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NEW LIFE FOR DORMANT BOOKS

New York City

As a longtime admirer of André Schiffrin's publishing programs, I was disappointed by a conspicuous omission in his coverage of developments in the book industry ["The Eurocrush on Books," Dec. 31, 2001]. The single most significant technological development to affect publishing since, arguably, the paperback revolution is the maturing of print-on-demand technology. Print-on-demand publishing, when applied to deep backlist (i.e., older) books, means that publishers need not put a book out of print or overprint it by the hundreds or thousands. Presses can now simply meet demand as it arises, whether a single copy or a hundred. Print-on-demand technology renders the economies of scale that have so fettered publishers--particularly such publishers of serious nonfiction as university presses and Schiffrin's New Press--largely obsolete, to the advantage of all.

At Oxford University Press, we have breathed new life into literally thousands of dormant books, much to the delight of our authors and of readers and booksellers everywhere. We, and many other presses, both commercial and academic, are simply applying new technologies to do what we do best: publish good books and, now, with print-on-demand, keep them available ad infinitum.

NIKO PFUND
Oxford University Press



VAGINA MONOLOGUE?

Pasadena, Calif.

Gee, it's heartening to see reviews of poetry by women, especially those working in an experimental vein [Eileen Myles, "Not Betsy Rosses," March 11]. I hope The Nation plans more coverage of the subversive issues that these poets explore: power, ideology and subjectivity at the levels of syntax of everyday language, (non)aestheticized ideas of composition and the disruption of, to paraphrase the poet Martha Ronk, the easy-to-digest, like breast milk or nostalgia--in effect, the Romantic project that has dominated US literary consciousness.

It may be useful to readers of Dodie Bellamy's Cunt-Ups to go beyond Myles's characterization of it as a book that "uses overtly sexual texts, her own and ones written by others" to turn to the author's statement in Issue 7 of Chain, the premiere literary journal of experimental poetry, where Bellamy wrote, "I used a variety of texts written by myself and others, including the police report of Jeffrey Dahmer's confession (which I bought on eBay).... I cut each page of this material into four squares. For each Cunt-Up I chose two or three squares from my own source text, and one or two from the other sources. I taped the new Frankenstein page together, typed it into my computer and then re-worked the material. Oddly, even though I've spent up to four hours on each Cunt-Up, afterwards I cannot recognize them--just like in sex, intense focus and then sensual amnesia. They enter the free zone of writing; they have cut their own ties to the writer. She no longer remembers them as her text." Then Bellamy asks provocatively: "Is the cut-up a male form? I've always considered it so--needing the violence of a pair of scissors in order to reach nonlinearity," and she devilishly continues by claiming that her finished poems remind her of Adrienne Rich's "Twenty-One Love Poems," which begin:

Whenever in this city, screens flicker
with pornography, with science-fiction vampires

and concludes by dedicating her Cunt-Ups to Rich and "to Kathy Acker, who I was reading when I started the project and who inspired me to behave this badly."

DEBORAH MEADOWS



HIS PROSE IS POETRY

Mendocino, Calif.

Taline Voskeritchian's fine review "Lines Beyond the Nakba" [Feb. 11] points out that there are almost no translations of Mahmoud Darwish's poetry in English but doesn't mention that Darwish's prose is also his poetry. I would like to recommend Memory for Forgetfulness/August, Beirut, 1982 to readers who wish to learn more about the blending of Darwish's prose, poetry and poetic sensibilities. In the introduction to his translation, Ibrahim Muhawi, following talks with the poet, points out that Darwish does not distinguish aesthetically between prose and poetry. This will become readily apparent while reading one of the world's great meditations on life in the face of death.

MITCHELL ZUCKER



FANTASY THAT CAN'T BE FILMED

Ossining, N.Y.

Hats off to The Nation and Meredith Tax for giving Ursula Le Guin her due ["In the Year of Harry Potter, Enter the Dragon," Jan. 28]. When Harry Potter failed to grab me, I wondered if I had a wizard allergy. To test the idea I turned to A Wizard of Earthsea. It delighted me, and it taught me that, as Tax notes, "style is key in fantasy." Tax's discussion of the literalness of most modern fantasy is right on target. Certainly "fantasy" films (e.g., Star Wars) have contributed to this hard-edged realism, with their need to fill every frame with concrete detail. Although I wish Le Guin riches in royalties, I like to think of her work as defying translation to film. Thanks for telling us about Tales From Earthsea. I plan to request it for my seventy-fifth birthday.

BARBARA M. WALKER



TOWERING BABEL

Albany, N.Y.

John Leonard's "The Jewish Cossack" [Nov. 26, 2001] is a truly wise and erudite review of Isaac Babel's life and work against the background of the epic nightmare of Russian literature in the twentieth century. However, when he mentions that Bruno Schultz was murdered about the same time as Isaac Babel, some may not be aware that Bruno Schultz, a Jew like Babel, who brought radical and fresh depth to the Polish language, was shot by the Nazis in a ghetto in eastern Poland. His death has to be properly assigned to the other murderous ideology of Europe.

ADAM KANAREK


Brookline, Mass.

As the author of Tangled Loyalties, a biography of Ilya Ehrenburg, I would like to clarify several aspects of the friendship John Leonard alludes to between Isaac Babel and Ehrenburg. After citing Ehrenburg's loving remarks about Babel in his memoirs, Leonard implies that Ehrenburg "wouldn't say so in public until it was safe," as if Ehrenburg would acknowledge his closeness to Babel only once Stalin was dead. But it was Ehrenburg, during the First Soviet Writers' Congress, in 1934, who defended Babel for publishing so little. In 1939, following Babel's arrest, only Ehrenburg's secretary came to Babel's Moscow wife, Antonina Pirozhkova, and gave her money.

Ehrenburg was in Paris when Babel was arrested, but he was not in Paris for convenience, as Leonard implies. As Stalin was negotiating with Hitler, Ehrenburg's articles stopped appearing in the Soviet press; he was too much the Jew and the outspoken opponent of Fascism. Following the signing of the Nonaggression Pact, Ehrenburg lost the ability to swallow solid food for eight months and prolonged his stay in Paris to protest Stalin's new alliance. Leonard seems to think Ehrenburg was never that vulnerable. But in the spring of 1940, his dacha in Peredelkino was taken, and he was publicly condemned as a defector, leaving his daughter Irina the subject of abusive late-night phone calls that could have come only from one source.

Leonard also refers to Ehrenburg's troubling encounters with Evgenia Gronfein, Babel's first wife, who lived in Paris for many years. It was cruel for Ehrenburg, in 1956, to tell her so abruptly about Babel's other widow and daughter in Moscow and to ask her to sign a statement that she and Babel were divorced, which wasn't true. I am convinced that he wanted to preserve Pirozhkova's status as Babel's legitimate widow (and heir) in Moscow. He always brought her copies of Western editions of Babel's works (I saw scores in her Moscow apartment in 1984), just as he brought foreign editions of Doctor Zhivago to Pasternak's family. Pirozhkova remained devoted to Ehrenburg, in part because of his solicitude for her and her family. When he died in 1967, she sat with his widow at the funeral and often stayed with her at the dacha. Ehrenburg could not save Babel, but, next to Babel's wives and children, he did more to preserve his memory and make his work available to generations who were supposed to have forgotten him.

JOSHUA RUBENSTEIN



THE COOING 'FEMINIST'

Seattle

Thank you, thank you, thank you, to Susan J. Douglas and Meredith Michaels, for their review of Naomi Wolf's latest excretion, Misconceptions (oh, the delicious irony of the title that is apt in unintended ways) ["The Belly Politic," Nov. 26, 2001]. I urge women and friends of women everywhere to send this review to anyone interested or implicated in the debate about essentialist views of pregnancy and motherhood. Wolf's book is as pernicious as it is narcissistic, for two reasons: She is (was?) considered a feminist, and it is hard to argue with the authority of experience. If a writer speaks with the authority of the first person, especially the persuasive and pseudo-confessional narrative of self-discovery, it is usually cited as hard proof. The last thing women need is for a high-profile so-called feminist to start spouting essentialism. Her book can, and no doubt will, be used against women who try to put forward a different narrative of pregnancy. Here's a book by one of you feminists, we will be told. Read this and it will make you see what you should be feeling. If a feminist admits she has cuddle hormones and needs a man, then that must be what is best for all women, right? Wolf may not have intended for her narrative to be used against women who argue for a different experience of pregnancy, but that's exactly what will happen, and she must take responsibility for how her book will be used in the ongoing motherhood debates.

LOUISA MACKENZIE


UNCLE MILTY, R.I.P.

Santa Monica, Calif.

My 88-year-old writing partner, Irv Brecher, had a rough week, losing two friends. And then he went to the Milton Berle funeral without me, the bastard. Jan Murray spoke ("way too fucking long," said Irv, "not offended" that he wasn't asked), and Red Buttons said some things. Rickles too. Larry Gelbart read a wonderful tribute.

"It was a show," Irv said. "It went two and a half hours, and then we all went over to the Rainbow Room for a feast at 4 o'clock."

Irv said both Gelbart and Sid Caesar came over and asked him why he didn't speak, since Milton Berle gave Irv his first job writing gags for him at the Loews State Theater in Manhattan, in March of 1933. Here's what Irv told me about his friend Milton: "He was, after all, 93. He had a great life. He was an original, outstanding at his craft, and he taught them all. I might not be here if it weren't for him. Your life turns on not only what you do, but what everyone else does."

About being at the Hillside cemetery Irv said, "The way it is these days, when I go there I leave the motor running."

"Are you going to Billy Wilder's funeral?" I asked him. (Irv and Billy took morning walks together around Holmby Park in Westwood for years. I wondered if they talked about writing and great filmmaking, etc. He told me no, "Wilder did birdcalls mostly, and the birds sneered at him.")

"No," Irv replied. "I'm not going to his funeral. And I'm trying to arrange not going to mine either." I was wondering what Red Buttons had said when Irv told me this about life and death: "When you're 88, time is of the essence. At my age, hurry."

HANK ROSENFELD

Anyone looking for evidence that the death penalty should be
abolished need only look at the case of Zacarias Moussaoui, the
so-called twentieth hijacker, now on trial for his life for allegedly
b

Charles Wright and Charles Simic count among the best poets of their generation. Each career has unfolded with considerable excitement for serious readers of contemporary poetry, their latest work always building on previous work, always shifting in unexpected ways, challenging the reader to answer light with light, dark with dark. Their latest books are certainly as good, if not better, than those that preceded them, and that's saying a good deal.

