Argo Cycle 5: War and New Orleans

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IV. World War II Era & Immediate Aftermath

(Approx. 1941 - Early 1946)

This section covers the period when the central male characters, the "Dirty Five," are drawn into World War II, detailing their shared (and separate) experiences primarily in the Pacific Theater, key events that shape their relationships and future trajectories, and their eventual discharge, which sets the stage for their post-war convergence. Archipelago is the primary source for this period.

A. Military Enlistment

Henry Salvatore: Joins the US Army on his 21st birthday, December 8, 1941 [A:122, A:124].
Hans Schultz: Enlists in the US Army in the Spring of either 1941 or 1942 [A:241].
Casey Szymansky: Joins the US Army in April 1942. Hillary Hilton, Mary Jean's husband, prompts his enlistment [A:169].
Vincent Stranahan & Finnegan (John Solli): Both also serve in the US Army. Together with Henry, Hans, and Casey, they form the core unit known colloquially as the "Dirty Five" [A:passim]. They serve together in the same battery [A:71].

B. Pacific Theater Service:

Early Service (Location Unspecified): The Dirty Five serve together. Henry is already known as the "Fat Frenchman," noted for his size and strength, and feared for his temper ("mean, even for a Cajun") [A:38, A:124]. Casey is noted as less physically imposing but intellectually sharp, already developing his worldview [A:169]. Finnegan begins exhibiting more of his unusual Teras traits, including his "other blood" and changeling nature [A:39, passim]. Vincent is the handsome, somewhat conventional Irish member [A:5]. Hans is the strong, knowledgeable "Orpheus" figure [A:38].
New Guinea (Black Papua Campaign): The Dirty Five (including Henry) serve together in this intensely atmospheric and metaphysically charged locale [A:36-38]. They experience a unique environment, described via the metaphor of the Papuan subconscious as the "Well of the World," where external reality mirrors internal states [A:36-37]. Henry, acting as mail reader, reads letters revealing ties and foreshadowing conflicts [A:38]. Casey receives Duffey's warning letter about Stein, identified in the letter with Hugo Stone [A:39–40]. Their close "mystic society" bond is evident amidst the spook-filled landscape [A:38]. They use improvised technology (gasoline-filled beer bottle lanterns) [A:39]. The narrative identifies the five with their mythological counterparts (Iason, Orpheus, Peleus, Meleager, Euphemus) and affirms their earlier lives [A:38–39]. Henry refuses the furlough, preferring the safety of the jungle [A:38].
Sydney Furlough (February 1943; sent back February 18):

Travel: Four of the Dirty Five (Finnegan, Vincent, Hans, Casey – Henry refused [A:38]) travel to Sydney.
Arrival & Socializing: Finnegan (John Solli) and Vincent begin drinking early, establishing the cycle's connection between camaraderie and prodigious consumption [A:1]. They meet Australian stewardesses Loy Larkin and Margaret Murphy [A:2]. They visit the Plaza complex, a hub of bars and clubs [A:3]. Hans is summoned [A:3]. Margie phones Marie Monaghan, who joins the group [A:3].
Activities: The expanded group attends the Ranwick racetrack and watches the horses running backward (clockwise) [A:3]. They meet friendly Aussie soldiers Tom Shire and Freddy Castle [A:4]. They drink, bet, and compare cultures [A:4]. A dinner conversation highlights customs (eating utensils [A:4-5]) and introduces vivid character descriptions [A:5-6]. Hans begins his significant relationship with Marie Monaghan [A:7]. Hans and Marie encounter Salvation Sally, a key figure representing fervent, perhaps ecstatic, faith [A:8-9].
Canteen Crash: Finn/Vincent, abetted by Tom/Freddy, attempt to crash the soldiers' wet canteen using disguises (winter tunics in summer heat) [A:10-12]. They undertake a hazardous physical journey ("hazard course," "clumsily over the back fences") [A:12]. They initially get past Sgt. Joe Bushmaster [A:11-12], but Finnegan is coerced into signing a document denigrating Americans [A:13]. They drink potent Imperial Quarts [A:14]. Bushmaster recognizes the disguise [A:14] and challenges Hans, the established champion drinker of the group [A:15–18], to a formal beer-drinking contest [A:14-15].
Contest: The Hans vs. Joe Bushmaster beer-drinking match occurs at the Harbor House [A:15, A:19]. Casey Szymansky [A:18] and reporter Jimmy Hansen [A:18] are present among the social scene. Sgt. Absalom Stein arrives [A:19], introduces himself as Master of Ceremonies using his Special Services background [A:19], and enforces Dominion Rules [A:15, A:19-22]. Marie Monaghan attends as Hans's supporter [A:19]. Hans trains unconventionally (mixing drinks) [A:17-18]. The contest proceeds with detailed descriptions of pacing, rules (spillage, judge observation), and crowd reactions [A:20-22]. Hans wins decisively after Bushmaster falters [A:23]. The event solidifies Hans's heroic status within this context.
Marriage: Hans and Marie Monaghan marry secretly (due to lack of army permission) on Monday, February 15th, 1943 [A:31], at the Annunciation Church, Sydney, with only Marie's relatives present [A:31]. They honeymoon briefly on an uncle's farm [A:31].

