Thursday, 29 February 2024

Critical Mass



But John Brown was far, far, far
far more important dead than 
he’d ever been alive. Poets, songwriters, 
lyricists, biographers, those who 
would come to love him, those who would 
come to hate him, and those who cannot quite 
figure out what to do with him, would never 
stop writing about him. 
And we still haven’t. 

Benét, I think, captured 
the dilemma of John Brown. 
John Brown — it’s not easy to decide — 
was he a heroic revolutionary or 
a midnight terrorist? 
This is Benét’s verse, embedded 
in a 250-page epic poem. 
The Law is our yardstick and 
it measures well, oh well enough 
when there are yards to measure. 
Measure a wave with it, measure fire, 
cut sorrow up in inches, weigh content. 
You can weigh John Brown’s body 
well enough, but how and 
in what balance do you weigh John Brown? 
He had no gift for life, no gift to bring life, 
but his body and a cutting edge
and he knew how to die.” 

"There are catalytic events in History, that is,
events around which ideas, forces, movements, problems coalesce. Unfortunately, they often have a lot 
to do with violence, and we’ll come 
back to this point at the end today....."


9. John Brown's Holy War: Terrorist or Heroic Revolutionary?


He saw Evil, and he COULDN'T Ignore it.


On a morning in the second week of March, 1857, Americans woke-up, living — they didn’t all quite understand it yet — but they woke-up living in the land of The Dred Scott decision. And if you were African-American, that really meant something. Now 1857 is, of course, the final year of the playing out of Bleeding Kansas and we’ll return to that in just a second. And we’re going to discuss mostly today the story of one abolitionist; you could say the most famous abolitionist, certainly the most notorious American abolitionist, John Brown. John Brown never made it easy for people to love him. In some ways he wasn’t very lovable, until he died on the gallows, and the gallows made him heroic — at least to some people — and it made him all but The Devil to others. There are catalytic events in history, that is, events around which ideas, forces, movements, problems coalesce. Unfortunately, they often have a lot to do with violence, and we’ll come back to this point at the end today.

But John Brown was far, far, far, far more important dead than he’d ever been alive. Poets, songwriters, lyricists, biographers, those who would come to love him, those who would come to hate him, and those who cannot quite figure out what to do with him, would never stop writing about him. And we still haven’t. And we’re in the midst right now of a John Brown biography revival. That’s in part because next year is the 150th anniversary of the Harpers Ferry raid. Almost all major African-American poets in the twentieth century attempted their John Brown poem. So did Stephen Vincent Benét in a famous and classic lyric, epic poem called John Brown’s Body, published in the 1920s. And embedded in that poem is this verse where Benét, I think, captured the dilemma of John Brown. John Brown — it’s not easy to decide — was he a heroic revolutionary or a midnight terrorist? This is Benét’s verse, embedded in a 250-page epic poem. “The law is our yardstick and it measures well, oh well enough when there are yards to measure. Measure a wave with it, measure fire, cut sorrow up in inches, weigh content. You can weigh John Brown’s body well enough, but how and in what balance do you weigh John Brown? He had no gift for life, no gift to bring life, but his body and a cutting edge, and he knew how to die.” More on old John Brown coming up.

Chapter 2. “A House Divided”: The Lincoln-Douglas Debates [00:04:03]
The year before John Brown’s raid the most important, the most exhilarating, and by far the most substantively interesting political debates in American history would occur in Illinois, when Abraham Lincoln runs for the U.S. Senate against Stephen Douglas — Stephen Douglas, the same Stephen Douglas, author of the Kansas-Nebraska Act; parliamentarian genius of the Compromise of 1850; the man most associated with the Democratic Party’s theory of popular sovereignty for Kansas and Nebraska and the whole of the West. And this guy, Abe Lincoln, with one term in the U.S. House of Representatives and then a failed attempt at re-election, a guy with very little experience when he ran for President. In the opening of his campaign he decided to open it in the Legislative Hall of the old State House in Illinois. It was on the outside steps of that State House where Barack Obama began his campaign almost exactly a year ago. But inside, Lincoln gave his now famous House Divided speech. Now in your reader, your Lincoln Reader, edited by Mike Johnson, you have the House Divided speech, but read past the first page. Don’t just read that first lyrical, biblical paragraph, read what Lincoln goes on the argue. The speech is about the Dred Scott decision. The speech is his opposition to the Dred — to the Supreme Court case that had just been passed the year before. The speech is his opposition to the Kansas-Nebraska Act. His speech is a warning. It’s the warning of a moderate Republican, but nevertheless a moderate, anti-slavery, free soil Republican who throws down the gauntlet, in the wake of Dred Scott. This is a sentence on the fifth page of the House Divided Speech, page 68 in your reader if you look it up. “We shall lie down soon,” said Abraham Lincoln, “pleasantly dreaming that the people of Missouri are on the verge of making their State free, and we shall awake the next morning to the reality instead that the Supreme Court has made Illinois a Slave State.” Get his drift. The Dred Scott decision, in his view, and the view now of most in this new, extraordinary coalition, the Republican Party, believes the Dred Scott decision now threatens everybody — north, south, and west — with the presence of slavery, and slave labor, and all that goes with it.

It’s the opening of that speech though, of course, that the world always remembers, and we love to return to this in our political culture, in our political history, whenever we feel great polarization and great division. Are we a house divided again, against ourselves? “If we could first know where we are and whither we are tending…” — this is so Lincoln; he kind of meanders in a bit of a homespun way into a very serious argument — “…we could then better judge what to do and how to do it. We are now far into the fifth year since a policy was initiated” — Kansas-Nebraska — “with the avowed object and confident promise of putting an end to the slavery agitation. Under the operation of that policy that agitation has not only not ceased but has constantly augmented. In my opinion it will not cease until a crisis shall have been reached and passed. A house divided against itself cannot stand. I believe this government cannot endure permanently half-slave and half-free. I do not expect the Union to be dissolved, I do not expect the House to fall, but I do expect it will cease to be divided. It will become all one thing or all the other.” Southerners never forgot that sentence. “Either the opponents of slavery will arrest the further spread of it and place it where the public mind shall rest in the belief that it is in a course of ultimate extinction” — and those two words, more than anything else Lincoln had uttered before the Civil War, Southern Democrats would never forget — “or its advocates will push it forward till it shall become alike lawful in all the states, old as well as new, north as well as south. Have we no tendency to the latter condition? Let anyone who doubts carefully contemplate that now almost complete legal combination, piece of machinery so to speak” — and here he’s arguing the slave-power conspiracy, without naming it — “compounded of the Nebraska doctrine and the Dred Scott decision, let him consider not only what work the machinery is adapted to do and how” — the machinery — “and how well adapted. But also let him study the history of its construction and trace, if he can, or rather fail if he can, to trace the evidences of design and concert of action among its chief bosses, from the beginning.” It’s all there; the Republican Party coalition of ideas and fears is all there.

Chapter 3. Implications of the Dred Scott Decision and the Panic of 1857 [00:10:12]
Well, what was everybody so angry about over the Dred Scott decision? It’s just a Supreme Court decision. Well, I left you the other day hanging in abeyance. Dred Scott was, as I said, an old, old man by the time this thing finally got before the- got on the docket in 1854, finally was argued in late 1856 and early 1957. And when the court brought down its decision, literally two days, forty-eight hours after the inauguration of James Buchanan as President in 1857, his case was now, his name would now become almost a household word across the country. Now a measure of how important this case was as it was developing largely in legal secrecy was the kind of lawyers who argued it. Montgomery Blair and George Ticknor Curtis for Scott. Montgomery Blair was from the famous Blair family from Missouri, moderate anti-slavery leaning Republicans by this point in time, Member of Congress; George Ticknor Curtis, a former attorney-general, a very important, famous trial lawyer. And for the Government, another former U.S. Attorney General, Reverdy Johnson, and a U.S. Senator, Henry Geyer, were the layers. Reverdy Johnson made the startling statements in the arguments before the Supreme Court and called for a — he made startling statements and he called for a broader pronouncement from the court. He urged Justice Taney, the Chief Justice, and the court to render a big decision here and try, once and for all, to put this — as Lincoln called it — slavery agitation, this whole slavery in the Western Territories problem to rest. The Supreme Court after all is supreme. Reverdy Johnson said — I quote him — “This is a case that shall determine whether slavery shall live forever.” Forever; whether preservation of slavery was the only way to preserve the Union.