In Wright's fifteenth volume, A Short History of the Shadow, he reaches back to earlier moments in his creative and spiritual life (which, in his case, are intimately connected), revisiting "old fires, old geographies," as he says in "Looking Around," which opens the volume. This and other poems in the collection resemble in form and texture those of his middle period, which began with The Other Side of the River, where the terse, imagistic lyrics of his earlier work gave way to long and languid meditations in the loose, associative format of a journal. As ever, Wright centered each poem in a particular landscape--Tennessee, Virginia, California, Italy--sometimes skipping blithely from landscape to landscape, season to season, assembling images that seemed miraculous in their originality and oddness. Ignoring the dogged domesticity that informs so much of contemporary poetry, he addressed large matters: the place of human intelligence in nature, the nature and role of memory and time in the life of the soul, the fate of language as a conduit between spirit and matter. Wright was, in a sense, adding apocryphal books to his own hermetic scripture with each poem.

He still is. Admitting to a "thirst for the divine" in "Lost Language," he catalogues his habits and desires:

I have a hankering for the dust-light, for all things illegible.
I want to settle myself
Where the river falls on hard rocks,
where no one can cross,
Where the star-shadowed, star-colored city lies, just out of reach.

A dark Emersonian, Wright reads the Book of Nature closely, consistently and fiercely, as in "Charlottesville Nocturne," where he concludes:

Leaning against the invisible, we bend and nod.
Evening arranges itself around the fallen leaves
Alphabetized across the back yard,
desolate syllables
That braille us and sign us, leaning against the invisible.

Our dreams are luminous, a cast fire upon the world.
Morning arrives and that's it.
Sunlight darkens the earth.

Here as elsewhere, Wright fetches the reader's attention with compelling aphorisms, with phrases arranged to create a subtle, alluring music. He could not be mistaken for any other poet, although one notices the remnants of his reading, thoroughly absorbed and transmogrified, in almost every line. It's often amusing to hear him toying with phrases and linguistic motions from the poets who have influenced him: Whitman, Eliot, Stevens, Pound, Montale (whom he has translated) and others. When he says, for example, "I like it out here," in "Why, It's as Pretty as a Picture," one can't help hearing Stevens's similar remark in "The Motive for Metaphor." Of course, poems often unfold from poems, and most good literature is a tissue of allusions. Wright knows this; indeed, he embraces it.

There is evidence of wit everywhere in this volume, more so than before. Wright sounds immensely self-confident and authoritative and can say anything, as in the above-mentioned poem, which disarmingly opens:

A shallow thinker, I'm tuned
to the music of things,
The conversation of birds in the dusk-damaged trees,
The just-cut grass in its chalky moans,
The disputations of dogs, night traffic, I'm all ears
To all this and half again.

Tell me about it. Wright is all ears, all eyes, sifting the world that falls before him with astonishing freshness, thinking shallowly so he can see and hear profoundly. His poems, like all good poetry, embody their meanings well before they are available for rational understanding, and they are only understood in a full way over time, in the context of his previous work and, indeed, the work to come.

Though rooted in the traditions of European and American Romanticism, Wright has kept an eye on the East, and in the new poems he alludes easily and often to Chinese poets and philosophers, who embrace the concept of emptiness in ways that complement Wright's aesthetic, as he suggests in the gorgeous "Body and Soul II," where he presents another in his series of poems in the ars poetica mode:

Every true poem is a spark,
and aspires to the condition of
      the original fire
Arising out of the emptiness.
It is that same emptiness it wants to reignite.
It is that same engendering it wants to be re-engendered by.

In "Body and Soul" itself, Wright embraces his aesthetic more ardently than anywhere in his previous writing, if I'm not mistaken. He writes:

I used to think the power of words was inexhaustible,
That how we said the world
was how it
      was, and how it would be.
I used to imagine that word-sway and
      word-thunder
Would silence the Silence and all that,
That words were the Word,
That language could lead us inexplicably
      to grace,
As though it were geographical.
I used to think these things when I
      was young.

I still do.

Movingly, Wright places his confidence in the gnostic way of knowledge, in the appropriation of Logos through language itself, in "word-sway and word-thunder," a formulation that recalls Hopkins, who sought the divine in language, wherein he discovered an "inscape"--his term for a distinct internal form--that embodied the mystery of grace.

Wright is a seer in the truest sense, a poet who stands out among contemporary poets as a lone figure, belonging to no recognizable school, inimitable. His vatic stance, though unpretentious because the manner of the poet is often quite offhanded and colloquial, remains central to the meaning of his poetry, and he falls smack in the line of American visionaries, who look always to Emerson as the source.

Wright and Charles Simic could not be more different in style, even substance, though Simic's work shares with Wright's an abiding interest in the realm of spirit in its worldly embodiments. Simic, though, is more likely to find "the proof of God's existence riding in a red nightgown." Simic's interlocutor in the title poem of the new volume, Night Picnic, asserts: "All things are imbued with God's being--." This God, however, is a dark and possibly demonic figure, defined as much by his absence as his presence.

A bitterness over this absence appears to haunt Simic, here as before, although humor blends with the bitterness to create his unique affect. His poetry locates itself in casual moments of sudden recognition, as in "We All Have Our Hunches," which follows in its entirety:

The child turning from his mother's breast
With a frightened look
To watch his grandfather raise a beer
And drink to his future happiness
In the kitchen full of unwashed plates
And busy women with quarrelsome voices,
The oldest of whom wields a rolled newspaper
With the smiling President's picture
Already speckled by the blood
Of warm-weather flies and mosquitoes.

In the somewhat claustrophobic hothouse of this poem, a rather typical one, Simic contrasts young and old, powerful and powerless--oppositions that have intrigued him from the outset. The shadow of violence falls across the room, emblematized by the oldest "quarrelsome" woman with the rolled newspaper and amplified by the blood-speckled picture of the President. The reflexive fear of this child is a fear that permeates Simic's verse, which often trembles on the edge of despair.

Born in Belgrade in 1938, Simic's early childhood was spent in the turmoil of war. His first language was Serbo-Croatian, and he brings an Eastern European sensibility to his poems, a feeling of almost lightheaded absurdity coupled with a wryly sardonic feeling of helplessness. For close ancestors, one might look to poets like Georg Trakl or Zbigniew Herbert--poets at home in the eerie dreamworld of surreal poetry.

In the unnamed country where most of his poems are set, war seems to hover in the background. The authorities in this country rule by violence, and ordinary souls shrink into the crevices of history, destined for oblivion. The poet's voice in this almost speakerless poetry emerges from an anonymous Mouth, that "old rathole/From which the words/Scurry after dark." Typically, Simic's poems gather their disparate parts in unexpected ways, hinting at "dark secrets still to be unveiled," the pieces falling miraculously into place in the final image, where the reader is often led to a huge metaphysical brink, which beckons from below.

A prolific poet--by my count this volume is his fifteenth--Simic revisits similar nightmares in book after book. He dreams about butcher shops, ominous city streets, prisons and dismal bedrooms, where the insomniac poet studies the flies on the ceiling and contemplates his own dim fate. But there have always been some bucolic poems, too, and they are usually set in deep country, under blue skies, as in "Summer in the Country," which opens:

One shows me how to lie down in a field of clover.
Another how to slip my hand under her Sunday skirt.
Another how to kiss with a mouth full of blackberries.
Another how to catch fireflies in a jar after dark.

That we never learn who, exactly, these instructors are doesn't matter. In Simic's surreal world, anything can happen; guide-ghosts can unexpectedly materialize to lead the characters in the poem into heaven or hell--or some combination of the two.

I've always relished Simic in his wry but happy moods, as in "The Secret of the Yellow Room," where he celebrates sloth and the "silky hush of a summer afternoon." But the weather of any given poetic mood can shift unexpectedly. "Roadside Stand," for example, begins with a sumptuous account of a kid's roadside vegetable and fruit stand:

In the watermelon and corn season,
The earth is a paradise, the morning
Is a ripe plum or a plump tomato
We bite into as if it were the mouth of a lover.

The kid, however, is bored. He doesn't understand the peculiar enthusiasm of his customers, who make such a fuss over his produce; wanly if not wisely, he surmises that "what makes people happy is a mystery." The gears shift quietly under the hood of Simic's poem as it widens in meaning.

Though Simic rarely mentions a specific historical situation, he refers often--and chillingly--to politics. "Sunday Papers," a remarkable lyric, begins: "The butchery of the innocent/Never stops." "Views from a Train" offers the depressing sight of "squatters' shacks,/Naked children and lean dogs running/On what looked like a town dump." "In the Courtroom" laments a world of injustice, where "ghastly errors" occur and "mistaken identities are the rule." But Simic sees no easy remedy for these problems, which seem eternally to plague humankind. If poetry makes nothing happen, as Auden suggested, then a poet's nightmares can't help much. In "New Red Sneakers," Simic notes with rueful candor: "A lifetime of sleepless nights/Cannot alter the course of events."

The "Wee-hour world" of his writing is haunted by twisted faces, tinhorn preachers and a variety of indigents who cannot reinvent their lives or take comfort in philosophical musings. Even art doesn't help much. "The true master," suggests one voice in an eerie poem called "The Lives of the Alchemists," "needs a hundred years to perfect his art."

Simic has been working for more than four decades at his art, and he's brushed up against perfection more than a few times. Indeed, American poetry would be desperately poorer without at least a dozen of his poems, and the work in Night Picnic is as lively, horrific, amusing and satisfying as anything he has yet published.

The Jenin refugee camp's jagged concrete hillside of
homes-turned-into-graves has yet to yield all its secrets.

While it might appear to be sweet revenge for the Inquisition, it is
best to resist the impulse to burn some Catholic priests--and the
cardinals who covered up their criminal activities--at the

Do you think Americans should ask God to grant George W. Bush the power to fly? House majority whip Tom DeLay, the ability to predict the future? Senate maj...

It seems scarcely to have required a great philosophical mind to come up
with the observation that each of us is the child of our times, but that
thought must have been received as thrillingly novel when Hegel wrote it
in 1821. For it implied that human nature is not a timeless essence but
penetrated through and through by our historical situation.
Philosophers, he went on to say, grasp their times in thought, and he
might as a corollary have said that artists grasp their times in images.
For Hegel was the father of art history as the discipline through which
we become conscious of the way art expresses the uniqueness of the time
in which it is made. It is rare, however, that grasping his or her own
historical moment becomes an artist's subject. It was particularly rare
in American art of the second half of the twentieth century, for though
the art inevitably belonged to its historical moment, that was seldom
what it set out to represent. It strikes me, for example, that Andy
Warhol was exceptional in seeking to make the reality of his era
conscious of itself through his art.