Departure: The group (Hans, Finnegan, Vincent, Casey) reports back to the Troop Movement Office on Thursday, February 18th, and are sent back to New Guinea [A:31]. Finnegan either writes or comes into possession of his “Antipodal Ode of Finnegan to Loy Larkin” [A:32], reflecting on the transient nature of their experiences.

Return to Pacific / Later Service:

The four are reunited with Henry Salvatore [A:38].

The group relocates from New Guinea to a Dutch Island base further west [A:49-50].

Demotions & Trouble: Casey runs afoul of "officialdom," spends four weeks in the stockade, and loses his sergeant rank. He must attend Stein's "Reaffirmation of American Values" class [A:50].

Hans is also reduced in rank for marrying without permission [A:50].

Stein's Activities & Influence: Stein becomes prominent, giving ideologically suspect lectures and running the "Anopheles Network" radio station [A:46-47]. Casey writes squibs for the station, maintaining contact despite his animosity [A:46]. During Q&A periods, Casey actively questions Stein's doctrines, leading to direct conflict and a formal confrontation with Colonel Laycheck and Majors Meyerhofer, Twicherby, and Terwilliger [A:47]. Casey faces threats of charges and imprisonment ("ten years") but receives only a partial education in the power dynamics at play [A:47].

The "Tania" Incident: Stein becomes infatuated with “Tania,” a persona adopted by Tommy Trouncer, a tow-headed Aussie lance corporal with vocal mimicry skills [A:51]. Aussies who want Trouncer in a show Stein controls present him as a "sheila" [A:51]. Casey, the Dirty Five, and Aussie co-conspirators devise a scheme to discredit Stein and his superiors (Laycheck, Majors) by exploiting Stein's delusion [A:52]. During a supposed romantic meeting between "Tania" and Stein, the volatile Tommy Trouncer physically attacks Stein [A:53]. Despite being battered, Stein remains convinced of "Tania's" reality and divine nature, escalating the matter by attempting to bring charges against the "brigadier" supposedly involved [A:53–54]. This accusation, directed at the power structure, triggers a "seismic tremor" involving mock-serious counter-accusations and investigations [A:54]. As a result, Stein, Laycheck, and the Majors lose influence ("pale star of Stein fell," "little red stars... sank," "Colonel Laycheck fell like lightning") [A:54]. Later, Hans reveals that Stein had recognized the deception all along and orchestrated the events to play the buffoon and manipulate the situation himself [A:55]. This adds layers of irony and raises questions about the incident's true victor.

C. Discharge (Late 1945 / Early 1946):

As the men prepare to leave for home, Finnegan undergoes his episode of name-loss ("I forgot my name"), disorientation, and evaluation in Ward Fourteen of a military hospital. The episode suggests the profound psychological and possibly metaphysical impact of his wartime experiences and inherent nature [A:71–74, A:88].

