfigurere-appearsinthe1960sinnovelssuchasOn theRoad(1957)byJackKerouac,andmuchlaterinDianediPrima’s memoirofherroleintheBeatGeneration,Recollectionsofmylifeas awoman(2001). Thememoirdescribesherlifeasasexuallyactive woman with multiple male and female partners, having children withseveralofthem,travellingbackandforthacrossAmerica,read- ing, writing, publishing and performing poetry. These two texts —thefirstafictionalizedaccountofarealgroupofradicalpoets, writersandartists,andthesecondanon-fictionaccountofdifferent fragments of the same loose-knit group — also capture a kind of generalizedprotagonist,whichistheBeatGenerationitself. Forthis group,valuessuchastravelforthepurposeofself-discovery,living inthemoment,rejectingtheconstraintsofnormative,consumerist America,andradicallytransformingtheprocess,contextandlegiti- mationofcreativewriting(forexample,WilliamBurroughs’cut-ups, Kerouac’skickwriting,diPrima’sandAmiriBaraka’srevolutionary poetry,theself-productionofradicalpoeticpaperssuchasTheFloat- ingBear,thenarrativecorpse,etc.) werekey. Thenomadicfigureis centralinmuchofthiswriting—thepersonwhointentionallyup- rootsthemselves,feelingnoallegiancetoaparticulargeographical space,state,orhometown,butratherlivingandfomentingrevolu- tionarythoughtandletters,inprintandthroughperformancepoetry, wherevertheymightfindthemselves. Theroadisalsokey. Being ontheroadisacrucialpartofactuallybeingintheworld. Thesur- passedboundariesoftownsparallelthetransgressedboundariesof literaryconvention. Morerecently,tropesofthenomadandtheroadhaveappeared inseveralCrimethInc. books—includingoffthemap(2003),Days of War, Nights of Love (2000) and Evasion (2002) — as well as the aforementionedzinecompilation,BurnCollector,amongmanyoth- ers. AfewyearsbackafriendandIproducedazinecalledScabies GuidetoNewYork(1997),asatireofmainstreamtravelguidesthat is a kind of punk-poverty street guide for people travelling from CanadatoNewYorkCity,includinginstructionsonhowtodissem- ble normalcyin orderto cross the border. John Hutton notes the 198 198
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