The decision came on the 6th of March 1857, and here was the decision. Taney and the majority in the court did not have to go as far as they did. This is now legendary and famous, Taney developing his majority. And it was ultimately a six to three decision. And lest you think the Supreme Court doesn’t really matter in our political history, please remember the Dred Scott decision. Number one part of the — there were three parts of the decision. The first was jurisdiction. Did Dred Scott as a black person have the right to sue — this is the first question they were asked to settle — the right to sue for anything in a Federal Court? Could a non-citizen, because he was a Negro — which was the language used then — sue in Federal Court? Two, did Scott’s residence on free soil — remember his four years with Dr. Emerson, his former owner, from 1834 to 1838, living in Minnesota Territory — did his residence on free soil entitle him to freedom? Or, if a slave was taken by his owner to Free states or Free territories, was it the law of the State the master came from that always had jurisdiction? In other words, was it the law of Missouri that took precedent here, or the law of Minnesota? And the third question before the court — they didn’t have to take this one up but they sure did — was Congress’s right to determine slavery in the Western Territories.

The pressures on the court were tremendous, as I said, to move for a broad decision, to try to put this thing to rest. Well the decision, of course, six to three. And at that point there were five southern born justices, five either slaveholders or former slaveholders on the Supreme Court. The sixth judge who voted with them was Greer of Pennsylvania, forming a majority against the three northern born justices who voted against it. The decision was, one, Scott had no right to sue in a Federal Court. Two, his residence on free soil did not give him his freedom, the law of Missouri was in place. And third, and by far most important, the court ruled — trying to put to rest now nearly forty years of this problem that had been compromised this way and compromised that way and argued with that principle and that principle and that principle, as we’ve seen — it ruled that Congress had no authority to exclude slavery from any U.S. territory because it would be, just as Southerners had been arguing now for two generations, a violation of the Fifth Amendment to the Constitution, a person’s right to life, liberty, and property. If someone ever wants to doubt that American history is about its ironies, just note that language. Therefore, the Missouri Compromise Line, that so-called sacred pledge that had now been violated, said Northerners, in the Kansas-Nebraska Act, had never been constitutional to begin with; that any attempt to prevent slavery’s expansion anywhere would be unconstitutional. Now, Taney not only went that far, but in his opinion, in his own written opinion, he famously went a step further and he argued — or he said, quote, that blacks, or negroes is the word he used, had — I’m quoting — “had for more than a century been regarded as beings of an inferior order, so far inferior that they had no rights, which the white man was bound to respect.” Some of the most infamous words ever in an American Supreme Court decision.

Now, the decision, six to three, was issued. For this new Republican Party coalition in the North, in some ways this was horrible news and in some ways it was good political news, because nothing crystallized this Republican coalition now quite like this case. They will crystallize in resistance to it, as I just tried to demonstrate, from quoting from Lincoln’s famous House Divided speech. But most importantly here, I’d argue — the hook to hang your hat on here — is that the Dred Scott decision, it’s not once and for all. The war is not necessarily now inevitable. Contingencies are always there, they’re always laying there to happen. But what the Dred Scott decision did almost once and for all, is that it destroyed compromise. It destroyed almost any conception now of consensus or compromise. Or put another way, it ruined moderation. Moderate politicians, former Democrats like David Wilmot from Pennsylvania, racist to the core, but free soiler who’s joined the Republican Party. Abraham Lincoln of Illinois, got his own racial problems, but a much more advanced sort of anti-slavery thinker, but still a moderate — he didn’t like abolitionists, he’d never been a member of an Abolitionist Society and never would be — believed there were Constitutional restraints on what Congress could actually do about slavery. But it will bring together now some strange bedfellows in this Republican coalition who cannot find anymore any middle ground with their foes. And that’s when you see danger — you more than see danger — in American political history. It’s when the side that loses a debate cannot accept the result.

Now, there are many ways to try to demonstrate the importance of that Dred Scott case as it sunk in. Now it’s sinking in now in the summer of 1857 as a depression hits the country. Wages in America, North, in northern cities like New York, Boston, Philadelphia and so on, drop forty and fifty percent in six months. The estimate is that 100,000 workers in New York City were thrown out of work by the end of 1857; about 50,000 in Philadelphia. The prices of wheat go plummeting, practically overnight. The United States had one of its first significant stock market crashes. There’s a lot to be feared here. And on both sides of this, North and South, they’re going to blame each other. Southerners are going to blame Northerners for over-speculation, for the over-issuing of credit by banks. And, of course, they’re right about that. There were no controls on banks in these years. There was no Federal Deposit Insurance Corporation; you only got that from the New Deal in the twentieth century. And Northerners are going to blame Southerners because of their belief in King Cotton and this kind of dependence on a single export. They’re going to throw blame all over the place.

If you were African-American you now lived in the land of the Dred Scott decision, which had said what? It said you will never be a citizen of the United States. You have no rights which the white man has to respect, which means the white man’s Constitution, which means the white man’s society. It means you live in the land of the Dred Scott decision that said you have no future in the United States. In the wake of the Dred Scott case, about a month after it, Frederick Douglass gave a speech, which was a bit uncustomary for him. In the 1850s Frederick Douglass was learning his politics, he was really was — he was getting his feet as a political thinker and even as a politician. He was trying to sidle up to this Republican Party, even though it was kind of a half-baked loaf of bread to him; it wasn’t real abolitionism. This case drove him further into their laps.

But he gave a speech, largely to a black audience, in the wake of Dred Scott. And so typical of Douglass’s brilliance as an orator, he started to discuss how he saw fear on the horizon, and trouble and dread on the horizon, and he said he saw what he called “the manifold discouragements of my people everywhere I go.” I quote him. “They fling their broad and gloomy shadows across the pathway of every thoughtful colored man in this country.” And then he ended with this lament. “I see them” — these are discouragements — “I see them clearly and feel them sadly with an earnest, aching heart. I have long looked for the realization of the hope of my people, standing as it were, barefoot, and treading upon the sharp and flinty rocks of the present and looking out upon the boundless sea of the future. I have sought in my humble way to penetrate the intervening mists and clouds and per chance to see in the distance, a time at which the cruel bondage of my people should somehow end, and the long entombed millions rise from their foul grave of slavery and death. But of that time I can now know nothing, and you can know nothing, and all is uncertain at this point. I walk by faith and not by sight.” That’s Douglass’s beautiful and terrible way of expressing that he’s now told, as an African-American, you have no future in the United States.

Chapter 4. John Brown: His Early Life and Beliefs [00:23:48]
All right, so who was John Brown? That picture — I’m going to show you just a couple of images here. John Brown, of course, has been a fascination for artists, to say the least. I don’t want to take too much time with this. But this is a black and white version now — I don’t know if you can see the rope up here. This is one of the 22 panels in Jacob Lawrence’s magnificent series on John Brown. Jacob Lawrence, a great African-American painter. He painted this in the 1930s. And at least 20 of the 22 images in Lawrence’s incredible series on John Brown, you will find some image of a crucifix, of execution, a hanging. When I was teaching at Amherst College, I don’t know, eight or nine years ago, we had Jacob Lawrence for an Honorary Degree, and I got to spend like two days with him. It was one of the greatest thrills of my life. And the museum at Amherst managed to get the series on John Brown, they had it in a room. And I was asked to do a gallery talk on it. And so I went into the room the day before I was to give this talk, all by myself, nobody in there, and I just communed with these terrible images. Sometimes the images, just sort of crisscrossed bayonets and sometimes crisscrossed rifles, and sometimes it’s literally crosses on the wall in rooms, and sometimes it’s this image, of Brown hanging. And I was overwhelmed by it. And the next day I gave this talk and I talked about these images of crucifixes. What they hadn’t told me is that they were also inviting a busload of Fifth Graders to come to the lecture, and they also hadn’t told me that that morning in the New York Times, in the headline — today this wouldn’t even get headlines — there’d been a bus bombing in Jerusalem and 38 people were slaughtered on a bus by a terrorist bomb. And I was going to talk about John Brown, whether he was a terrorist, and in walked the Fifth Graders. Toughest — one of the toughest audiences I ever had. How do you smooth over John Brown and all those crucifixes with Fifth Graders on a fieldtrip? Don’t even try is the answer. [Laughter]