Finnegan's Ward 14 Interlude: While waiting to leave for home, Finnegan experiences profound amnesia, losing his name and sense of identity [A:71-74]. Detained in a military hospital (Ward 14), possibly a psychiatric ward [A:71, 75]. Interacts with archetypal figures: Private Gregory (the self-described undying soldier) [A:77-79, A:82, 85]; Howell (logorrhea, cataloger of conversation topics) [A:75–76, A:82–83]; Green (claims to be God, demonstrates conditional power) [A:76]; Ignatius Ti (ward boy, storyteller) [A:79, A:85-87]; Amoy the Parakeet (tells elaborate life story via Ti) [A:79-81]. Experiences a significant daydream involving meeting Moira Monroney, Rosemary Riorden, and Minnie McGinty in Sydney's Plaza Hotel, connecting back to the furlough [A:88-90]. The episode closes with his recovery and departure for home two and a half weeks later [A:90].

V. Post-War New Orleans & The Pelican Press Era

(Approx. 1946 onwards, non-linear elements present)

This period covers the re-gathering of many key characters after WWII, the establishment of their New Orleans base at the Pelican Press, the founding of their influential (if chaotic) publications, and the deepening and complexification of the central conflicts and mysteries involving time, reality, creation, and the nature of good and evil. While broadly anchored around 1946, this era includes significant non-linear elements and subjective experiences of time.

A. The Move to New Orleans (Immediately following May 1946 St. Louis wedding):

Convergence: Following the wedding of Vincent Stranahan and Theresa Piccone in St. Louis (last Saturday of May, 1946) [A:95 provides context and timing, M:184 ties to Devil release date], a core group drives south: Melchisedech Duffey, Finnegan (John Solli), Henry Salvatore, Dotty Yekouris, and Mary Virginia Schaeffer travel together in Mary Virginia's Ford [A:114]. This marks the intentional formation of the New Orleans-based fellowship.
Initial Base: The group checks into the Jung Hotel upon arrival in New Orleans [A:115]. This serves as a temporary base while they seek a permanent location.
Exploration & Tasking: Finnegan and Dotty immediately begin exploring the French Quarter, immersing themselves in the city's atmosphere (evading "foamier and noisier shoals" of jazz Finnegan hated) [A:115]. Henry Salvatore departs almost immediately for Morgan City with Mary Virginia, assigning Dotty (and likely Duffey) the task of finding a suitable location for their planned enterprise (the Pelican Press) before his intended return within a week [A:115].

B. Establishment of the Pelican Press & Associated Ventures:

Location: Dotty Yekouris, using her knowledge as a printer's daughter [A:95, A:116], secures a cluttered, shop-like building in the French Quarter [A:116; M:490]. This building becomes the physical and spiritual center for the Pelican Press and its associated activities, including back rooms converted into living quarters [A:116]. It at first needs considerable work [M:190]. Zabotski owns the building [M:190].
Funding/Resources: Finnegan provides the initial funding ($300) to Dotty [A:116]. Dotty estimates that they will need $30,000 before asking Finnegan for the first $300 [A:116]. Duffey has access to considerable, if perhaps fluctuating, personal funds (his ability to lose the 'golden touch' without immediate ruin suggests prior accumulation [M:109]). The group initially considers unconventional means ("steal a print shop" [A:115]), highlighting their resourcefulness and perhaps anti-establishment stance. Resources also flow from the press's job-printing work [A:118].
Duffey's Enterprises: Duffey integrates his own businesses into the Pelican Press ecosystem: the 'Walk-In Art Bijou' (art gallery), a second-hand bookstore, and a pawn shop operate within or adjacent to the main building [A:143; M:190]. He continues his established role as an art dealer and expert, marketing works by local artists (Studios and Pirates' Alley painters [A:143]) and possessing significant pieces (like the Finnegan painting, The Resurrection of Count Finnegan) [M:367]. He keeps valuable art and cash in a heavy walk-in safe [A:143].
The Crock Soup Kitchen ('Cannibal Duffey's Irish Restaurant'): A major, symbolic undertaking initiated by Duffey. He acquires a huge, 1000-gallon glass-lined crock from Zabotski [A:132–133]. Setting up gas burners beneath it (after Dotty pays the water and gas bills [A:133]), he establishes a perpetual soup kitchen intended to feed the poor forever, blessed by a priest from St. Katherine's [A:133]. The initial hundred bushels of barley are bought after Duffey collects fifteen dollars from the group, forty-five from Zabotski, and forty by begging [A:133]. The stew evolves with varied ingredients: rough fish (markets/fishermen), donated seasonal produce from Henry's Cajun cousins (via intercoastal canal boatmen), weekly beer kegs from Regal brewery, honey from Finnegan/Dotty's bee tree raid (70 lbs), and occasional exotic meats (horse, cow, alligator – sourced opportunistically, X provided the horse [A:134]). Salt and onions were begged/given [A:134]. Zabotski becomes a paying customer ($1/bowl) [A:134]. Dotty assists by ringing a little kettle bell for contributions [A:133]. The kitchen serves hundreds, eventually thousands, daily [A:134; M:197]. It gains notoriety, jokingly dubbed "Cannibal Duffey's Irish Restaurant" after med students claim to fish human bones from it (likely a prank they instigated themselves) [M:197]. The ever-simmering pot becomes a symbol of the group's ambition, chaotic charity, connection to the city's undercurrents, and Duffey's prayer for more poor people [A:133]. The narrator says it has been boiling for at least a quarter century [A:133]. This perpetually simmering pot, a project grounded in the practicalities of acquiring barley, begging for salt, paying gas bills [A:133], and dealing with bizarre ingredients sourced from Henry's Cajun cousins or opportunistic interventions by figures like X [A:134], becomes a symbol of the group's work. Lafferty typically juxtaposes the mundane (a soup kitchen) with the cosmic (Duffey's prayer for more poor people 'for the salvation of the world!' [A:133]), anchoring their grand philosophical struggles in messy reality.