German artists of the same period, by contrast, seem to have treated the
historical situation of art in Germany as their primary preoccupation.
How to be an artist in postwar Germany was part of the burden of being a
German artist in that time, and this had no analogy in artistic
self-consciousness anywhere else in the West. Especially those in the
first generation after Nazism had to find ways of reconnecting with
Modernism while still remaining German. And beyond that they had to deal
with the harsh and total political divisions of the cold war, which cut
their country in two like a mortal wound. Gerhard Richter was a product
of these various tensions. But like Warhol, whom he resembles in
profound ways, he evolved a kind of self-protective cool that enabled
him and his viewers to experience historical reality as if at a
distance. There is something unsettlingly mysterious about his art.
Looking at any significant portion of it is like experiencing late Roman
history through some Stoic sensibility. One often has to look outside
his images to realize the violence to which they refer.

Richter grew up in East Germany, where he completed the traditional
curriculum at the Dresden Academy of Art, executing a mural for a
hygiene museum in 1956 as a kind of senior thesis. Since the institution
was dedicated to health, it was perhaps politically innocuous that the
imagery Richter employed owed considerably more to the
joy-through-health style of representing the human figure at play, which
continued to exemplify Hitler's aesthetic well after Nazism's collapse,
than to the celebration of proletarian industriousness mandated by
Socialist Realism under Stalin. This implies that East German artistic
culture had not been Sovietized at this early date. The real style wars
were taking place in West Germany and surfaced especially in the epochal
first Documenta exhibition of 1955. Documenta, which usually takes place
every five years in Kassel, is a major site for experiencing
contemporary art on the international circuit today. But at its
inception, it carried an immense political significance for German art.
It explicitly marked the official acceptance by Germany of the kind of
art that had been stigmatized as degenerate by the Nazis and was thus a
bid by Germany for reacceptance into the culture it had set out to
destroy. The content of Documenta 1--Modernism of the twentieth century
before fascism--could not possibly carry the same meaning were it shown
today in the modern art galleries of a fortunate museum. But Modernism,
and particularly abstraction, had become a crux for West German artists
at the time of Documenta 1, as if figuration as such were politically
dangerous. It was not until Richter received permission to visit
Documenta 2 in 1959, where he first encountered the art of the New York
School--Abstract Expressionism--that some internal pressure began to build
in him to engage in the most advanced artistic dialogues of the time.
The fact that he fled East Germany in 1961 exemplifies the way an
artistic decision entailed a political choice in the German Democratic
Republic.

It was always a momentous choice when an artist decided to go
abstract--or to return to the figure after having been an abstractionist,
the way the California painter Richard Diebenkorn was to do. But to
identify oneself with Art Informel--the European counterpart of the
loosely painted abstractions of the New York School--as many German
artists did, was to make a political declaration as well as to take an
artistic stand. Richter was to move back and forth between realism and
abstraction, but these were not and, at least in his early years in the
West, could not have been politically innocent decisions. Neither was
the choice to go on painting when painting as such, invariantly as to
any distinction between abstraction and realism, became a political
matter in the 1970s. If ignorant of the political background of such
choices, visitors to the magnificent Museum of Modern Art retrospective
of Richter's work since 1962--the year after his momentous move from East
to West--are certain to be baffled by the fact that he seems to vacillate
between realism and abstraction, or even between various styles of
abstraction, often at the same time. These vacillations seemed to me so
extreme when I first saw a retrospective of Richter's work in Chicago in
1987, that it looked like I was seeing some kind of group show. "How can
you say any style is better than another?" Warhol asked with his
characteristic faux innocence in a 1963 interview. "You ought to be able
to be an Abstract Expressionist next week, or a Pop artist, or a
realist, without feeling that you have given up something." For most
artists in America, it is important that they be stylistically
identifiable, as if their style is their brand. To change styles too
often inevitably would have been read as a lack of conviction. But what
the show at MoMA somehow makes clear is that there finally is a single
personal signature in Richter's work, whatever his subject, and whether
the work is abstract or representational. It comes, it seems to me, from
the protective cool to which I referred--a certain internal distance
between the artist and his work, as well as between the work and the
world, when the work itself is about reality. It is not irony. It is not
exactly detachment. It expresses the spirit of an artist who has found a
kind of above-the-battle tranquility that comes when one has decided
that one can paint anything one wants to in any way one likes without
feeling that something is given up. That cool is invariant to all the
paintings, whatever their content. As a viewer one has to realize that
abstraction is the content of one genre of his painting, while the
content of the other genres of his painting is...well...not abstraction.
They consist of pictures of the world. So in a sense the show has an
almost amazing consistency from beginning to end. It is as though what
Richter conveys is a content that belongs to the mood or tone, and that
comes through the way the quality of a great voice does, whatever its
owner sings.

Before talking about individual works, let me register another
peculiarity of Richter's work. He paints photographs. A lot of artists
use photography as an aid. A portraitist, for example, will take
Polaroids of her subject to use as references. The photographs are like
auxiliary memories. With Richter, by contrast, it is as if photographs
are his reality. He is not indifferent to what a photograph is of, but
the subject of the photograph will often not be something that he has
experienced independently. In 1964 Richter began to arrange photographs
on panels--snapshots, often banal, clippings from newspapers and
magazines, even some pornographic pictures. These panels became a work
in their own right, to which Richter gave the title Atlas.
Atlas has been exhibited at various intervals, most recently in
1995 at the Dia Center for the Arts in New York, at which venue there
were already 600 panels and something like 5,000 photographs. These
photographs are Richter's reality as an artist. When I think of
Atlas, I think of the human condition as described by Plato in
the famous passage in The Republic where Socrates says that the
world is a cave, on the wall of which shadows are cast. They are cast by
real objects to which we have no immediate access, and about which, save
for the interventions of philosophy, we would have no inkling. But there
is an obvious sense in which most of what we know about, we never
experience as such. Think of what the experience of the World Trade
Center attack was for most of us on September 11 and afterward. We were
held transfixed by the images of broken walls and burning towers, to use
Yeats's language, and fleeing, frightened people.

The first work in the exhibition is titled Table, done in 1962.
Richter considers it the first work in his catalogue raisonné,
which means that he assigns it a significance considerably beyond
whatever merits it may possess as a painting. It means in particular
that nothing he did before it is part of his acknowledged oeuvre.
Barnett Newman felt that way about a 1948 work he named Onement.
He considered it, to vary a sentimental commonplace, the first work of
the rest of his artistic life. Next to Table, one notices two
photographs of a modern extension table, clipped from an Italian
magazine, on which Richter puddled a brushful of gray glaze.
Table itself is an enlarged and simplified painting of the table
in the photographs, over which Richter has painted an energetic swirl of
gray paint. It is easy to see why it is so emblematic a work in his
artistic scheme. Whatever the merits of the depicted table may have been
as an object of furniture design, such tables were commonplace articles
of furniture in middle-class domestic interiors in the late fifties. In
1962 it was becoming an artistic option to do paintings of ordinary,
everyday objects. We are in the early days of the Pop movement. The
overlaid brushy smear, meanwhile, has exactly the gestural urgency of
Art Informel. So Table is at the intersection of two major art
movements of the sixties: It is representational and abstract at once.
Warhol in that period was painting comic-strip figures like Dick
Tracy--but was dripping wet paint over his images, not yet able to
relinquish the talismanic drip of Abstract Expressionism. Indeed, in
1960 he painted a Coca-Cola bottle with Abstract Expressionist
mannerisms--a work I consider Table's unknown artistic sibling.
Richter gave up Art Informel in 1962, just as Warhol dropped Abstract
Expressionist brushiness in favor of the uninflected sharpness and
clarity of his Pop images. By 1963 Richter had begun painting the
blurred but precise images that became his trademark. Richter's
marvelously exact Administrative Building of 1964 captures the
dispiriting official architecture of German postwar reconstruction,
especially in the industrial Rhineland. And his wonderful Kitchen
Chair
of 1965 is a prime example of Capitalist Realism, the version
of Pop developed by Richter and his colleague, Sigmar Polke, in the
mid-sixties. Richter and Warhol had fascinatingly parallel careers.

The deep interpretative question in Richter's art concerns less the
fact that he worked with photographs than why he selected the
photographs he did for Atlas, and what governed his decision to
translate certain of them into paintings. There are, for example,
photographs of American airplanes--Mustang Squadrons, Bombers and Phantom
Interceptor planes in ghostly gray-in-gray formations. Richter was an
adolescent in 1945, and lived with his family within earshot of Dresden
at the time of the massive firebombings of that year. The photograph
from which Bombers was made had to have been taken as a
documentary image by some official Air Force photographer, whether over
Dresden or some other city. The cool of that photograph, compounded by
the cool with which that image is painted--even to the hit plane near the
bottom of the image and what must be the smoke trailing from
another--cannot but seem as in a kind of existential contrast with the
panic of someone on the ground under those explosives falling in slow
fatal series from open bays. But what were Richter's feelings? What was
he saying in these images?

And what of the 1965 painting of the family snapshot of the SS
officer--Richter's Uncle Rudi--proudly smiling for the camera, which must
have been taken more than twenty years earlier, shortly before its
subject was killed in action? Tables and chairs are tables and chairs.
But warplanes and officers emblematize war, suffering and violent death.
And this was not simply the history of the mid-twentieth century. This
was the artist's life, something he lived through. We each must deal
with these questions as we can, I think. The evasiveness of the artist,
in the fascinating interview with Robert Storr--who curated this show and
wrote the catalogue--is a kind of shrug in the face of the
unanswerability of the question. What we can say is that photographs
have their acknowledged forensic dimension; they imply that their
subjects were there, constituted reality and that the artist himself is
no more responsible than we are, either for the reality or the
photography. The reality and the records are what others have done. He
has only made the art. And the blurredness with which the artist has
instilled his images is a way of saying that it was twenty years
ago--that it is not now. Some other horrors are now.