Another favorite image of mine of John Brown is David Levine’s. David Levine is the artist for the New York Review of Books. This actually comes from 1969. A series of books had come out on John Brown. This is an image that kind of fits John Brown to many people — the gun slinging, kind of wild man. He’s got a red face, probably, big nose, gun belt, bullets all around him, kind of saying, “Don’t mess with me.” But then, of course, there’s Thomas Hovenden’s incredible painting of John Brown, which hangs in the Metropolitan Museum of Art in New York. I don’t have the full version of it. This is the painting that depicts the scene of John Brown leaving his jail cell in Charlestown, Virginia, on the day of his execution, according to the artist with the hangman’s noose already around his neck, before he even rode to the gallows — details. And a black woman comes up with her baby and raises her baby to John Brown and he kisses the child. It’s the “legend of the kiss,” as John Greenleaf Whittier put it in a poem. It didn’t happen, but in art anything can happen. This is the gentle savior John Brown, this is the liberator John Brown, this is the martyr John Brown. There are many, many, many John Browns. And you’re going to start hearing about and seeing a lot more of them next year. [Technical adjustments]

Well, John Brown was born in Connecticut, Torrington to be exact, and just a ways up the road. He was born in 1800. He grew up mostly out in the Western Reserve, as it was called, of Ohio. He witnessed at the age of twelve the beating of a slave boy. There were remnants of slaves still traversing the north in the eighteen-teens. He tried Divinity School for a little while at the age of sixteen, but said he quit because of insufficient funds and because all the reading caused him sore eyes. He experienced a confession of faith in his father’s church, a congregational, old-fashioned Calvinist congregational church, when he was about sixteen. He married first in 1820. His first wife would die on him. He had no less than twenty children by two wives over some thirty years. Nine of those children would die in infancy. From 1820 to 1855 he engaged in approximately twenty different business ventures of one kind and another in six different northern states, virtually all of which ended in failure and poverty for his family; several of which ended in law suits and bankruptcies and one litigation after another; one of which led to debtor’s prison for awhile. He and his family had lived a poverty stricken, rolling stone existence, across the northern states.

Probably what sustained him — and we know a good deal about this — was his religion, his faith, his theology if you want. He was a kind of orthodox nineteenth century Calvinist. He believed in such things as innate depravity, providential design, predestination, on some level, and the total human dependence on a sovereign and arbitrary God, and an arbitrary God that sometimes chose certain individual human beings in history to act for Him. He believed in an Old Testament kind of justice, an eye for an eye and a tooth for a tooth. He punished his children and his employees with Mosaic vengeance. He had a puritanical obsession with the wickedness of other people. He could be domineering, vane, obstinate, as one friend once put it, impervious to a joke. Probably not a lot of fun to just have lunch with. He gave orders, remembered Brown’s younger brother, quote, “like a king against whom there is no rising up.” He was a thorough going non-conformist. He probably never joined any formal anti-slavery organization, although he went to lots of their meetings. He never joined a political party. We’re not even sure if he ever voted.

He was a practitioner of what would become known in these years — certainly by the 1850s — of a kind of higher law doctrine about slavery, an allegiance to God’s will and God’s law above man’s law. To John Brown, put simply, slavery represented an unjustifiable state of war, by one portion of the people against another; and in a state of war you do what’s necessary to defend yourselves. He believed slavery was an evil so entrenched — and he was dead serious about this — so entrenched in America that it required revolutionary ideology and revolutionary means to eradicate it. It had led him — as it has often in history led most proponents of revolutionary violence — that the means can, therefore, justify the end. As God had willed so often in his Old Testament that the wicked must die, so too had he willed that slaveholders and their defenders at least deserved the same fate. John Brown came to believe that violence in a righteous cause was like a rite of purification.

Now, what did he do? In brief, John Brown’s interest in Kansas was intense, after the Kansas-Nebraska Act. He was living then, by then, in upstate New York, up near what is today Lake Placid, in North Elba, which is indeed where he is buried. Five of Brown’s sons went west to Kansas, in late 1854 and early 1855. There was an extraordinary exchange of letters between a couple of those sons, especially Owen Brown and his father back in New York, letters that are saying things like, “Father, you must come out here with us. There are slaveholders living over on such and such creek, within two miles of us Father. Violence is beginning to break out, Father.” And so the father came. And John Brown developed, in Kansas, by late 1855 and into 1856, his own little guerilla band. They had gone to Kansas to fight in Kansas’s Border War.

Now, I mentioned the other day that it was in the spring of 1856, Brown and his men are traveling along a roadway and they get word of the beating of Charles Sumner on the floor of the Senate. I think it was first told to them that Sumner was all but dead, this, to him, great abolitionist senator. And Brown, it appears, went into a frenzy and vowed revenge, and a couple of days later he and four of his sons, or three of his sons, went and did visitations at three houses along Pottawatomie Creek in eastern Kansas, known to be an area settled by slaveholders or pro-slavery people, and they dragged several men from their houses, in front of their wives, and hacked them to death — five men to be exact — hacked them to death with these huge broad swords, and deposited their bodies on the front steps of their cabins. This was the Pottawatomie Creek Massacre. It touched off even greater violence in Bleeding Kansas, throughout that summer, into the fall of 1856. To John Brown, he had kind of tried to even the score because just a few — a couple of weeks before that pro-slavery forces had sacked, attacked and burned the anti-slavery capital of Kansas — Lawrence, Kansas — burned a hotel and killed six people. Brown, by killing five, said he hadn’t quite evened it up.

He spent the summer of 1856 in hiding, into the fall. In October 1856, he left Kansas and went back east to launch what became the Harpers Ferry conspiracy; and in legal terms that’s exactly what it was. He launched a fundraising campaign to finance a new and more daring attempt to take this war, as he put it, into Africa; by that he meant the South. It was his hope of attacking, ultimately, the largest federal arsenal in the United States — which was in Harpers Ferry, Virginia, at the confluence of the Shenandoah and Potomac Rivers, just some thirty, forty miles from Washington, DC — capture that largest federal arsenal with its thousands of rifles and side-arms and barrels of gun powder, and apparently, launch a growing, developing, slave insurrection, down through Virginia. And it was his hope, at least, the best we can understand, to engage in and effect a violent coup d’état and take over the State of Virginia.

Now, to make a long and dramatic story short enough, his fundraising campaign by 1857 fell by the way, in part because of the Panic of 1857. But he visited all over the North. He visited the parlors of many famous abolitionists in New England. He sat in Ralph Waldo Emerson’s study. People hosted dinners for him. He was this fascinating, romantic, somewhat bizarre old man with hair that was whitening, and had been out there in Kansas raising hell. They didn’t all know the details of the Pottawatomie Creek Massacre, and even when they began to hear them they didn’t want to know too much. But Brown was leading a crusade in Kansas to keep Kansas free soil. Brown was doing in Kansas what a lot of these abolitionists back east could not themselves do but they were glad he was doing it; began to raise some money for him. He came down here to Connecticut and he ordered some 1000 spears — he called them pikes — from a forgery, which were ultimately delivered in boxes to a farm near Harpers Ferry, labeled famously Beecher’s Bibles; huge, heavy boxes labeled Bibles. And then he went back west. He established a headquarters in Tabor, Iowa, a town known to be settled by abolitionists from the east, a place where he could begin to recruit men and train them.