C. Core Personnel & Activities:

Duffey: Although eclipsed by Finnegan in the first two parts of the Argo trilogy, Duffey is here the central figure, serving as Magus, intellectual challenger, and practical leader. He stays late in the print shop with Finnegan [A:117]. He regularly discusses theology and philosophy, including Holy Poverty [A:148] and the contrast between Jazz and Salvation [A:117]. His magical abilities persist, though they may shift or develop over time [M:passim]. He is affected by or becomes the focus of the “Great Day” upheaval [M:481–501]. His intricate background, which includes several childhoods [M:6–7], the Seven Lost Years [M:69], and his position as the 'creator' of the Animated Marvels [M:5], deeply shapes both the group’s internal relations and the direction of the story. He hosts meetings and maintains an extensive network [A:passim]. He contributes learned writing to Investigator and Bark [A:143].
Dotty Yekouris: The key organizer, journalist, and driving force of The Bark [A:143]. Possesses deep knowledge of the print trade [A:95, A:119]. Her relationship with Finnegan is a central unresolved element [A:95, A:106]. Described with a complex mix of superlatives (beautiful, strong, possibly ironic) [M:178, M:213]. Pragmatic and demanding, she insists on focusing on the core mission of "restoring the world" [A:142]. Her eventual departure to Cuba to find Finnegan leaves a void and marks a turning point [M:237–238; A:277]. Initiates the print shop venture, demands money from Finnegan [A:116]. Writes letters to Marie detailing events like Sally's arrival [A:147].
Mary Virginia Schaeffer: Leaves her family's trucking business (Red Dog Motor Freight) [A:124, A:143] to join Dotty in New Orleans [A:143]. Becomes integral to The Bark and the group's activities [A:143]. Dotty nicknames her the "Saccharine Kid"; she embodies "dangerous sweetness and ease" [A:143, M:214]. Carries a symbolic "flame" but remains deeply practical. Remains devoted to Henry Salvatore, to whom she had been betrothed before he gave her up for God [A:265; M:214]. Represents kindness and perhaps a more grounded connection amidst the group's eccentricities. She participates in the initial drive to NOLA [A:114] and drives Henry to Morgan City [A:115]. Later writes to Henry expressing concern about his path [A:265].
Absalom Stein: Joins the group in New Orleans [A:120]. Functions as a publisher ('Absalom Stein, Publisher' placard on desk) [A:120] and primary intellectual debater, sparring with Duffey [A:131–132]. Writes for both The Bark and The Investigator [A:143]. Develops the significant "Diminishing Theory" of the Duffeys/Groups, explaining the nature of talismanic creation and devolution [M:121]. Dotty says they all share in Finnegan’s Teras nature [M:189]. Identifies as a "neo-Jew" [A:131], sparking debate with Duffey [A:131–132]. Possesses vast, possibly conspiratorial, knowledge but his reliability is sometimes questioned. Undergoes a transformation, becoming "grand and splendid" but losing touch [M:241]. Represents complex intellectuality, historical consciousness, and perhaps a bridge to esoteric knowledge. His arrival prompts Finnegan's departure [A:120-122].
Finnegan: Remains physically peripheral but thematically central. Works sporadically on the docks [A:116]. His artistic talent is recognized (carves cigar store Indians [A:183], paints in his "Yellow Period" [M:190–191]). Struggles with his dual Teras/human nature and multiple, conflicting life streams [A:55-56, M:186]. His relationship with Dotty is foundational [A:116]. He is a key 'creation' and subject of Duffey's concern. His voyages periodically intersect the New Orleans setting, bringing external conflicts and perspectives [A:145]. His eventual departure signifies a fragmentation of the core group [A:122]. Provides initial funds [A:116]. Works with Duffey in print shop [A:117]. Debates jazz with Duffey [A:117-118]. Designs Bark masthead [A:121]. Writes letters to Showboat, Casey, Dotty, Mr. X [A:145-146, A:263-264]. Involved in honey raid [A:134].