The flat, impassive transcriptions of Richter's paintings are
correlative with the frequent violence implied by what they depict. That
makes the parallels with Warhol particularly vivid. It is easy to
repress, in view of the glamour and celebrity associated with Warhol's
life and work, the series of disasters he depicted--plane crashes,
automobile accidents, suicides, poisonings and the shattering images of
electric chairs, let alone Jackie (The Week That Was), which
memorializes Kennedy's funeral. Or the startlingly anticelebratory
Thirteen Most Wanted Men that he executed for the New York State
Pavilion at the 1964 World's Fair. Compare these with Richter's 1966
Eight Student Nurses, in which the bland, smiling, youthful faces
look as if taken from the class book of a nursing school--but which we
know were of victims of a senseless crime. Warhol's works, like
Richter's, are photography-based. The pictures came from vernacular
picture media--the front page of the Daily News, or the
most-wanted pictures on posters offering rewards, which are perhaps
still tacked up in post offices. These were transferred to stencils and
silk-screened, and have a double graininess--the graininess of newspaper
reproduction and of the silk-screen process itself. And like Richter's
blurring, this serves to distance the reality by several stages--as if it
is only through distancing that we can deal with horror. I tend to think
that part of what made us all feel as if we were actually part of the
World Trade Center disaster was the clarity of the television images and
the brightness of the day that came into our living rooms.

Whatever our attitude toward the prison deaths of the Baader-Meinhof
gang members in 1977, I think everyone must feel that if Richter is
capable of a masterpiece, it is his October 18, 1977 suite of
thirteen paintings, done in 1988 and based on aspects of that reality.
These deaths define a moral allegory in which the state, as the
guarantor of law and order, and the revolution, as enacted by utopian
and idealist youths, stand in stark opposition, and in which both sides
are responsible for crimes that are the dark obverses of their values.
But how fragile and pathetic these enemies of the state look in
paintings that make the photographs from which they were taken more
affecting than they would seem as parts, say, of Atlas. Who knows
whether Richter chose the images because they were affecting, or made
them so, or if we make them so because of the hopelessness of a reality
that has the quality of the last act of an opera, in which the chorus
punctuates the tragedy in music? There are three paintings, in graded
sizes, of the same image of Ulrike Meinhof, who was hanged--or hanged
herself--in her cell. The paintings do not resolve the question of
whether she was killed or committed suicide. They simply register the
finality of her death--Dead. Dead. Dead. (Tote. Tote. Tote.)--in a
repetition of an image, vanishing toward a point, of a thin dead young
woman, her stretched neck circled by the rope or by the burn left by the
rope. That is what art does, or part of what it does. It transforms
violence into myth and deals with death by beauty. There was a lot of
political anger when these paintings were shown in 1988, but there was
no anger in the gallery on the occasions when I have visited it in the
past several weeks.

By comparison with the ferocity of human engagements in the real world,
the art wars of the mid-twentieth century seem pretty thin and petty.
But it says something about human passion that the distinction between
figuration and abstraction was so vehement that, in my memory, people
would have been glad to hang or shoot one another, or burn their
stylistic opponents at the stake, as if it were a religious controversy
and salvation were at risk. It perhaps says something deep about the
spirit of our present times that the decisions whether to paint
abstractly or realistically can be as lightly made as whether to paint a
landscape or still life--or a figure study--was for a traditional artist.
Or for a young contemporary artist to decide whether to do some piece of
conceptual art or a performance. Four decades of art history have borne
us into calm aesthetic waters. But this narrative does not convey the
almost palpable sense in which Richter has grasped his times through his
art. One almost feels that he became a painter in order to engage not
just with how to be an artist but how, as an artist, to deal with the
terribleness of history.

The ineffable good luck of George W. Bush seems to be faltering at last.
The man became President by an electoral accident that resembled theft.
His stock was sinking, his agenda stalled, when the tragedy of September
11 suddenly gave higher purpose to his Administration. Bush declared an
open-ended war against terrorism with virtually the entire world a
potential battlefront. His lieutenants swiftly converted the threat to
national security into an all-purpose justification for oil drilling in
protected Arctic wilderness, suspending selected constitutional
guarantees and piling another $100 billion on America's already bloated
military establishment. His political turn, frightening in its ambitions
and occasionally ludicrous in the details, created in the minds of many
Americans the illusion of a strong, resolute leader.

Recent events, especially the terrible bloodshed in the Middle East,
have uncovered the original truth widely understood about Bush's
stature. Underneath the cowboy lingo, the man is light in substance,
weak on strategy and quite willing to cut and run from principled
position if he feels a chill wind from politics. There's no comfort in
that bleak observation because the Israeli-Palestinian situation is so
desperately in need of wise US intervention. Bush made a reluctant
foray, then meekly retreated before Sharon's belligerence, hailing him
as "a man of peace" while the UN envoy described Sharon's
accomplishments in the West Bank as "horrific and shocking beyond
belief." A few days later in Venezuela, Bush's familiar preachments on
spreading democracy to the world were likewise rendered moot. When oil
business and military collaborators attempted a "regime change" smelling
of US complicity, the White House responded ahead of the facts by
blaming the ousted president, Hugo Chávez, for the coup, then had
to swallow its words a day later, when the coup failed.

Domestically, as his inflated poll ratings shrink like an over-valued
tech stock, Bush's presidency is naturally altered. Having provoked a
polarizing fight over Alaskan oil, he scurried away from the battle, but
Washington politicians did not fail to note that he lost--big. Al Gore
returned onstage with a well-turned critique of Bush's environmental and
energy policies, throwing stronger punches than he had as a presidential
candidate. Democratic leaders are (too late) finding a critical voice,
while GOP right-wingers freely tee off on the head of their party.
Before long, we expect the media will again be highlighting the
President's frequent malapropisms and writing more telling analysis of
his leadership.

A cheerful way to describe this shift in the political zeitgeist is to
suggest that Americans are finally getting over the intimidating
aftermath of September 11--recognizing that this country doesn't work
very well when people expressing diverse views are browbeaten into
silence by "patriots." What does it mean that Michael Moore's astute and
hilariously subversive riff on politics, Stupid White Men, went
straight to the top of the New York Times bestseller list? "I
think people are tired of being told they can't be Americans," Moore
told the Los Angeles Times. "Many have found that by remaining
silent, the guy in the Oval Office has been given carte blanche to get
away with whatever (tax cuts for the rich, ducking Enron) he wants."

If Michael Moore is right, that would be truly good news for the
Republic.

The numbers and diversity of the April 20 protests in Washington
represented a giant step forward for the antiwar movement. The weekend's
events dealt a lethal blow to the notion--stoked by media and government
alike--that all Americans uncritically support George W. Bush's policies
and value Israeli lives more than those of Palestinians.

That morning activists held two antiwar rallies, each of which drew
thousands, almost within sight of each other. One, organized by ANSWER
(Act Now to Stop War and End Racism), was on the Ellipse, near the White
House. The other, sponsored by the National Youth and Student Peace
Coalition (NYSPC), among others, and perhaps misnamed "United We March,"
was held at the Washington Monument. Meanwhile, the Committee in
Solidarity for the People of Palestine protested the meeting of the
American Israel Public Affairs Committee (AIPAC) at the Washington
Hilton, while the Mobilization for Global Justice and numerous
anarchists protested the IMF/World Bank meetings.

In the afternoon, all the morning rallies converged in a march. "In the
end," said Erica Smiley of the Black Radical Congress Youth Caucus, "we
realized we were all fighting the same thing." That march ended in a
rally by the Capitol of 50,000 to 80,000 protesters by several
organizers' estimates, the largest pro-Palestinian gathering ever in the
United States. Middle Eastern families--women in headscarves, strollers
in tow--marched alongside pink-haired, pierced 19-year-olds. Samir
Haleem, a Palestinian-American veteran who wore a Palestinian kaffiyeh
and carried an American flag, said, "We have never seen so much support
for Palestine in this country. Today is a beautiful day."

The afternoon's unity was a triumph over deep divisions, which at first
glance looked like symptoms of that old left affliction, the narcissism
of small differences. While the various groups had originally been
planning events on different days in April, ANSWER moved its event to
April 20 to avoid the turnout disaster of competing marches. Why not,
then, hold one big rally and march? Student organizers cited many
reasons for their desire to maintain independence from ANSWER, including
the group's politics (it is closely related to the Workers World Party),
its undemocratic structure and its reputation for unattractive behavior,
including taking credit for work done by others. ANSWER organizers, for
their part, felt the student coalition was too slow to take up the
Palestinian cause.

Jessie Duvall, a recent Wesleyan graduate who was organizing the NYSPC
rally, said diplomatically that the separation of the two rallies was
"important for the integrity of both coalitions." ANSWER's rally--and
pre-rally publicity--focused entirely on Palestinian solidarity, and it
drew thousands of Middle Eastern immigrants, many of whom came on buses
sponsored by their mosques. By contrast, while most speakers at United
We March addressed the plight of the Palestinians, the pre-rally
publicity emphasized the coalition's founding concerns: Bush's "war on
the world" and its effects at home, particularly on students and young
people, who dominated the crowd.

The students' fears about ANSWER turned out to have been well founded.
"I'll make a deal with you," said an ANSWER organizer at the Capitol
rally to Terra Lawson-Remer of Students Transforming and Resisting
Corporations (STARC), who was coordinating media outreach for the NSYPC
event. "We won't play the Mumia tape again"--ANSWER had already
broadcast a taped speech by Mumia at the Ellipse--"if you'll tell the
press we had 150,000 people here." Lawson-Remer was in a bind; she
didn't want them to carry out this threat, but she believed the turnout
was in the 50,000 to 75,000 range. The ANSWER organizers pressed the
point, arguing that whatever they said, the media would report fewer.
This was not a difference of opinion about the truth. "It's not about
accuracy. It's about politics. It's not about counting," said ANSWER's
Tony Murphy condescendingly. "It's us against them. [The pro-Israel]
demonstrators had 100,000 here last week." (Responding to a web version
of this article, ANSWER's legal counsel called this account a
"disgusting fabrication," but I can attest to its accuracy because I was
there.)

ANSWER is notorious for inflating its demonstration numbers--and
clearly, its organizers don't play well with others. Yet they are also
very good at calling a rally on the right issue at the right time and
publicizing it widely. Both coalitions played an essential role in
attracting very different constituencies, and turnout far exceeded
expectations. Organizers on both sides acknowledge that working together
was difficult, and neither looks forward to doing it again. But to build
on April 20's momentum, activists may have to live with such alliances
and, of course, enter into others.

Organized labor's absence from the weekend's events was hardly
surprising; most of the events were antiwar in focus, and the mainstream
labor movement supports George W. Bush's foreign policies. But in
September, when anti-IMF/World Bank activists plan a large-scale protest
around those institutions' meetings, labor and globalization radicals
will have to work together.