Then in early 1858 he spent one full month living in the attic apartment of Frederick Douglass’s home in Rochester, New York. We have only one little letter they exchanged during that time. It says, “John, come down to dinner.Thanks a lot guys. But what we do know, that in that attic of Frederick Douglass’s house, John Brown wrote his so-called Provisional Constitution for the State of Virginia. When he took over Virginia he was going to announce a new Constitution. He, in fact, was going to be The Governor, lest you had any doubt. And then he called a convention in May 1858, in Canada, Chatham, Ontario, to which he invited abolitionists now, black and white, and it was to be a recruiting convention to recruit the men who would become part of his abolitionist army. Now the problem here with John Brown, for everybody who met him — including Douglass, who may have known more about the Harpers Ferry plans than anybody alive — the problem was he was so secretive. He would never tell people the details of what he was doing, who he was actually hiring. Forty-six so-called delegates went to this Chatham Convention; thirteen of them white, the rest of them black. Most of the people attending it were fugitive slaves living in Canada, who had escaped slavery in the United States, many of whom still had family back in the South. Here was a man, in the midst of this political crisis going on in the country — this is in 1858 now — who is saying, “I’m going to lead you back into the South and we’re going to get your families out.

He lacked money. He had hired an unreliable drillmaster, a guy named Hugh Forbes, an English soldier of fortune who’d been off in Italy in the late-40s and early 1850s, kind of soldiering as a soldier of fortune with Garibaldi in the Italian Revolution, but it turns out wasn’t very reliable. He [Brown] got involved with the so-called Secret Six, New England abolitionists — time doesn’t really allow me to tell you everything about them but they were Franklin Sanborn, Thomas Wentworth Higginson, Theodore Parker, Samuel Gridley Howe, George Luther Stearns, Gerrit Smith and others; prominent, powerful, and in one case rich, white, New England and Northern abolitionists who supported him.

Then Brown went back out to Kansas that winter, of ‘58, and in December of ‘58, with a band of about thirteen men, he went across the Kansas border into Missouri, dead of winter. He attacked three farms, or I suppose you could call them small plantations, in Missouri, where he seized eleven slaves, killed one of the owners, and then went back across the border into Kansas and hid out for awhile in the dead of January 1859, along Pottawattamie Creek. And then he engaged in an eighty-two day wintertime trek of over 1000 miles with these eleven freed slaves, from Kansas north into Nebraska, then into Iowa, into Grinnell, Iowa, by the way also settled by New England abolitionists. In Grinnell, Iowa he was given the key to the city by a Mayor. And in Grinnell, where the railroad had reached as far as Grinnell, Iowa, they put them all in a boxcar, a special boxcar, and they rode by train, all the way to Chicago, and then all the way to Detroit. And on the 12th of March, 1859, there was a remarkable scene on the Detroit River as John Brown ushered these eleven freed slaves from Missouri across the river into Canada. But at this point there was a twelfth. A baby had been born in the boxcar and its mother had named him John Brown Daniels. So, lest we think this guy was only a lunatic — this was the real thing, he’d freed some slaves, and he had carted them all across the northern states, in the dead of winter, to their freedom. To the extent he had a messianic image, and a sense of himself as a Moses — actually, his greatest hero was Oliver Cromwell. If you know anything about the English Civil War and the Puritan armies, it makes sense; it was based on something.

Chapter 5. Planning the Raid on Harpers Ferry [00:45:13]
Now, I only have a few minutes. The raid on Harpers Ferry would’ve actually happened a bit earlier, it would’ve happened in the summer of 1859, had he been able to pull everything together and get everybody to gather. And in the end, it is one of those sad and tragic stories that then takes on a much, much larger meaning than anyone could’ve ever predicted. His so-called Provisional Army — that’s what he called it — for his Provisional Constitution for his provisional new Virginia, would ultimately be about twenty-two men. He rented a farm five miles north of Harpers Ferry, in Maryland, where they were all to gather that summer. He wanted Frederick Douglass to join him. He actually had met Harriet Tubman in Canada. He tried to convince Harriet Tubman to join him. He’d heard of her legend. But she was a little too smart for this. She’d done this stuff. She had more experience in freeing slaves and getting them out than anybody, and she apparently said, in effect — “no thanks.” He desperately wanted Douglass to join him, and had he joined them Douglass would’ve been dead in 1859. But Douglass did have a final meeting with John Brown at an old stone quarry outside of Chambersburg, Pennsylvania, in late August of 1859. He went down from New York with a fugitive slave Douglass had helped to his freedom named Shields Green. Here’s Shields — where is he — there he is. Douglass took him along. They met at this old stone quarry and in Douglass’s testimony they had a long conversation. Brown tried one last time to talk Douglass into coming with him, and Douglass, in his recollection, famously said, “I can’t do it. You’re going to be trapped in a” — how does he put it — “you’re going to be surrounded in a trap of steel. You will never get out. But if you must go, go.” And then he said to Shields Green, “Your call, your choice.” Well it turns out Shields Green was a fugitive slave from Virginia. His wife was still in Virginia. He said — according to Douglass — “I think I’ll go with the old man.” And Shields did, and he’ll die at Harpers Ferry.

There were five black men, finally, who joined John Brown’s raid — Osborn Perry Anderson, Dangerfield Newby, Shields Green, John Copeland, Lewis Leary. Two of them were Oberlin College graduates; three of them were former fugitive slaves. Dangerfield Newby had a letter in his pocket from his wife, in Virginia, when he died at Harpers Ferry. The plan, simply put — so far as we know — was to attack Harpers Ferry, take the federal arsenal, and begin, if he could, to escape into the mountains, the Blue Ridge Mountains on either side of Harpers Ferry, to establish mountain hideaways, to try from those hideaways to get slaves to escape into his lines, to arm them, and then to begin, as a guerilla warrior, to selectively attack sites in northern Virginia, moving on Richmond.

Now, I say to the extent we understand it, because he didn’t leave us much to go on in terms of what his actual plan was. What we do know is the raid only lasted forty-eight hours. They never got out of Harpers Ferry. He did free about a dozen slaves in the surrounding countryside, brought them into the old Fire Engine House of the federal arsenal at Harpers Ferry, hid out. And the news sprung across the country like news had never spread in the United States, partly because John Brown’s first major strategic mistake, or tactical mistake, was that the Manakosie Railroad came through Harpers Ferry right as he was entering the town. They stopped the train. The first casualty was a free black watchman on that train who was shot by one of Brown’s men. Then Brown, within two hours, let the train go — dumb. The conductor of the train at the next town wired Washington and said, “One man and 200 men are attacking Harpers Ferry.” By the time it reached Buchanan’s desk in the White House it was 500 men attacking Harpers Ferry. And within twenty-four hours Buchanan ordered a contingent of U.S. Marines under the command of Robert E. Lee and a lieutenant named J.E.B. Stuart to get to Harpers Ferry as fast as possible and crush this slave insurrection, which they did.

Chapter 6. Brown’s Capture and Conclusion [00:50:34]
Now, I’m going to leave you there, in this situation. Brown was captured. All but two or three of his men were killed or captured, and all those captured will be hung. One of his sons, Owen Brown, did manage to escape. What ensued at Harpers Ferry for 24 hours was an absolute pitched battle between the townspeople, local militias, and Brown’s men, and many townspeople were killed. Owen Brown would escape and eventually move as far, far away as he possibly could, and live on a little desert farm up above Pasadena, California, halfway up the San Gabriel Mountains, most of the rest of his life, trying to escape the infamy of his father’s legacy. Brown was captured in the Engine House. They tried to run him through with a sword. They beat him over the head, they bloodied him up but, as the story goes, he was saved by a huge brass belt buckle he had, and they kept stabbing at him and they kept hitting the brass belt buckle. He was captured, put in jail in Charles Town, Virginia, just four miles up the road. And in November 1859 he would get the most famous, sensational trial that the United States had ever seen. I’m going to leave you there because it’s the John Brown hanging and execution and the aftermath that is the most important template of that election year of 1860 soon to come.



River






Esquire, March 1994 v121 n3 p108(10)

River, with love and anger

By Tad Friend

River Phoenix's death has made his friends and family question their knowledge of the actor and has given the public insight into his drug-affected lifestyle. Phoenix's drug usage was spasmodic. Some of his friends are angry over his death, yet others feel he is a martyr.


