Everywhere El Guerrillero Heroico

I didn't buy the T-shirt, but that doesn't mean the iconic image of Ernesto "Che" Guevara wasn't before my eyes everywhere I went the past 10 days. Che has become the definitive symbol of rebellion, a legendary leader of revolution, and in this widely reproduced image a 20th c. pop culture icon.

At the right is the popularized cropped version of Guerrillero Heroico, as the photograph taken by Cuban State Photographer Alberto Korda during a speech by Castro at the funeral for the victims of the La Coubre explosion in Havana, Cuba. It was taken on March 5, 1960 and Korda willingly shared the image when anybody he could- gratis- in order to share the ideals of Che. Korda has said that when he shot the picture he was drawn to Guevara's expression of "absolute implacability" as well as anger and pain.


Slogans, such as "Hasta la victoria sempre" and "una de las mas nobles formas de servir a la Patria es consagrarse al trabajo," appear next to the image, restating his ideals and beliefs in the revolution. By the end of the 1960s, mass produced posters and lithographs and the adoption of the image by Pop artists, turned the image of the charismatic and controversial leader into a cultural icon around the world. His death in Bolivia in 1967 elevated his status to that of a martyr, and his popularity in Cuba, where his family still resides, remains as high as ever. This image of him was first seen in Cuba at his funeral, and since proliferated there as it has in the rest of the world.

Self Inconization: Lord Byron and Oscar Wilde

Before MTV and Hollywood, there were superstars, rebel bad boys who captured the world's attention. Lord Byron and Oscar Wilde created themselves as symbols for their generations with no help from the Internet, TV, or movies. They self-consciously created themselves before more familiar figures like Andy Warhol were born.

Wilde is a patron saint of this blog not simply because he was an clever writer and interesting literary critic. He created a view of aesthetics that determined his life down to the boutonniere, and he did it so brilliantly that turn-of-the-century Britain and Europe watched, scandalized and delighted. His society plays inverted social mores, but so cleverly it was hard to realize it had happened. And they lionized him, this pudgy aesthete from Ireland, of all barbaric lands. Love, that Achilles heel of us all, is what brought his ascendancy to a crashing halt, when his lover Bosie got him involved in an infamous trial of homo sexuality, which did not go well, leading to his ruin, imprisonment and penniless death in exile on the continent. But prior to this low, Wilde achieved heights of fame that were improbable considering his origins, and lived out his convictions regarding art and life that were 'moral' in the highest degree. He champions artifice in The Decay of Lying, saying "Life imitates Art far more than Art imitates Life" and in he indeed wrote what he became to the public, as his plays were used as evidence against in his trial. He considers "Lying, the telling of beautiful untrue things, is the proper aim of Art."


Paradoxically my other patron saint, Byron, held quite the opposite view. (Now--I know what you are thinking: these two dandies on the British 19th c. scene were both sensational and scandalous public figures and writers who, despite all their endeavors, dies rather unheroically in exile and out of favor. Their ascents to greatness were similarly unpredictable from their humble origins, and displayed a remarkable degree of ingenuity and ambition. And yes, of course, that even as they wrote within the Romantic and Decadent movements, scholars now consider their work to make stylistic leaps that distinguish them from those circles. One might also say they had extreme temperaments and the ability to behave with extreme selfishness. These bad boys were the ultimate rebels for their times.) Byron, living 80 years before Wilde, thought writing was secondary to living, "The great object in life is Sensation—to feel that we exist, even though in pain." Life was a much higher thing, and "scribbling," as he called his work was merely a side item to living.

Art into life, or life into art: it amounts to the same thing. Wilde struggled for impersonal objectivity, and does not mention himself. However, he lived his life as art, so that in his writing he, rather than any imaginary characters, is what the reader sees. Byron said that "To withdraw myself from myself has ever been my sole, my entire, my sincere motive in scribbling at all." By the time he wrote his masterpiece Don Juan, he had taken life--his life as narrator--and injected it into his poem at every possible opportunity. The almost megalomaniac way the put themselves consistently in their audience's face is how they achieved super stardom.

The confluence of life and art brings the reader back to the same thing: the author. The author always dominates the work, and his legacy haunts his every word, as each of them very carefully like to manipulate. It is a fascinating thing to watch. A parallel to such success would be Warhol, another self-made icon.