The weekend also highlighted the growing Palestinian solidarity
movement's need to distance itself from the anti-Semitism of its most
ignorant adherents. STARC's Lawson-Remer, who is Jewish, says of some
pro-Palestinian activists: "Their attitude toward me makes them as bad
as Bush." In the middle of our conversation, I looked up and saw a sign
that said "Chosen People": It's Payback Time. Some demonstrators' signs
bore swastikas and SS symbols--intended to draw parallels between Hitler
and Sharon, but easily construed as pro-Nazi.

Given these problems, the presence of Jewish protesters who stressed
their own identity was all the more important. On Monday evening, when
some 4,000 people gathered to protest the AIPAC meeting (addressed by
Sharon via satellite), many carried signs with messages like Jews
Against the Occupation and I Am Jewish and AIPAC Does Not Speak for Me.

Despite the squabbling and the dearth of media coverage, the success of
A20 should be heartening to the antiwar movement. Lawson-Remer says,
"This is such a demonstration that the consensus is not what they say it
is." Marching down Pennsylvania Avenue, Latifa Hamad, a middle-aged
Palestinian woman wearing traditional head-to-toe coverings agreed,
saying simply, "We needed something good."

Some prestigious Wall Street firms may have been involved in a Ponzi scheme.

Nothing is more to be despised, in a time of crisis, than the affectation of "evenhandedness." But there are two very nasty delusions and euphemisms gaining ground at present. The first of these is that suicide bombing is a response to despair, and the second is that Sharon's policy is a riposte to suicide bombing.

Earthquake. Cataclysm. Electroshock. The 9/11 of French politics.
These were the recurring terms that established political leaders of
both left and right used to characterize the April 21 presidential
elections in France--in which nearly one in five voters cast
their lot with the two neofascist parties of the extreme right, and
racist National Front leader Jean-Marie Le Pen edged past Socialist
Prime Minister Lionel Jospin to become the sole candidate against
conservative President Jacques Chirac in the May 5 runoff. How did it
happen?

With opinion polls showing throughout the campaign that between
two-thirds and three-quarters of the electorate could find no difference
between the programs proposed by Chirac and Jospin, the elections
represented a stunning rejection of the French political establishment.
Roughly a third of the electorate (28.8 percent) abstained--a record in
France--or cast blank ballots. Only half of those who did vote supported
the governing parties of the traditional left and right. The rest voted
for one of the protest candidates in the field of sixteen, including
three Trotskyists; a candidate claiming to represent the interests of
rural France; an antihomosexual demagogue of the Catholic right; and the
two neofascists, Le Pen (who got 16.9 percent) and Bruno Megret (the
former Le Pen lieutenant whose tiny MNR Party got 2.35 percent). Thus,
two-thirds of the voters rejected the perceived stasis of politics as
usual.

It's important to remember that these elections took place against the
backdrop of the ongoing, hydra-headed political corruption scandals
making headlines for a decade, which have revealed that all the major
parties with the exception of the Greens--the Socialists and Communists
as well as the conservatives--were involved in highly organized systems
of bribes and kickbacks on the letting of government contracts, with
secret corporate contributions, laundered money and Swiss bank accounts.

In this context of massive voter alienation, it is the defeat of the
governing left that stands out. Only 195,000 votes separated Le Pen from
Jospin, but as Serge July editorialized in Libération,
"the left defeated the left." A bit of history: When the Socialist
Jospin--with the support of the Greens, the Communists and two tiny left
parties--lost the 1995 presidential runoff to Chirac, he obtained 44
percent of the vote, which represented the maximum strength of the
united left. After leading his "plural left" coalition to victory in the
1997 parliamentary elections, Jospin as prime minister dedicated himself
to finding the 6 percent of votes he needed to eventually win the
presidency by governing to the center-right on economic matters.

Jospin's austere, technocratic style of governance created legions of
the disaffected among "le peuple de gauche" (the left-identified
electorate), all the more so when he appeared impotent in the face of
industrial plant closings by multinationals with rich profit margins,
which threw tens of thousands of workers into the streets. Le Pen, who
blames the immigrants for unemployment and high taxes, got twice as many
working-class votes as Jospin did this time around, according to exit
polls. Jospin, who proclaimed early this year that his was "not a
Socialist program," was further undercut when the two most significant
Trotskyist candidates garnered a surprising 10 percent of the vote.

Chirac succeeded in making "insecurity"--the French code-word for crime,
blamed largely on immigrants--the central issue of the campaign, and
Jospin played into voters' fears on this issue by repeatedly claiming
that Chirac had "copied my program." Both Chirac and Jospin thus
legitimized the central discourse of Le Pen, whose law-and-order
immigrant-bashing has long been his staple stock in trade; and, as Le
Pen never stopped proclaiming, many voters "prefer the original to the
photocopy." September 11 only heightened fear of the immigrant Arab
population, as did the recent wave of violent anti-Semitic incidents by
French-Arab delinquents in the wake of the Israeli war in Palestine (303
in March alone). Le Pen's victory reflected the growing, Continent-wide
wave of racism that has led to startling breakthroughs by the xenophobic
extreme right, whose parties now participate in the governments of
Italy, Denmark, Portugal and Austria.

Although the parties of the French "plural left" lost 1.5 million votes
this time compared with their 1995 first round score, the traditional
right lost more: 3,846,000. France's president is relatively powerless,
and the real test of political strength will come in the two-stage
parliamentary elections on June 9 and 16. The left could well win these
elections if the National Front achieves the 12.5 percent
district-by-district threshold to stay on the ballot in the second round
of voting and divides the conservative vote. The Communists and the
Greens have already agreed to join the Socialists in supporting united
candidacies of the left in swing districts. Many of those who cast
protest votes for the Trotskyists to pressure the "plural left" back to
the left will return to the fold and support them. Meanwhile, Chirac has
just created a new formation, the Union for a Presidential Majority, to
run unified conservative candidates in June--but so far two smaller
parties in Chirac's coalition (they got 10 percent of the vote in the
presidential first round) are balking at joining. Whoever wins in June,
the incoming government will have to work creatively to heal the social
and racial fracture the presidential election revealed--and to stop the
racist virus from spreading even further.

What date shall I assign to Chris Marker's magnum opus, A Grin
Without a Cat
? This rugged oak of an essay-film, whose gnarls trace
the growth and withering of decades of leftist politics, is now playing
for the first time in the United States, where it's being shown in the
form Marker gave it after

the demise of the Soviet Union. I might say it's a film from 1993; and
yet the version we now have is the revision of a work completed in 1977,
when Communism was still alive, and anti-Communism was more than the
hungry zombie it's since become.

Communism was still alive, but even then Marker perceived a change. The
last major event he incorporated into his essay was the 1974 election of
Valéry Giscard d'Estaing to the presidency of France. In the
film, this election represents the end of a period of turmoil that had
begun in 1967: the year of campus uprisings in the United States against
the Vietnam War, increased union militancy in France, bloody student
protests in Berlin against the visiting Shah of Iran, the death in
Bolivia of Che Guevara. It's fair to say that the main body of A Grin
Without a Cat
deals with these years, so I might date the film
1967-74.

But then, the historical marker slips back even further. To explain why
Che perished as he did, to account for his prestige in death, to suggest
how that martyrdom shaped the period that followed, the film revisits
1962, when Douglas Bravo launched a guerrilla war in rural Venezuela.
Believing that a few militants could spark revolution on their own,
Bravo and his followers abandoned the discipline of the Communist Party.
That was the good news. The bad news was, they also abandoned the
party's political base. In Marker's words (which are spoken throughout
the film by several voiceover narrators), the guerrillas made themselves
into "a spearhead without a spear, a grin without a cat."

The phrase brings to mind Lewis Carroll, and maybe Gogol, too. I will
have something to say about the rude adventures of this grin. First,
though, a question: Assuming there was once a whole cat, what did it
look like?

Marker gives a filmmaker's reply: He goes back in time to The
Battleship Potemkin
. His picture begins in that other movie--begins
twice, in fact. As his first gesture in A Grin Without a Cat,
Marker shows us Eisenstein's celebrated vision of the Potemkin
mutiny, in which a sailor faces a line of riflemen and wins them over
with a single shout: Brothers! Out of that moment, Marker develops a
great, thrilling montage sequence of his own, spanning half a century of
conflicts in the streets and ending on Eisenstein's Odessa steps, more
or less in the present day. There, as if to begin the film again, Marker
shows us a pleasant young woman who sits in the sunshine, chatting with
an offscreen interviewer. She is a French-speaking Intourist guide, and
she can testify that this site is very popular. She brings people to it
two or three times a day.

We might conclude that the not-quite-mythical cat was on the prowl
sometime between these two historical moments, the first of inspiration,
the second of nostalgia. We might decide that A Grin Without a Cat
is dated 1925-93.

During those years, was anything left unfilmed? To watch this picture is
to be astonished at the world of footage that's been piled up here, some
of it shot by Marker himself, most of it recorded by others, both known
and anonymous. The raw materials of A Grin Without a Cat include
images of a US pilot bombing Vietnam, as seen from the cockpit; scenes
of carefully staged party congresses in Havana and Beijing and of an
unscripted, on-the-run congress in 1968 Prague; views of the festive Cat
Parade in Ypres; broadcasts of the Watergate hearings and of the Shah of
Iran's grandiose party for himself in Persepolis; raw footage of
Communist and Trotskyist workers getting into a fistfight at a factory
gate; interviews in the jungle with Douglas Bravo, in the Pentagon with
a counterinsurgency expert, in the Citroën headquarters with that
firm's managing director; Soviet newsreels from World War II; a student
collective's newsreel from 1967 Berlin; shots of Giscard d'Estaing
playing the accordion and of The Who destroying their instruments;
behind-the-scenes pictures of training sessions at the School of the
Americas; and the usual amalgam of flaming automobiles, flying tear-gas
canisters, descending truncheons and human beings lying in pools of
blood.

So complete is the filmed record on which Marker draws, and so
associative is his method of using it, that he can show us a statement
made in 1968 by a Czech national hero, Emil Zatopek, just before he was
stripped of his military rank for protesting against the invasion;
Zatopek at the 1952 Helsinki Olympics, when he famously swept the
distance running events; and Zatopek in 1972, when he was released from
the mines and trotted out to look solemn at the Munich Olympics, when
the games continued despite the murder of eleven Israeli athletes. But
then, Marker comments, "I had been in Mexico City in 1968, when 200
people were killed so the games could begin," and we have that footage,
too.