Margaret Stone: Arrives from Chicago [A:143]. Brings intense, fervent street-preaching (Real Presence doctrine, urgency of salvation, Pentecostal urgency) [A:144 details her street preaching style and theology]. Challenges the group's perceived complacency and intellectualism with raw faith and action [A:144]. Challenges Stein’s religious position [A:132]. Helps dismantle the Pelican Press walls during the “Great Day” reality disruption, killing a child when she pushes one down [M:491, M:493]. Represents passionate, perhaps extreme, faith and the potential for martyrdom.
Salvation Sally: Arrives from Australia, sent by Marie Monaghan [A:147]. Introduces another element of street evangelism, possibly more discordant than Margaret's [A:147]. Her presence creates friction, particularly with Dotty [A:147]. Plays guitar with a noticeable "Australian accent" [M:214]. Represents imported, perhaps less integrated, forms of faith/expression. Dotty's letter details her disruptive arrival and presence [A:147].
Zabotski: Owner of the Pelican Press building [M:190]. Provides the iconic soup crock [A:132]. Engages in loud, theatrical arguments/vaudeville act with Duffey [A:133]. A vital, "smelly," paradoxical figure with ties to the "Pristine World" via his temporal abilities (living years in days) [M:272, M:277, M:279]. Courts the Widow Waldo [M:197]. Builds the mysterious Ark/Machine, suggesting involvement in deeper cosmological events [M:275]. He pays for a meal at the soup kitchen [A:134]. Identified as a chemist in Archipelago [A:132].
Gabrielovitch (Gabby): Joins the group [A:126]. Functions as a multi-publication worker, involved with all the papers, including the Slavic language press, work the narrator says will get him killed [M:212]. Has a large "Illyrian" nose (People of the Nose connection) [A:127]. Known for his high capacity for drink [A:126]. Goes drinking with Berny Cacciatore and Bulo Belonki [A:126]. Represents practical support and connection to broader, perhaps ethnic or political, networks. Listed as one of The Bark's seven pillars [A:121–122]. Casey attacks his anti-Tito and anti-Soviet politics [A:129–130].

D. Key Publications:

The Crock: Casey's magazine, originated in college, moved to Duffey's bookstore [A:167-168]. Featured articles, woodcuts by Groben, musings ('On the John') [A:41]. Later becomes the organ for attacking The Bark [A:128].
The Bark: The central publication, conceived as the organ for "Project Rebuilding the World" [M:195, M:198]. Edited/run initially by Duffey, Dotty, Mary V., Stein; later primarily by Dotty and Mary V. [A:118, 143]. Becomes the focus of ideological attack from Casey's revamped Crock [A:128]. Publishes theological debates, character studies, possibly coded messages. Named by Henry; masthead drawn by Finnegan [A:121]. Casey’s hostile editorial says the masthead wrongly depicts a square-rigged ship rather than a composite-rigged one [A:128].
The Investigator: A separate publication started by Stein, Duffey, and Gabby [A:143].
Other Papers: The Pelican Press job-prints the Seamen's Paper (Mon), Union Sheet (Tues), Sporting News (Wed), and Jazz Magazine (Fri) [A:118 lists these specifically]. This provides income and connects the group to various subcultures (maritime, labor, sports, music). Gabby involved with Sporting News and Jazz sheets [A:126].

