We have created a Substack for Frank’s writings and poems:


We plan to add a new post each week, mid-week.

Here is an excerpt from The Combine Plot that seems particularly relevant today:

I took the word “combine” from the novel One Flew Over the Cuckoo’s Nest by Ken Kesey. In the book, the combine is a fear machine network which secretly installed pacemakers of fear, doubt, and mistrust in almost everyone in childhood. This made people much easier to control. It isolates people into cells padded with fear and doubt, making the people part of the combine. There are some misfits whom the combine missed with its fear pacemakers. In others, the fear pacemakers blow their fuses. These people without the fear pacemakers are very dangerous to the combine because if they are not checked, destroyed, discredited, isolated, or enfolded into the combine, they can show others how to blow out their own fear pacemakers, can show others how to be free humans linked to other free humans. The combine rarely has to directly destroy the misfits itself. Just direct eliminations would reveal the existence of the combine. So such direct eliminations are kept to the minimum. The real tool of the combine is a vague sense of uncomfortableness, of inferiority, and of mistrust within the victims of the combine. The setting of the novel is a mental ward in which most of the patients are self‑committed. They believe themselves weak, unable to cope with the outside world. They believe the fear comes from themselves, not from the pacemakers. They just have to start believing in themselves, and they could pull out the pacemakers and walk out of the hospital. But every time they reach this threshold of freedom, the combine, by clever remote manipulation, turns up the vague uncomfortableness and mistrust. The victims themselves do the destroying of the misfit either in themselves or that con man pied piper who laughs at their fears and limits, who shows them the way to freedom. It is the victims who do most of the censoring.


There is a martial arts principle that when you are attacked, that is the point that you have most force potential. This is because you can combine the opposing force with your own, and reshape this new, more powerful force into your advantage. Helms has given us an opening to create a greater freedom. I refuse to defend my work from charges of obscenity. There is no such thing as sexual obscenity. It is an undefinable concept invented to limit freedom and to promote the established moral order. If I protest that my work is not obscene, I would be admitting the valid existence of sexual obscenity. There is nothing wrong with using sex, nudity, and all the bodily functions as art. It is time to do away with the legal concept of sexual obscenity once and for all…and for good. Dana and Jesse are just giving us artists an opening to accomplish this.

But sex is just the top layer of this attack. Sex is what Communism was in the McCarthy Era. In the ’50s, people thought those who were blacklisted for being Communists or fellow travelers somehow deserved to be blacklisted, were asking to be blacklisted by going too far. People thought it was O.K. to sign the loyalty oath, O.K. to not hire the blacklisted, O.K. to play along with the corrupt system…O.K. because they were not and never had been Reds.

But what they did not understand was that the real focus was not Communism, but controlling power. The same is true today.