This sort of thing can make your head spin; but since it should also
make your head clear, Marker's montage is not only associative but
diagrammatic as well. A Grin Without a Cat is divided into two
main sections. Part One, "Fragile Hands," concentrates on the events of
1967 and 1968, up to the fizzling of the May revolt in France. Part Two,
"Severed Hands," begins with the Soviet invasion of Czechoslovakia,
continues with the rise and fall of Salvador Allende (and the Gang of
Four) and concludes with the fading of the cat's grin, late in the
1970s.

Marker tends to present these events in big loops. He'll jump from
source to source, place to place, to develop an argument (about the
concept of a revolution in the revolution, for example); he'll digress
to examine the way people gestured with their hands, or how they either
filled or did not fill the space between striking workers and police;
and then he'll swing back to close the loop, concluding one phase of his
essay and moving on to the next. At each phase (at least in the earlier
part of the film) he also introduces elements that I might as well call
dialectical. When he shows a group of war protesters preparing to burn
their draft cards in 1967, he also shows a rally of the American Nazi
Party. When French student leader Daniel Cohn-Bendit comes into the
picture, so does Giscard d'Estaing. We watch the New Left rise in tandem
with the New Right. In Marker's view of history, the development of the
New Right may have been the New Left's greatest achievement.

If so, then the Old Left contributed ample help. Marker makes the point
with stunning force during his section on Czechoslovakia, when he
unexpectedly closes one of those big loops of montage. Citizens of
Prague have surrounded a Soviet tank driver and are berating him--"How
could you, a Communist, be doing this?"--when that intertitle from
The Battleship Potemkin pops onto the screen again, in a way
that's now heartbreaking and futile: Brothers!

And since Marker is a moviemaker above all, A Grin Without a Cat
also makes its point as a movie should, through the actions of its star.
Yes, there is a lead actor in this film: Fidel Castro, whose many
performances, interspersed throughout the picture, amount to a little
drama of their own, complete with a nasty plot twist. Here is Fidel on
the podium, addressing a night-time rally with wit, vigor and good
sense. Here he is again, sprawled casually on the grass for the benefit
of the camera, giving a very good impersonation of a man speaking
spontaneously, sensitively, about popular militancy and his comrade Che
Guevara. And here, giving a radio broadcast, Fidel appears to work
himself into a fury against the invasion of Czechoslovakia, as a
dramatic overture to praising the Soviets for their tanks.

This is dense, complex, allusive filmmaking, encyclopedic in ambition,
profound in understanding, playful enough in form to make you smile
sometimes at the tricks of history. Though Marker has made an elegy to
the left, he would prefer that you leave the theater invigorated,
feeling that power is still abroad in the world, and that you and your
friends might still disrupt its dirty work.

My only complaint is that the film could have sent you home feeling even
better. During the period Marker covers, the feminists got a few things
done, often without bothering to define their relationship to the
Communist Party; but feminism shows up very late in A Grin Without a
Cat
, as a mere afterthought. Africa doesn't show up at all; yet
activists from around the world made some changes there too, such as
ending apartheid and establishing a new democratic state. You may choose
to add to the list a third or fourth victory. We've had a few, despite
all of history's tricks.

That said, A Grin Without a Cat was made for you, Nation
reader. It premieres in America on May Day, at New York's Film Forum.

Abbas Kiarostami's most recent documentary, which premieres in the
United States on May 3 at New York's Cinema Village, is about nothing
other than Africa and feminism. Made on behalf of the UN's International
Fund for Agricultural Development, ABC Africa is the record of a
trip to Uganda, during which Kiarostami investigated the effect of AIDS
on women and children.

The effect, briefly stated, is that children are orphaned, and women are
left to care for them: six, eleven, thirty-five at a time. According to
the film, there are now more than 1.6 million orphans in Uganda, out of
a population of 22 million. The Catholic Church helps by offering a
wretched level of care to the suffering, meanwhile insuring there will
be more suffering by discouraging the use of condoms. By contrast, the
Uganda Women's Effort to Save Orphans (UWESO) helps with a program that
encourages women to band together and become economically
self-sufficient.

I lack the space in this column to describe even a part of what
Kiarostami recorded with his digital video cameras. It's enough to say
that, while he captured images on the run, he somehow made a Kiarostami
film. ABC Africa is devastating, as you'd expect. It's also
lyrical, beautiful and quietly inventive.

California GOP gubernatorial candidate Bill Simon Jr. has portrayed
himself as a savvy businessman who can deal successfully with the
state's financial woes. But Simon's ties to Enron, the bankrupt energy
company that has been charged with manipulating the electricity market
in California and is under federal investigation, raise questions about
his business acumen and his fitness for the state's top post.

Former business associates of Simon say that he personally persuaded
Enron to invest in Hanover Compressor, a Houston company he founded in
1990 and on whose board he sat between 1992 and 1998. Hanover makes
pumps that move natural gas and oil through pipelines and from wells.
According to several people at Enron and Hanover involved in the
transaction, the Enron investment was made in 1995 through an Enron
partnership called Joint Energy Development Investments, or JEDI, which
is now at the center of the federal investigation into Enron's collapse.

Simon held a 1.4 percent stake in Hanover, which after the JEDI
investment was worth tens of millions of dollars. His father, William
Simon, the former energy czar and Treasury Secretary under Richard
Nixon, ran a private investment firm, William E. Simon & Sons,
which owns more than 4 percent of Hanover. The younger Simon declined
requests for an interview. He has previously dodged questions about his
relationship with Enron.

JEDI was at one time Hanover's second-largest shareholder, with an $84
million stake in the company, according to a Securities and Exchange
Commission filing. Last June, JEDI shifted most of its shares to another
off-balance-sheet Enron partnership. JEDI's stake in Hanover allowed the
Enron executives who managed JEDI to attend Hanover board meetings.
Hanover executives said Simon and Enron came up with several
joint-venture ideas.

Simon was also involved in Hanover in matters separate from the Enron
deals that could raise legal concerns. Hanover said in February that it
would have to restate its financial results beginning in January 2000
because of improper accounting for a partnership that--as with
Enron--made the company appear more profitable than it was. Over several
years during this time, according to the Wall Street Journal,
Hanover officers sold millions of shares of stock--again much like
Enron, where officers who were allegedly aware of the company's
accounting practices were encouraging employees and others to buy shares
even as they were selling their own. Hanover is now the target of at
least four class-action lawsuits by shareholders who have alleged the
company misled investors; and it is also under investigation by the SEC.

Simon wasn't a member of Hanover's board at the time of the improper
accounting, but a week before Hanover made the announcement, the company
reported that every annual report it has issued since going public in
1997 contained errors. Simon, as a member of Hanover's audit committee,
was responsible for approving the company's annual reports. The audit
committee, according to Hanover's investor relations department, was
held responsible by Hanover for the error.

Simon helped Hanover set up a partnership in the Cayman Islands, Hanover
Cayman Limited, as a tax shelter. In addition, he assisted Hanover in
setting up a joint venture with Enron and JEDI to construct a
natural-gas compression project in Venezuela.

Jamie Fisfis, Simon's campaign spokesman, said Simon has been
forthcoming about his business dealings with Hanover and Enron. But when
asked about JEDI's investment in Hanover and what role Simon played,
Fisfis said he did not know and would only confirm that Simon was a
member of the Hanover board at the time. Moreover, he could not offer an
explanation when asked about the other joint ventures with Enron that
Simon's former business associates said he had a hand in creating. Simon
has told reporters on the campaign trail that he was barely involved in
Hanover's business activities, but Hanover executives say Simon was
intimately involved during his six years on the board. When Simon left
the board in 1998, he sold most of his 430,000 shares in the company.
However, he still has more than $1 million invested in Hanover,
according to the Associated Press.

Sherry Bebitch Jeffe, senior scholar of the University of Southern
California's School of Policy, Planning and Development, said Simon has
to start answering questions about his dealings with Enron, "whether it
be good or bad," or risk alienating voters. "The symbol that Enron has
become is negative, cheating and ruthless."

Roger Salazar, a spokesman for Governor Gray Davis, who currently trails
Simon according to the latest polls, said Simon's close ties with Enron
pose questions about his track record: "For a man who touts himself as a
business manager, these types of activities raise questions whether
that's true."

As Afghanistan struggles to recover, the United States prepares to move on.

The Nation announces the winners of Discovery/ The Nation, the Joan
Leiman Jacobson Poetry Prize. Now in its twenty-eighth year, it is an
annual contest for poets whose work has not been published previously in
book form. The new winners are: Linda Jenkins, Gregory McDonald, Andrew
Varnon and Stefi Weisburd. This year's judges are Catherine Bowman,
Carolyn Forché and Paul Muldoon. As in the past, manuscripts are judged
anonymously. Distinguished former winners include Susan Mitchell, Katha
Pollitt, Mary Jo Salter, Sherod Santos, Arthur Smith and David St. John.
This year's winners will read their poems at Discovery/
The Nation
'02 at 8:15 pm on Monday, May 6, at The Unterberg Poetry Center, 92nd
Street Y, 1395 Lexington Avenue (92nd Street and Lexington Avenue) in
New York City.

      --Grace Schulman, poetry editor

The Lewis & Clark Snowglobe

There exists one, anti-gewgaw, memento
ingenuous as any wonder,
though I've never seen nor heard of it, and yet--
as is revolution of heavenly body, of colony--
all's a given. The only question being which scene
of scenes? Spring 1804: keelboat,
all fifty-five feet of it, curses
the Missouri's sawyers--
Shake it and snow that falls in summer

plagues unseen men--Clark's "misquetors."
Or Lewis gazes, dizzy with May and his first
"plain and satisfactory view" of the Rockies'
plastic expanse, its blue-lipped ardor soothing
words Northwest Passage forever.
In a roadside gift shop,
Sacagawea proves false

an old adage; Home again Home again, swirls
her first moments back
among the Shoshones; with a knick-knack's economy,
sixteen mounted warriors become
one or two; her lost brother has become chief,
and they embrace:
novelist's fantastical turn.

It's the day a horse takes badly a Bitterroots precipice, the group--
ravenous, anonymous, androgynous--proceeds,
one colt divided among thirty-plus bellies. It's Clark,
jubilant at the first
(if false) view of Pacific.
It's hermetic 1806 St. Louis,

its sluicy tempest of rounds and cheers.
And not famed, not at all likely
to be the scene, yet Washington's elite toasts Lewis
with a ball; outside, glitter falls--and Lewis, triumphant, drunk
off the New Year, raises his glass, voices
a toast of his own:
"May works be the test
of patriotism as they ought, of right, to be of religion,"
as they ought (redundant or no) to be of love.