HEART PHOENIX sat on the edge of the stage and beckoned everyone near. The 50 People in Paramount Studios' screening room gathered around like disciples. A short, tan woman with graying hair, Heart has a saintly way of soothing fears. The mourners needed her now; her son River's memorial service had been wrenching. During their tributes, Christine Lahti, River's mother in Running on Empty, and Iris Burton, River's agent and "second mother," had broken down.

They and others had recalled Phoenix's mercurial abandon, his peculiar combination of heart-stopping innocence and ageless wisdom, his "vegan," or ultravegetarian, beliefs, and, always, the eggshell beauty of his acting. Seeking consolation, they had groped to trace in Phoenix's life a narrative arc, a theme, even a moral.

But River Phoenix had a stubborn case of the vagabond disease that afflicts celebrities: He affected others deeply yet narrowly before moving on. Iris Burton was not the only one present who had privately wondered, in the three weeks since Phoenix's death, whether she had really known him, whether he hadn't been acting a part around her.

Heart spoke, holding Rob Reiner's hand for support. Her hopes for her son had always been on a wholly different plane than most stage mothers'. "We believed we could use the mass media to help change the world," as Heart puts it now, "and that River would be our missionary." She tried to explain that calling to the mourners, saying that she'd sensed from the beginning, as her labor extended to three and a half days, that River didn't want to be in the world. She told how she had awoken two days after his death, understanding for the first time why dawn is called "mourning," and suddenly had a vision of how God had tried to convince River to be born one more time. River told God, "I'd rather stay up here with you." So they bargained, Heart said, smiling. God was persuasive, and River offered to go for five years, and then ten, and finally agreed to visit earth, but only for twenty-three years.

A beatific silence filled the room, vibrating like a sustained bass note. "I was shocked by how many strong, grown-up people River had gotten to in such a deep, emotionally way," says director Alan Moyle. "We were all united," says actor and publicist Mickey Cottrell. "The room seemed almost hallucinatorily beautiful."

Heart then invited others to speak. After a few further testimonials, director John Boorman suddenly blurted out from the corner of the stage: "Is there anybody here who can tell us why River took all those drugs?"

The question quivered in the air. River's young sisters, Liberty and Summer, ran out, and Heart looked astonished.

And then Samantha Mathis, Phoenix's girlfriend and the co-star of his last completed movie, The Thing Called Love, spoke from the front row for the first time. "River was a sensitive," she said with great tenderness, using the word as a noun. "He had so much compassion for everyone and everything that he had a weight on his heart." She paused and added that Phoenix "was obsessive. When he wanted to eat artichokes he would eat ten at a time. He did everything to that degree."

Mathis's was a brave statement, as she had been heartsick with Phoenix for breaking his vows to stay drug-free. But her gloss on Phoenix's life--that he was a Byronic hero, felled by outsize pain and hunger-joined a long line of unifying theories. For instance, that "this innocent little bird got his wings clipped in the most evil city in the world" (Iris Burton); that he was a moody, hard-partying hypocrite who got what he deserved (the National Enquirer, et al.); that an artist had taken the risks of Method acting too far (Peter Bogdanovich).

Each theory is alluring because it provides an answer to the riddle of human motivation, but finally unsatisfying because it seems not quite the answer. "John Boorman's question was a good one," Heart Phoenix says now. "It's what everyone was thinking. Why, when you're living this dream. when you can have any car, any house, any girl, you're so famous--why? Why?' The only understanding I can come to is that River knew the earth was dying and that he was ready to give his passing as a sign."

But River Phoenix's story is not just a passion play; it is also a drama of fierce internal conflict. It was Phoenix's loneliness and anguish, after all, that so felicitously backlit the sadness in the characters he played. And it was that bewitching confusion that later led him to drugs.

"He's already being made into a martyr," says Phoenix's first and longtime love, actress Martha Plimpton. "He's become a metaphor for a fallen angel, a messiah. He wasn't. He was just a boy, a very good-hearted boy who was very fucked-up and had no idea how to implement his good intentions. I don't want to be comforted by his death. I think it's right that I'm angry about it, angry at the people who helped him stay sick, and angry at River."

"Why," asks his mother, Heart, "when you can have any car, any house, any girl, you're so famous--why? Why?"

THE MAIN THING in film acting is something going on in the face," said Gus Van Sant, "and with the really good ones, it's pain." Van Sant was in the basement of his sprawling Tudor house in Portland, Oregon, staring at his darkroom wall. On it hung five photos of River Phoenix in My Own Private Idaho, Van Sant's film about Mike Waters (Phoenix) and Scott Favor (Keanu Reeves), two street hustlers who travel to Idaho and Italy looking for Mike's mother. We've both just heard the coroner's report on Phoenix's bloodstream : cocaine and morphine (metabolized heroin), each in toxic doses, as well as traces of marijuana and Valium. "You don't read it as pain"--Van Sant drew on a Camel and moved closer, scrutinizing River's half-averted face--"but when you really look, it's pain."

Phoenix was never photographed grinning and very rarely smiling: He mistrusted cameras. And yet it was the camera that fixed Phoenix's image as a disillusioned innocent. Milton Nascimento, the Brazilian singer, once flipped on the TV in his New York hotel room and was transfixed by the last half of The Mosquito Coast, in which Phoenix weeps over his maniacal dying father. Nascimento wrote the ballad "River Phoenix (Letter to a Young Actor)" to celebrate that moment.

During Idaho's filming in the fall of 1990, nine cast and crew members, including Phoenix and Keanu Reeves, slept on scattered futons in Van Sant's house. It was a college dorm, a tribe, a family. Van Sant showed me his garage, where a bona fide garage band of Phoenix and Reeves and other Idaho actors, as well as Flea, the Red Hot Chili Peppers' bass player, often jammed late at night.

They played the sweet, off-kilter lyrics Phoenix had written for himself and for his band, Aleka's Attic--"Run to the rescue with love/and peace will follow" or "Hey, lo, where did your halo go?" They played the Beatles and Led Zeppelin, balancing ashtrays on Van Sant's black BMW and drinking wine, smoking marijuana. Sometimes they ended up in tears with Phoenix as he talked about the vanishing rain forests.

Back up the passageway was a gray-carpeted landing where Phoenix played guitar after everyone else had turned in. He liked the alcove's particular echo and played there ecstatically, until his fingertips bled. Music was his true love, what he intended for himself after he'd quit acting.

Phoenix's musical knowledge was encyclopedic, but he had never seen a James Dean film, much less one with Orson Welles. When director Peter Bogdanovich called him about The Thing Called Love, he discovered that Phoenix hadn't heard of him or his movies. Says Van Sant: "River was interested in movies only as they applied to his own character-drawing."

Of his roles, the character Phoenix drew in Idaho resembled him most: "kind of isolated, a nerd, a misfit," as Phoenix's friend Bobby Bukowski puts it. Mike Waters, as written by Van Sant, is a narcoleptic street hustler who sleeps with men to get by. Phoenix completely reimagined a campfire scene with Keanu Reeves so that it becomes the movie's fulcrum: Mike haltingly admits his feelings for Scott and says, "I really want to kiss you, man." "The character I wrote was blase and noncommittal," Van Sant says. "River made him gay and committal; he redeemed him with emotions."

Phoenix, who loved to catalyze and connect, found the low-affect Van Sant a challenge. "River was always doing things like saying, `I just love you,' and lunging to hug me," says Van Sant. "I'd freeze, maybe because my father used to grab my knee in a certain way. River didn't like that, so he'd hug me again, and I'd freeze again, and he'd yell at me."

Hugging Phoenix could be complex. "When he was being aloof I'd impulsively try to trap him in an emotional gesture by hugging him, and he'd flip out of my arms," says Alan Moyle, the script doctor for The Thing Called Love. "Ten minutes later he'd sneak up and hug me from behind. He wanted it to be his spontaneity, and more creative--he'd sidewind you, but you would consider yourself hugged."

Phoenix was into the mechanics of "spiking," or shooting up heroin.

AFTER TALKING with Van Sant, I went with Mike Parker to Portland's Vaseline Alley outside the City, a seedy gay nightclub where boys as young as twelve troll for forty-dollar "dates" from cruising johns. Parker, twenty-three, a friend of Van Sant's who is a former runaway, was Phoenix's main source for :he character of Mike Waters: The two of them often came down here at night to watch pickups.

