After FAB-FOOL drummer—Keith—is killed at a spring-break gig (on page 1), the bass-player—Little-Jimi-Bond-from-New-York-City-on-the-Six-String-Bass (yes, it’s absurd; that’s the point)—establishes our existential starting-point: the counterintuitive notion that ‘Life isn’t nearly as precious as you think’. When the FAB-FOOLS object to his callousness, Jimi responds: ‘People don’t like it when you tell them the truth’. The search for the truth commences:
Keith’s death opens a window: Our narrator (who doesn’t realize he’s the main character because he’s clearly NOT the hero), enjoys a series of sexual trysts with Victoria (one of the FAB-FOOLETTES). She soon cuts him off, however, which BOTH opens-up old wounds AND turns out to be the first domino in his eventual transformation. But not yet! The band recruits a new drummer—Satan—(so-called because his birthday is 6/6/66), and they set out to “roll the rock up the hill”.
The process of welcoming a new FAB-FOOL into the fold triggers the sharing of road stories, fart jokes, playing the name-drop-game, engaging in pun wars, and continuing to play gigs, while trying to evade detectives who increasingly suspect Jimi of murder. The cops are keenly interested in Jimi’s relationship with the victim, which Jimi describes as ‘a frustrating struggle to persuade Keith to abandon his false-beliefs (with helpful examples).
Our narrator (suffering from serial heartbreak), thinks Jimi’s playing a dangerous game with the cops, until Jimi explains THE BIG BRAIN PROBLEM: ‘human brains have evolved to be so good at recognizing patterns that we see them even when they don’t exist’. Jimi’s confident he can misdirect the detectives because the problem with humans isn’t that we’re stupid — it’s that we’re all way too smart for our own good.
In bars, concert halls, and frat-houses, but mostly in the bus, the FAB-FOOLS continue to work, play, sing, dance, fight, fuck, laugh, fart, and argue with each other as they attempt to stay one-step ahead of the detectives. When a shocking (and disturbing) discovery in [the deceased drummer]’s personal effects is revealed, the Fab-Fools embark on an examination of PERVERSION INVERSION: Jimi’s contention that ‘Americans-in-particular get everything upside-down and backwards‘.
Along the road, our narrator experiences a series of epiphanies, most notably when Jimi insists: ‘“Broken Hearts Are For Assholes” (the reason you’re having such a hard time describing the hole in your heart is that it doesn’t exist’). The insight that he’s been suffering from a false-belief, motivates our narrator to try to align his beliefs with reality. He wants to stop being a dick, but it’s harder than he imagines. He finds he must choose between several possible versions of the-right-thing-to-do, which brings us to the fleshing out of “Covert Anarchy — a new way to be, and do, in a changing world“. Finally, our narrator accepts that he must face his fears and take action—and actions have consequences—which eventually result in the arrest of one of the band-members.
Now Click HERE to go to What Is Covert Anarchy?