Linda Jenkins

It was in an Age of Such Incredible Secrets

It was in an age of such incredible secrets
that my mother began to paint her toenails
the color of eggshells, and my father
learned how to make love with his hands
at his side. I saw them practicing once,
but all I could think about was our icebox
full of fish and ketchup, and the small wooden bird
above my grandmother's bed, rocking back and forth,
dipping its red beak into a bowl of water.

Gregory McDonald

What I Remember

1.

I lift the bottle every time you catch me
looking at you. In all the apartment
complexes down Alafaya Trail,
I roll on the floor away from the wet nose
of a basset hound. Pennies spill
that I will forget; lips are moving but
I can't keep my footing in the mud.
Spanish moss hangs from a tree, there is a frog
and everybody throws water balloons.

2.

A black dress with pink flowers
A storm over the gulf at sunrise
Empty beach chairs face turquoise
Traffic lights change without cars

3.

I chase you with whiskey and chase
whiskey with beer and chase an armadillo
around the art gallery, muttering something
about "plasticity" or "negative space."
The search lights catch up with me. I walk
out the back door too easy, afraid of fists
that put holes in your wall. Mine
is the long walk home under streetlights
with only beat cops and that one Muddy Waters
song I know to keep me company, me and that
thirsty head full of wilderness I'm so afraid of.

Andrew Varnon

Elegy For Two

A yowling pulls like tides at our blind ear
from down the hall. The sound of Baby's ire
at God knows what, the broken night, the leer
of suns, I said. The nurse spit out: Liar.

Eyes of fruit and cinder block conspire.
His cries would fever milk and wrench the bed.
A letter in my husband's hands perspires.
For the love of God, it's just a cat, my nurse said.

But cats don't antidote true love or shred
the film of sleep with shrill ballistic shrieks
or tick heart's tomb, slash the vagrant thread,
tear the doll to wipe the bloody streaks.
Cats don't rasp or beg with gnawing squall
on stairs to help the helpless totter, fall.

Stefi Weisburd

A long time ago I dated a 28-year-old man who told me the first time we
went out that he wanted to have seven children. Subsequently, I was
involved for many years with an already middle-aged man who also claimed
to be eager for fatherhood. How many children have these now-gray
gentlemen produced in a lifetime of strenuous heterosexuality? None. But
because they are men, nobody's writing books about how they blew their
lives, missed the brass ring, find life a downward spiral of serial
girlfriends and work that's lost its savor. We understand, when we think
about men, that people often say they want one thing while making
choices that over time show they care more about something else, that
circumstances get in the way of many of our wishes and that for many
"have kids" occupies a place on the to-do list between "learn Italian"
and "exercise."

Change the sexes, though, and the same story gets a different slant.
According to Sylvia Ann Hewlett, today's 50-something women
professionals are in deep mourning because, as the old cartoon had it,
they forgot to have children--until it was too late, and too late was a
whole lot earlier than they thought. In her new book, Creating a
Life: Professional Women and the Quest for Children
, Hewlett claims
she set out to record the triumphant, fulfilled lives of women in
mid-career only to find that success had come at the cost of family: Of
"ultra-achieving" women (defined as earning $100,000-plus a year), only
57 percent were married, versus 83 percent of comparable men, and only
51 percent had kids at 40, versus 81 percent among the men. Among
"high-achieving" women (at least $65,000 or $55,000 a year, depending on
age), 33 percent are childless at 40 versus 25 percent of men.

Why don't more professional women have kids? Hewlett's book nods to the
"brutal demands of ambitious careers," which are still structured
according to the life patterns of men with stay-at-home wives, and to
the distaste of many men for equal relationships with women their own
age. I doubt there's a woman over 35 who'd quarrel with that. But what's
gotten Hewlett a cover story in Time ("Babies vs. Careers: Which
Should Come First for Women Who Want Both?") and instant celebrity is
not her modest laundry list of family-friendly proposals--paid leave,
reduced hours, career breaks. It's her advice to young women: Be
"intentional" about children--spend your twenties snagging a husband,
put career on the back burner and have a baby ASAP. Otherwise, you could
end up like world-famous playwright and much-beloved woman-about-town
Wendy Wasserstein, who we are told spent some $130,000 to bear a child
as a single 48-year-old. (You could also end up like, oh I don't know,
me, who married and had a baby nature's way at 37, or like my many
successful-working-women friends who adopted as single, married or
lesbian mothers and who are doing just fine, thank you very much.)

Danielle Crittenden, move over! Hewlett calls herself a feminist, but
Creating a Life belongs on the backlash bookshelf with What
Our Mothers Didn't Tell Us
, The Rules, The Surrendered
Wife
, The Surrendered Single (!) and all those books warning
women that feminism--too much confidence, too much optimism, too many
choices, too much "pickiness" about men--leads to lonely nights and
empty bassinets. But are working women's chances of domestic bliss
really so bleak? If 49 percent of ultra-achieving women don't have kids,
51 percent do--what about them? Hewlett seems determined to put the
worst possible construction on working women's lives, even citing the
long-discredited 1986 Harvard-Yale study that warned that women's
chances of marrying after 40 were less than that of being killed by a
terrorist. As a mother of four who went through high-tech hell to
produce last-minute baby Emma at age 51, she sees women's lives through
the distorting lens of her own obsessive maternalism, in which nothing,
but nothing, can equal looking at the ducks with a toddler, and if you
have one child, you'll be crying at the gym because you don't have two.
For Hewlett, childlessness is always a tragic blunder, even when her
interviewees give more equivocal responses. Thus she quotes academic
Judith Friedlander calling childlessness a "creeping non-choice,"
without hearing the ambivalence expressed in that careful phrasing. Not
choosing--procrastinating, not insisting, not focusing--is often a way
of choosing, isn't it? There's no room in Hewlett's view for modest
regret, moving on or simple acceptance of childlessness, much less
indifference, relief or looking on the bright side--the feelings she
advises women to cultivate with regard to their downsized hopes for
careers or equal marriages. But Hewlett's evidence that today's
childless "high achievers" neglected their true desire is based on a
single statistic, that only 14 percent say they knew in college that
they didn't want kids--as if people don't change their minds after 20.

This is not to deny that many women are caught in a time trap. They
spend their twenties and thirties establishing themselves
professionally, often without the spousal support their male
counterparts enjoy, perhaps instead being supportive themselves, like
the surgeon Hewlett cites approvingly who graces her fiancé's
business dinners after thirty-six-hour hospital shifts. By the time they
can afford to think of kids, they may indeed have trouble conceiving.
But are these problems that "intentionality" can solve? Sure, a woman
can spend her twenties looking for love--and show me one who doesn't!
But will having a baby compensate her for blinkered ambitions and a
marriage made with one eye on the clock? Isn't that what the mothers of
today's 50-somethings did, going to college to get their Mrs. degree and
taking poorly paid jobs below their capacities because they "combined"
well with wifely duties? What makes Hewlett think that disastrous recipe
will work out better this time around?

More equality and support, not lowered expectations, is what women need,
at work and at home. It's going to be a long struggle. If women allow
motherhood to relegate them to secondary status in both places, as
Hewlett advises, we'll never get there. Meanwhile, a world with fewer
female surgeons, playwrights and professors strikes me as an infinitely
inferior place to live.

Hostility to the Palestinians has all but evaporated, thanks to Sharon's war.

Alan Dershowitz prides himself on his credentials as a civil
libertarian, and to judge by most of the essays in his latest book,
Shouting Fire: Civil Liberties in a Turbulent Age, he has good
reason to do so. The Harvard law professor has built a considerable
reputation on his defense of free speech, due process and the separation
of church and state, to say nothing of his propensity for controversial
clients and clamorous talk shows. Shouting Fire is a pastiche of
fifty-four essays, some of them new, most of them not, the earliest
dating from 1963. The impetus for the collection appears to be at least
in part a desire to reassert the importance of civil liberties, even in
the face of such national security threats as those posed by the events
of September 11 and their aftermath. Moreover, Dershowitz admirably
offers what rights advocates rarely do: a philosophical grounding for
civil and political rights beyond the mere positivist assertion that
"that's the law."

If this were all Dershowitz had done in Shouting Fire, the book
might have received its share of kind reviews and headed off to
Remainderland. But in less than two of the book's 550 pages, he manages
to guarantee the collection a longer shelf life. For in an addendum to a
1989 article in the Israel Law Review, Alan Dershowitz, civil
libertarian, champion of progressive causes, counsel to human-rights
hero Anatoly Shcharansky, makes a case for torture or, more exactly, for
the creation of a new legal device that he dubs a "torture warrant." And
then, through a deft combination of newspaper editorials, public
appearances and an extended interview on 60 Minutes, Dershowitz
has expanded upon that proposition in a way designed to make talk of
torture routine and, not incidentally, banter about his book robust.

Dershowitz's proposal, therefore, deserves careful scrutiny, not only
because it comes from a respected voice but also because sources in the
FBI have floated the possibility that torture will be applied against
prisoners or detainees who refuse to tell what they know about
terrorists. Last October 45 percent of Americans approved of that.
Today, thanks to Dershowitz and others having lent the idea the patina
of respectability--Jonathan Alter writing in Newsweek, Bruce
Hoffman in The Atlantic--the number may be higher.

Dershowitz starts with the familiar scenario from every freshman
philosophy class, the case of the ticking bomb. Suppose the authorities
are holding a suspect who knows where a ticking bomb is located, a bomb
that will kill hundreds of people if it explodes. Would they be
justified in torturing the suspect to procure the information and
thereby save innocent lives?

Dershowitz contends that whether we like it or not, the officials would
inevitably resort to torture and, what's more, the vast majority of us
would want them to. But because any officer who did so might be subject
to prosecution, despite the availability of the common law defense that
a crime may be justified if it is necessary to prevent a greater evil,
the onus of responsibility should not be left on the individual
official. Instead the authorities should apply to a court for a "torture
warrant," similar to a search warrant, so that the courts must bear the
burden of authorizing torture or the consequences of failing to do so.
In another context Dershowitz has offered the reassurances that "the
suspect would be given immunity from prosecution based on information
elicited by torture" and that "the warrant would limit the torture to
nonlethal means, such as sterile needles being inserted beneath the
nails to cause excruciating pain without endangering life."