"River would do what I had told him was a date-grabber," Parker said diffidently, "looking as young and innocent as possible, giving bursts of uncontrollable laughter, doing this"--he scuffed his feet boyishly. "All the marketing tricks."

Parker' s quick, shy eye movements, his graceful hand gestures emerging from head-down repose, were exactly Phoenix's in Idaho. Parker said he felt Phoenix extracting" those moves," but River was really interested in the brotherhood of the kids out here, how we were looking for acceptance and some man to be close to, looking for family. "

Phoenix was also curious about what Parker called "the glamour of men wanting to touch our bodies." While filming his previous movie, Dogfight, Phoenix had received oral sex from another male actor, saying he needed to do it because h, was going to play a gay hustler." He had other brief involvements with men over the years, and it was no big deal to, friends who knew. Phoenix simply didn't censor his afflictions. "If he loved somebody, male or female," says one oF Phoenix's longtime girlfriends, Suzanne Solgot, "he felt he should check it out."

"River dropped clues about his sexuality, but I never really followed them up," says Van Sant, who is gay. Phoenix asked ceaseless questions about Van Sant's relationship with his boyfriend: "What, exactly, do you do in bed? which side do you sleep on? Do you ever tell him to shut up? if you're angry at him, do you still buy him an expensive birthday present?" Van Sant says, "I would laugh because these questions were so personal, and he'd say, What? What?'"

In late 1992, a gay filmmaker (not Van Sant) staying at the Chateau Marmont in Los Angeles heard a knock at midnight and discovered Phoenix outside, drunk and wanting to talk about his struggles with bisexuality. The filmmaker reassured him that it would all work out. Phoenix's friends say that this moment may have been acted, dramatized--he seemed at times to try on complicated emotions, applying the Method to his life. Phoenix realized that these virtual-reality scenes left a confusing trail, and confessed in an interview that by his having "lied and changed stories and contradicted myself ... you could read five different articles and say, This guy is schizophrenic.'"

A self-described chameleon, Phoenix almost recklessly "invited the demons of the role into himself," as Bobby Bukowski puts it. Bukowski was the cinematographer on Dogfight, in which Phoenix played a marine. "After Dogfight I remember thinking he was being a real jarhead asshole--it took a month for him to become sweet again," Bukowski says, "and the street-urchin character in Idaho stayed with him and played into the whole drug thing."

Mike Waters's outlaw glamour left its residue. Idaho marked the real beginning of the struggle in Phoenix's life between his "drug friends" and his "goon," or sober, friends; between his urge to party and his urge to withdraw; between his urge to help the addicted and his urge to help himself

The struggle seemed almost to enact itself on his face. "His eyes made him the focus of energy in every scene, the centrifugal force so strong you didn't even try to duel him for control," says Dermot Mulroney, who later co-starred with Phoenix in Silent Tongue and The Thing Called Love. "The off-center eye [Phoenix's lazy right eye] read as madness, and the other read pure sanity. In a close-up, from one side he was the guy next door, and from the other he was absolutely insane."

Phoenix had long been intrigued by the drug culture in Jacksonville Beach, near his home in Micanopy, Florida. On New Year's Day 1990, he watched a rough cut of Van Sant's previous movie, Drugstore Cowboy, and was fascinated by the mechanics of "spiking," or shooting up. He tried pharmaceutical morphine and heroin soon after, and that fall in Portland smoked heroin several times.

"River started with heroin out of malaise, and because it's a delicious drug, but then the reason changed," says Phoenix's friend Matt Ebert, a former addict and hustler who advised him on his Idaho role. "Heroin makes you reflective, you look inside--and then you face the consequences of looking into the chasm."

"He was always pushing how far he could go," says Van Sant. "He'd go Can I say I feel like jerking off?'"

ONCE WHEN WE WERE fifteen, River and I went out for a fancy dinner in Manhattan," says Martha Plimpton, "and I ordered soft-shell crabs. He left the restaurant and walked around on Park Avenue, crying. I went out and he said,~I love you so much, why?...' He had such pain that I was eating an animal, that he hadn't impressed on me what was right." Her voice slows, becomes ragged. "I loved him for that, for his dramatic desire that we share every belief, that I be with him all the way."

Phoenix's friends often ended up being vegan like him. "He'd say about meat, That's not good for you, man, that'll kill you,'" says Peter Bogdanovich. "And he'd be smoking a cigarette, and he'd look at it and say, ~I know, man, I know.'" Phoenix scorched through people's barriers very fast: He had a gift for making everyone feel like his closest friend. He was a celebrant, "the kind of guy," says his friend Wade Evans, "that if you walked outside and it was snowing, you knew that the first thing on his mind was making a snowball."

He was both reflectively and spontaneously generous, serving himself last at dinners; asking that his Silent Tongue co-star, Sheila Tousey, be given his trailer because she spent so much more time in makeup; jumping to his feet when Kevin Kline beat him for best supporting actor at the 1989 Academy Awards. "I had to stop River from running to hug Kevin," his mother says. "It never crossed his mind that he hadn't won."

His public responses were often that unexpected. "He told me he didn't have a sense of humor until he was mine," says Gus Van Sant, "and that he never really got its logic, the surprise of the unexpected. You know: An elephant and a hippo, go into a bar, something is introduced, punch line. And he'd be like, ~Yeah, so what happened then?'"

Phoenix was the champ of hanging out. Many of his friends were much older, and he would spend days or even weeks with them, writing poetry, drinking wine, making videos, wrestling, playing frisbee (with considerably more enthusiasm than skill), cooking veggies (ditto), scarfing Japanese and Indian food. He couldn't sit still to be bored. "If the news was on when he came over to my house, he'd make a face at the TV and then leave," says Josh Greenbaum, the drummer in Aleka's Attic. Phoenix was always on the phone, making funny little jig movements with his hands and face, singing "Hey, Jude" when he was feeling heady. Jude was his middle name; the Beatles song had arrived in the world, like River, in 1970.

When he was uncomfortable, Phoenix's feverish energy could seem like arrogance. He'd write a song, decide "it's brilliant, brilliant," and refuse to change a word. "He was always pushing how far he could go," says Van Sant, in a comment echoed by others. "He'd go, Can I say I feel like jerking off? Why can't I say that? Why? Why can't I say that?' If you said, ~Not so loud!' he'd think that was a funny reaction, like you were paranoid. He'd get into shouting matches with people, where they were both screaming `You fucking moron!' but he'd end up liking them. He liked people who didn't let him get away with things."

He told some skinheads, "Go ahead, kick my ass, just explain why you're doing it." They were dumbfounded.

Phoenix skepticism of social conventions came from a childhood whose outline has become a singular fable of innocence. The outline: He was born in a log cabin in Madras, Oregon, to John and Arlyn (who later renamed herself Heart), itinerant fruit pickers who named him after the river of life in Herman Hesse's novel Siddhartha. The family joined the Children of God sect, then moved to Venezuela as missionaries in 1975. River and his younger sister, Rain, sang spirituals on the street to raise money, while the family slept in a rat-infested hut on the beach.

They left the church and took a freighter back to Florida in 1977. Inspired by Joaquin, age three, who'd seen men kill fish against the hull during the voyage home, River and Rain, ages seven and five, convinced the rest of the family to adopt the vegan, Garden of Eden ideal of not using animals, even down to not using milk and honey. In 1980 the family drove their Volkswagen bus to Los Angeles, depending on River in particular, but also Rain and Joaquin, known as Leaf, to make it big in entertainment.

The children sang on street comers and amazed casting directors, greeting them with kisses and an airy "Hi, we love you." They had no tarnish of greed or ambition; they shimmered in the sun. When Phoenix first saw a western upon returning from Venezuela, he was convinced that "companies paid people's families money to kill them. I just believed it."

At age eleven, Phoenix was on the TV show Seven Brides for Seven Brothers; at sixteen, he was acclaimed as both an actor and a teen hunk for his role in Stand by Me. In 1987 the Phoenixes returned to Gainesville, and River bought the family a spread in nearby Micanopy, in 1989, as well as a ranch in Costa Rica.