E. Key Events & Interactions (Post-WWII New Orleans):

Visit from Mr. X: Telephones Duffey at three in the morning and then visits the Pelican Press [A:135]. During his visit, Mr. X produces a brown box containing index cards, many filled out by Duffey himself, detailing information on "the plotters, on the infiltrates" [M:203]. Mr. X adds a new card of "fluorescent or phosphorescent or diabolical orange-red" concerning the recently Loosed Devil [M:203]. He also brings the canister containing Duffey's own cremated ashes [M:203]. Engages Duffey in discussions about conspiracies, his own origins (the first talisman/hokey-pokey man?), the Devil, and the nature of reality [M:200–206]. Speaks through handkerchief/hat [A:135]. Leaves behind important file cards ("frustu salis") detailing the Infiltrates, adds notes [A:137]. Mr. X's portfolio reveals a pervasive, organized conspiracy operating beneath the surface against "the People and the State and the Church" [M:203]. Reveals he stole Casey's files [A:136]. Disappears after several days [M:200-206]. Tells Duffey about wife in Milano [A:140]. Sends fake death clipping later [A:141-142]. Writes letter to Stein [A:265-266]. (Note that much of the detailed backstory concerning the Devil lineage and other esoteric matters is primarily relayed by Mr. X [e.g., D:278-281, D:152-157], a character whose own motivations and relationship to the truth are complex and perhaps unreliable, adding a layer of metafictional uncertainty to these expositions.)
Break with Casey Szymansky: Back in Chicago after his overseas service, Casey confirms The Crock's changed orientation and excludes Duffey from it; he associates his change with a soul exchange [M:145]. The rupture is severe, though the narrator says it cannot be a total break between Casey and Duffey [M:145]. Writes a scathing editorial attacking Bark personnel (Hans, Solli, Dotty, Stein, Gabby, Duffey) [A:128–131].
Visit from Henri Salvatore: Sends a letter summoning Duffey to St. Louis [M:184]. At the St. Louis wedding, he gives Duffey his cryptic "rest-of-your-life" assignment: tend cucumbers in an asphalt garden [M:184]. He returns from Morgan City [A:119, A:126]. Discusses Casey [A:98]. Discusses work/vocation with Finnegan [A:99–100]. Receives letter from Mary Virginia [A:265]. Writes Latin prosody assignment [A:148-149]. Names The Bark [A:121].
Zabotski Interactions: Beyond providing the soup pot and the building, Zabotski talks about the nature of time (Pristine vs. Molasses World), reality, and identity [M:272-282]. His continued relationship with the Widow Waldo [M:197] and his construction of the giant Ark/Machine [M:275] suggest he remains a player in significant, possibly world-altering, events. Argues loudly with Duffey (like an old vaudeville act) [A:133]. Visits soup kitchen as paying customer [A:134]. Is a chemist [A:132]. Zabotski embodies a key Lafferty paradox: the juxtaposition of the seemingly mundane and the profoundly metaphysical. While grounded in the narrative as the owner of the Pelican Press building [M:190] and a participant in theatrical arguments with Duffey [A:133], he is revealed as a being connected to the essential 'Pristine World' with its accelerated time [M:279] and the builder of a mysterious, world-altering Ark or Machine [M:275].

F. Atmosphere & Themes:

High Purpose & Chaos: The era is driven by the grand "Project Rebuilding the World" [M:195] and the fight against encroaching evil, yet executed with considerable chaos, humor, and personal entanglement.
Intellectual Intensity: Filled with paradoxical, theological and philosophical debate about the nature of reality, time, identity, good, and evil. Examples include Duffey/Finnegan on jazz [A:117–118], Duffey/Stein on neo-Judaism [A:131-132], Margaret Stone's street preaching [A:144].
Camaraderie & Tension: Strong bonds of loyalty and affection exist within the core group, but are constantly tested by underlying rivalries (e.g., Casey vs. group), differing ideologies, unresolved personal histories (Finnegan/Dotty), and external pressures.
Presence of the Strange: The magical, the mythical, the non-linear, and the unexplained are not exceptions but integral parts of this reality stream. Characters possess and utilize supernatural abilities, interact with mythic beings, and navigate fluid time/space as part of their daily existence.