In many respects Phoenix's was a magical childhood--no television, no formal schooling after fifth grade, and unstinting encouragement to care for others and to share his feelings. Consider how Phoenix lost his virginity: At age fifteen, on location for Stand by Me in Oregon, Phoenix was enamored of an eighteen-year-old family friend. They came to Heart and John and asked, "Can we have your good wishes?" River's parents, far from objecting, decorated a tent for the couple. "It was a beautiful experience," says Heart.

Phoenix's tutor, Dirk Drake, recalls some white-power skinheads taunting Phoenix at a party in 1988. "He smiled with an unbelievable innocence," Drake says, "and said, 'If you really want to kick my ass, go ahead, just explain to me why you're doing it.' The skinheads were dumbfounded. One guy stayed to say, `Ah, you wouldn't be worth it.' And River said, We're all worth it, man, we're all worth millions of planets and stars and galaxies and universes.'"

Phoenix was always creating families as he traveled, making new "brothers" and "sisters" and, particularly, "father," like Harrison Ford on The Mosquito Coast. Kevan Michaels, who was "dad to buddy son" with the sixteen-year-old Phoenix on the set of A Night in the Life of Jimmy Reardon remembers calling him a few years later on New Year's Day. "I can't understand why we're talking right now," Phoenix said, almost resentfully. "When you make a film you're a family, but when the film is over so is the family."

The outburst may have been provoked by some of Phoenix's own family difficulties. For his upbringing also contained a deep contradiction: He found himself part Atlas, shouldering the pain of the world, and part Antaeus, receiving strength only from contact with the unpolluted earth.

Says Martha Plimpton, who stayed with the Phoenixes after she and River met while filming The Mosquito Coast in Belize: "I love River's family; they brought him up to believe he was a pure soul who had a message to deliver to the world.

"But in moving around all the time, changing schools, keeping to themselves, and distrusting America," Plimpton continues, "they created this utopian bubble so that River was never socialized--he was never prepared for dealing with crowds and with Hollywood, for the world in which he'd have to deliver that message. And furthermore, when you're fifteen, to have to think of yourself as a prophet is unfair."

"Our kids were so comfortable with everyone, so mature," Heart Phoenix responds. "But as River grew," she admits, "he did become more and more uncomfortable being the poster boy for all good things. He often said he wished he couId just be anonymous. But he never was. When he wasn't a movie star, he was a missionary. There's a beauty in that--the man with the cause, the leader--but there's also a deep, loneliness."

The family had had prophet problems before: They'd actually left the Children of God because its leader, David Brant Berg, began encouraging the women in his flock to seduce potential converts--a tactic known as "flirty fishing"--and proudly referred to them as hookers for Jesus. Berg also advocated incest and sex with toddlers, and mailed circulars with graphic pictures of molestation. The Phoenixes felt betrayed, and River rarely talked about the sect. "They're disgusting," he would say angrily. "They're ruining people's lives."

River also had problems with his father, John Phoenix, a bearded, poetic man who hated cities. Phoenix hugely admired John, wrote songs with him, and before his death was planning to direct a movie about John's abuse-punctuated boyhood, called By Way of Fontana, with Joaquin playing John But John had problems with alcohol. Indeed, drinking ran in John's family.

"River would drink with his dad, so they could relate," says Suzanne Solgot. "But he worried the disease was in his bloodline." Says Martha Plimpton: "We had five million talks about his compulsive personality and his guilt and fear over not being able to save his father.

"His parents saw him as their savior," Plimpton says, and treated him as the father." Eventually, because the family was so generous about sheltering lost souls, up to a dozen people lived near or on the Micanopy property, in a motor home, two travel trailers, and in Phoenix's apartment above his recording studio; River supported them all.

Known to River's self-sufficient friends as "the Klingons" or "the tofu mafia," they worked as gardeners, security guards, secretaries, or simply grocery-unloaders. Many of them were gentle spirits whom Phoenix loved being around. "But in River's mind he was their father," Bobby Bukowski says. "And he had some anger about that."

"River and his father were always having breakthrough conversations where River would tell his father his feelings about alcohol, about their roles," Plimpton says. "But the next day nothing would change. River would then say to me, ~Well, it's not that serious, it's not that bad.'"

Plimpton had begun hearing the same refrain from Phoenix about himself "He really liked getting drunk and high," she says. "But he didn't have a gauge for when to stop. When we split up, a lot of it was that I had learned that screaming, fighting, and begging wasn't going to change him, that he had to change himself, and that he didn't want to yet."

He knew almost everyone his age in the business had smoked, snorted, or shot up--drugs are the mainstream.

PHOENIX TRIED to keep things lighter with his next girlfriend, Suzanne Solgot. When he met her, at a party, he shyly introduced himself as "Rio," and when another woman there said she was sure he was River Phoenix he denied it: "I'm not that guy, I'm nothing like him." "He was very private and mysterious," Solgot says. "We never talked much about our past or who we were, though I was always curious."

When they broke up last january, after three and a half years, it was for a familiar reason. "He didn't want me nagging him." Solgot says, "pointing out the contradiction between his public stands and what he was doing to his body."

Phoenix responded that his body was "a horse." But tormented by his public responsibility, he'd worry aloud, "What would those twelve-year-old girls with a picture of me over their bed think if they knew?" He didn't even want his fans to know he smoked and warned interviewers on that point.) Then he'd get angry that he was "under the microscope" and couldn't just cut loose like a normal young man.

All along he was a shepherd to friends who were really cutting loose. He knew that almost everyone his age in the business had smoked, snorted, or shot up. That drugs, long a sign of rebellion against the mainstream, now arc the mainstream. And that whereas it used to take years for people to kill their pain for good with alcohol, now they can do it instantly and without really trying.

"He had called me twice in the last couple of years to ask me to intervene with friends," says Bob Timmins, a drug counselor for Ringo Starr, Aerosmith, and the Red Hot Chili Peppers, among others. "And he had made it passionately clear that he was committed with his time and money to making sure these people didn't die. In one case he drove [a prominent musician] to a clinic in Arizona."

In June of '91, Phoenix was horrified to hear that a famous young actor he'd worked with had shot so much heroin that his arm had abscessed, halting his film for three days. Phoenix confronted his friend and got him to admit "that it was true, that it had freaked him out, and that he hadn't done any smack since."

Still, by 1991 the evidence that Phoenix had his own problem was there to read. "You'd have to be really dumb or naive not to know he was high when he was," says Bobby Bukowski. "He was so clearly high he was like an alien."

In December 1991, Dirk Drake, who tutored all the Phoenix children, had a screaming match with Phoenix at Flea's house in Los Angeles. Flea was away and River was sharing space with several of Flea's friends, who would become known as River's drug friends. One of them, in a drug-induced jealous rage, had chased Phoenix around the house with a butcher knife.

"I told him I was furious about the glamour those friends attached to skag [heroin]," Drake recalls. "Don't worry," Phoenix said, "I have the fear of God." Drake sarcastically him to become a Baptist preacher. "No, no," Phoenix said--he'd meant his unique sense of religious election. "I want to live to see what the higher power's purpose is for me."

None of the people Phoenix tried to help offered help in return; turn; indeed in an excruciating irony, the Persian Brown heroin that helped kill Phoenix was provided by a friend he'd gotten into rehab. There arc several reasons Phoenix wasn't flagged down: His drug use came in spurts, and he was often clean; even close friends saw him infrequently and had difficulty assessing the problem, particularly as he bounced back well the next day; he had a beguiling trick of preemptively telling friends "a really stupid rumor" about his exploits and assuring them "what those assholes are saying" wasn't true; and he had a magisterial authority that convinced even knowledgeable addicts that he was in control. "He fooled a lot of people and he fooled himself," says Suzanne Solgot. "He was a great actor."

"He'd often be high when he called," says Martha Plimpton. "His language would become totally incoherent."

AS HE GREW AWAY from his family in the last three years of his life, Phoenix's missionary goals began to change. He never swerved from veganism, nonviolence, and universal love, and he still gave to Earth Save, Earth Trust, People for the Ethical Treatment of Animals, Greenpeace, and Farm Animals Institute, among others. But he'd started his own private projects: He was going to build a school in Costa Rica, and was larkishly happy working on a (still-secret) nationwide education project for middle and high schoolers,

"River realized that his family's ideas had been a little simplistic," says one close friend. "The idea that when he bought up rain forest in Costa Rica he was preventing Third World people from making a living there left him confused and unhappy."

Some of Phoenix's core precepts began to undergo a little reexamination. A director recalls, "He'd say to me, How about we do this movie where my brother and I and this gooner here'--some strange and interesting person River had taken under his wing for a few days--~travel across the country killing people--no, no, first we fuck them, and then we murder them.' He was kidding, but he was also wondering how to get people's attention and blow their minds."

Making movies had become more of a chore, and it's noteworthy that aside from james Wright, his seductively moody country singer in The Thing Called Love, Phoenix's last films don't amount to much. The brute capitalism of the business depressed him: While filming Sneakers in 1991, a movie he advised friends not to see, he grumpily told a friend, "I want to make $1 million on my next picture, $2 million on the one after that, and $3 million on the one after that." (He did, in fact, earn $1.5 million for The Thing.)

"He was very disappointed that his music never hit," says Dirk Drake. "In the late '80s he had always felt it was just a matter of days before the world would be healing itself with his beautiful music, before he was touching everyone the way the Beatles did."

Phoenix's sweet, breathless phone voice began to drag. "His language had become at times totally incoherent," says Martha Plimpton, "He'd often be high when he called, and I'd listen for twenty minutes to his jumbled, made-up words, his own logic, and not know what the fuck he was talking about. He'd say, You're just not listening carefully enough.'"

Phoenix's drug use wasn't ruining his acting, but one producer who weighed working with him in 1992 decided he was "largely unreliable." And there were two days filming The Thing in Nashville that fall when, director Peter Bogdanovich says, "the feeling was that he'd taken something. I wasn't sure he could drive the truck [as required for the scene]."

Phoenix was insulted and told Bogdanovich, "This is bullshit. I had half a beer and a cold pill." Some of the rumors about Phoenix's behavior on that set are attributable to his lazy eye: When he flutter-blinked to center his iris, he looked under the influence. That said, he sometimes was.

Flea, who was himself in recovery (and who was not a drug friend), spoke to Phoenix that Christmas, and so did Bobby Bukowski. After Phoenix came over one morning, still blasted on heroin and cocaine, Bukowski waited until Phoenix had taken a nap and eaten one of the garlic-and-raw-veggies-and-serial-glasses-of-water meals he used to cleanse his system and then gently confronted him.

"I'd rather you just point a gun at your head and pull the trigger," Bukowski said. "I want to see you become an old man, so we can be old friends together."

Phoenix wept and wept. "That's the end of the drugs," he promised. "I don't want to go down to the place that's so dark it'll annihilate me."

For several months afterward Phoenix would sometimes all Bukowski for support when he felt the urge to get high. But in January Heart noticed that he'd become distant: almost surly. Phoenix had striven mightily to keep his drug use from her, and he largely succeeded. But this time she realized "a substance might be involved" and asked River. He denied it.

Heart and John repeatedly urged River to take a long vacation in Costa Rica, but he continued to shun the demands; of solitude. Yet he was troubled by intimations of mortality. Early last year he had a recurrent daydream that spirits were coming for him, and he feared the fateful numerology of turning twenty-three on the twenty-third of August. When a friend saw him in a heroin stupor that spring and said, "River, you're going to kill yourself," Phoenix just looked at him, the friend says, "like ~Yeah, so?'"

Last fall Phoenix filmed Dark Blood in an area in Utah reputed to be a magnet for alien visitations, which fascinated him (his latest karmic catchphrase was "Thanks be to UFO Godmother"). He told friends he'd been levitated over his bed, and he would sometimes lie on his patio and shout to the heavens, "Take me, I'm ready! What else is out there?"

But Phoenix was clean and focused in Utah, as he had been that summer. He was in love with Samantha Mathis, whom he'd puppyishly pursued during The Thing Called Love, telling, friends "his head was going to pop off if he didn't get to hold her hand." And he had finally started sifting through his anger, spelunking into his own fault lines. His friends agree that he was strong enough to reemerge; that he was not ineluctably lost, like Jim Morrison or John Belushi. But for the accident of October 31, Phoenix would probably have made it through.

But back in Los Angeles for three days in late October, depressed by the pain of his role as a lonely desert dweller in Dark Blood and by continual on-set fighting, he began with drugs again. He'd always hated Los Angeles. Previously he'd been a public, celebratory user; now he used privately at the Hotel Nikko. Rain and Joaquin had flown out to Los Angeles that final day because Joaquin had an audition for the role of River's brother in Safe Passage. River was excited about the chance to play, at last, a normal young man, who heals his father's blindness. But Rain and Joaquin also sensed that River felt very alone.

ln his last two movies Phoenix had darkened his hair to look older, and it's poignant that River, fed up with his pretty, face, went unrecognized by Johnny Depp that night at Depp's club, the Viper Room. Phoenix looked thin and strung-out in black jeans and Converse sneakers; he looked, finally, anonymous. It was a terrible death, of course--the stricken 911 call from Joaquin; River's eight-minute seizure, his head jerking and his knuckles banging the sidewalk--and yet it was a mistake of youth. He seemed such an old soul it was easy to forget he was only twenty-three.

In Utah, Phoenix would lie on his patio and shout to the heavens, "Take me, I'm ready! What else is out there?"

A FEW NIGHTS after Phoenix died, his family and several close friends like Bukowski and Solgot sat around the table in Micanopy, drinking Gentleman Jack whiskey, John's favorite brand, and remembering River. They got in an uproar of laughter, and a tumbler that came with the whiskey abruptly shattered. Later, when Solgot was at the sink, three more of the tumblers broke simultaneously in the dish rack. "River's a joker," she says.

In two separate memorial services, both held outside on still days, when everyone joined hands to think of Phoenix, the wind suddenly whipped up. He has often been in his friends' dreams, assuring them he is fine, though he seems quiet and sometimes melancholy. "I am still connected to his energy," Heart Phoenix says. "When the wind blows I see River, when the sun shines I see River, when I look in someone's eyes and make a connection I see River. To have death transformed into another way to look at life is his huge gift."

But for others the question of how to remember lingers. In London, Dermot Mulroney ran in to one of River's drug friends, a screenwriter, and slammed him against a wall. "This is how I feel about River's death," Mulroney said. "How do you feel?" The friend said he was clean--now.

Certain scenes of Phoenix's movies are freshly piercing: when Phoenix stops clowning and admits in Little Nikita that "whenever people tell me to be myself I don't know what to do ... I don't know what myself is"; when he gleefully snorts cocaine in Idaho when Keanu Reeves reflects on their three years hustling and says, "What I'm getting at, Mike, is that we're still alive." And in the just-released Silent Tongue, the sequence when the spirit of Phoenix's dead Kiowa Indian wife goads him to commit suicide. In rehearsal, director Sam Shepard roped Phoenix and Sheila Tousey with twine to cement the inescapability of their joint doom, and they play the scene hauntingly; when Phoenix maneuvers the mouth of the rifle under his chin, it's almost impossible to watch. But our wince would not be what Phoenix desired as his legacy.

Nor would he have wanted the other extreme. When 250 people gathered for the family's memorial service under a huge live oak tree at the base of the Phoenix property, the tenor of many of the remarks from the Klingons was, as Suzanne Solgot puts it, "River's in heaven, blah blah blah, it was his time, blah blah blah." "You would have thought he was ninety and had died in his sleep," says Martha Plimpton. "The people who were saying this felt tremendous guilt that they had contributed to his death."

After hearing yet another speaker say, "River needed to go, and he's free now," Bradley Gregg, who'd played Phoenix's elder brother in Stand by Me and who became like an actual brother to him, leaped to his feet and shouted, "River didn't have to die to be free!" Not everyone heard, so he shouted again, "River didn't have to die to be free!" Gregg's wife, Dawn, added a clarion, "Wake up, wake up!" her tears soaking the baby she held in her arms.