Despite these precautions, however, Dershowitz's proposal has not met
with universal acclaim, and in recent weeks he has appeared to be
distancing himself from it. In a February 17 letter to The New York
Times Book Review
responding to a critical review of Shouting
Fire
, Dershowitz claims that "the only compromises [with civil
liberties] I suggest we should consider, and not necessarily
adopt
, relate directly to protecting civilians against imminent
terrorist attacks [emphasis added]." But there is no hint on the two
relevant pages of Shouting Fire that Dershowitz's "torture
warrant" proposal is merely hypothetical. Indeed, in commenting on the
decision by the Supreme Court of Israel that prompted the idea in the
first place, he chastises the court for leaving interrogating officers
vulnerable to prosecution if they use torture and says, "The Supreme
Court of Israel...or the legislature should take the...step of requiring
the judiciary to assume responsibility [for torture] in individual
cases." Dershowitz is stuck with his "torture warrants" just as surely
as Arthur Andersen is stuck with its Enron audits.

So what, after all, is wrong with that--other than the fact that torture
violates both the Convention Against Torture, which the United States
ratified in 1994, and the Constitution? The first thing that is wrong is
that the act of torture, unlike that of searching for something, is in
itself both universally condemned and inherently abhorrent. Under
international law, torturers are considered hostis humani
generis
, enemies of all humanity, and that is why all countries have
jurisdiction to prosecute them, regardless of where the torture took
place. The fact that a US court or legislature might offer its approval
of the act does not abrogate that internationally recognized standard
any more than a court in Singapore that authorizes the jailing of a
dissident journalist makes Singapore any less guilty of violating the
rights of a free press. Tyrannical governments often try to cloak their
human rights violations in national statute. It is interesting, however,
that no country has ever legalized torture except, arguably, Israel,
until the Israeli Supreme Court struck down the provision for the use of
"moderate physical pressure," and even while that provision was on the
books, the Israeli government argued vehemently that such pressure was
not the equivalent of torture.

To see more clearly the shoals upon which the "torture warrant"
flounders, consider this. There is no doubt that despite official
efforts to eradicate it, police brutality is practiced in many US
jurisdictions and probably always will be. Some police officers will
claim, in their more candid moments, that the use of excessive force is
often the only way to protect the lives of officers and the general
public. Why ought the police not be able, therefore, to apply for
"brutality warrants" in specialized cases? Why ought police officers who
believe that a little shaving of the truth on the witness stand is worth
sending a bunch of drug pushers to prison, thus protecting hundreds of
youngsters from a life of drugs and crime, not be able to seek
"'testilying' warrants"? Why ought correctional officers who argue that
allowing dominant male prisoners to rape other prisoners helps preserve
order among thugs and thus protects the lives of guards not be allowed
to seek "warrants to tolerate prisoner rape" in particularly dangerous
situations? The answer in all cases is the same: because the act itself
(brutalizing citizens; committing perjury; facilitating rape) is itself
abhorrent and illegal. Dershowitz's analogy to search warrants fails
because, while a particular search may itself be illegal, the act of
searching is not ipso facto unethical or a crime. For a society
to start providing its imprimatur to criminal acts because they are
common or may appear to provide a shortcut to admirable ends is an
invitation to chaos.

But even if torture were a licit activity under some circumstances,
there are very good pragmatic reasons to reject its use. If the ticking
bomb scenario were designed only to establish the abstract moral
calculus that the death of X number of people constitutes a greater evil
than the torture of one, it would certainly be possible to make a
plausible utilitarian argument for torture. The problem is, however,
that the proponents of the ticking bomb scenario want it to serve as the
basis of public policy, and unfortunately reality rarely conforms to
scenarios and life doesn't stop where the scripts do. How strange that
though the ticking bomb scenario has been used for decades to justify
torture, its defenders are unable to cite the details of even one
verifiable case from real life that mirrors its conditions.

Perhaps, upon reflection, that is not so strange. For what the ticking
bomb case asks us to believe is that the authorities know that a bomb
has been planted somewhere; know it is about to go off; know that the
suspect in their custody has the information they need to stop it; know
that the suspect will yield that information accurately in a matter of
minutes if subjected to torture; and know that there is no other way to
obtain it. The scenario asks us to believe, in other words, that the
authorities have all the information that authorities dealing with a
crisis never have.

Even aficionados of ticking bomb torture agree that its use can only be
justified as a last resort applicable to those we know to a moral
certainty are guilty and possess the information we seek. That 45
percent of Americans who reported last October that they approved of
torture were approving of the "torture of known terrorists if they know
details about future terrorist attacks." But how do we know all that?
The reason torture is such a risky proposition is exactly because it is
so difficult to tell ahead of time who is a terrorist and who is not;
who has the information and who does not; who will give the information
accurately and who will deceive; who will respond to torture and who
will endure it as a religious discipline. The fact is that many people
suspected of being terrorists turn out not to be, as our experience
since September 11 has proven so well; that, historically, many of those
subjected to torture are genuinely ignorant of the details the
authorities seek; that the information protracted with torture is
notoriously unreliable; and that torture almost always takes a long
time--days and weeks, not hours and minutes--to produce results. Torture
is of course extraordinarily common. Almost three-fourths of the world's
countries practice it. But not to find ticking bombs. To punish
political opponents. To intimidate their allies. To cow a citizenry. The
ticking bomb scenario in its purest form is a fantasy of "moral" torture
all too easily appropriated by tyrants as an excuse to justify the more
mundane variety.

And if the ticking bomb scenario is a fantasy, the Dershowitzian
addition of a "torture warrant" makes it into a chimera. Here is a
situation Dershowitz envisions for the warrant's use:

Had law enforcement officials arrested terrorists boarding one of the
[September 11] airplanes and learned that other planes, then airborne,
were headed toward unknown occupied buildings, there would have been an
understandable incentive to torture those terrorists in order to learn
the identity of the buildings and evacuate them.

This assumes that those law enforcement officials would have had time in
the hour and a half or so between the boarding of the planes and the
impact on their targets to (1) take the suspects into custody; (2)
ascertain with enough certainty to warrant torture that the suspects
were (a) terrorists who (b) had the needed information in their
possession; (3) apply to a judge for a torture warrant and make the case
for one; (4) inflict torture sufficient to retrieve the necessary facts;
(5) evaluate the validity of those facts in order to be assured that no
innocent plane would be identified and blown out of the sky; and (6)
take the steps required to stop or mitigate the terrorist act. Perhaps
after John Ashcroft has been Attorney General another three years, law
enforcement will have learned to cut enough corners of the legal
niceties to accomplish this feat. But at the moment, given the INS, Tom
Ridge, bureaucratic infighting and all, it seems unlikely.

Which leads to the question of whether, if the United States were to
become the first country in the world to adopt "torture warrants," they
would make us safer. That, after all, is presumably the only ultimate
rationale for their use. But here is another place where the traditional
ticking bomb case explodes in the face of reality. For it assumes that
there are no further detrimental consequences once the victims of the
bombing are saved--no retaliatory strikes, for example, by the torture
victim's comrades to pay back the inhumanity done to their brother. It
doesn't take much imagination to see how quickly officially authorized
torture would diminish the credibility of a struggle against terrorism
that is being fought in the name of defending American values and the
rule of law. How many people would need to be tortured before our allies
threw up their hands in disgust and our adversaries started celebrating
their moral victory? How many innocent people would have to be
brutalized before their resentment and that of their friends and family
would spill over into violence? In his book No Equal Justice law
professor David Cole has shown how mistreatment of the innocent by US
police can alienate entire communities and result in increases in crime.
Torture, similarly, is a sure-fire way to manufacture an embittered
opponent of the United States where there was none before. And make no
mistake that innocent people would be tortured, warrant or no, for,
after all, if close to 100 innocent people have been convicted of
capital crimes and sentenced to death in this country despite all the
protection our legal system offers, how much more likely is it that
miscarriages of justice will flow from the pen of a single judge?
Whatever leadership the United States can claim in the world is
intimately linked to our practice of values universally regarded as
fundamental to a civilized people.

So how could a distinguished human rights advocate like Alan Dershowitz
have strayed so far from the mark? Part of it may have to do with the
philosophical basis for rights that he sketches in the beginning of his
book. Wisely rejecting the notions that rights are derived from deity or
natural law and yet unconvinced that positivism alone provides
sufficient heft for rights claims, Dershowitz adopts what he calls the
"experiential-advocacy approach." In effect, he says, we should look to
history to identify prototypical instances of injustice (slavery, for
example) and then, based upon that human experience, construct a set of
rights--free speech, due process--that are most likely to bring about
the type of society in which we would want to live. So far, so good.
Human rights are assuredly derived from human experience.

But what if you disagree with my vision of the good society? The best we
can do, Dershowitz insists, is to try to argue you out of your myopia:
"That is all I can do," he says. "Defend my preference for [certain]
rights.... But I make no claim for these rights beyond my ability to
persuade you to agree with me that history--especially the history of
wrongs--has shown these rights to be important enough to be given a
special status in the hierarchy of preferences. It may surprise you to
learn that for me there is no sharp line...separating rights from
strongly held preferences." It is here that Dershowitz stumbles.

For while rights are, in a sense, preferences, they are also more than
that: They are norms, behavioral norms necessary to create and sustain a
good society. And they become norms not through argument alone but
through its conclusions, through an articulated consensus of the
international community. One of the most astonishing lacunas in the
philosophical section of Shouting Fire is the absence of even one
mention, if the index and my reading are to be believed, of the
Universal Declaration of Human Rights. For while the UDHR did not set
out to be a legally binding treaty (the State Department called it in
1948 "a hortatory statement of aspiration") and hence avoids the limits
of positivism, it does reflect--imperfectly, to be sure, but as well as
possible within the current limits of human endeavor--what St. Augustine
called our "overlapping loves," our common measures of a decent world.
To those who disagree with its vision of that world, we can offer much
more than a shouting contest, much more than any one person's reading of
history or any one nation's perception of its needs. We can offer the
collective wisdom of the human community as hammered out, written down
and, more and more frequently, enforced. And part of that wisdom is that
torture is wrong. Everywhere. In all circumstances. With or without
warrants.

Alan Dershowitz may not like that. And he is certainly entitled to go on
arguing about it. He is a persuasive fellow and eventually he may even
succeed in helping erode the international prohibitions on torture. That
will be a sad day, no doubt, but how comforting it will be to know at
that point that, thanks to the professor, the needles will be
sterile.

When I was a teenager on my first trip to Paris, I remember looking out
at the Parisians from the window of a taxi as we proceeded along some
splendid boulevard and thinking, But do these people take themselves
seriously, really? They're not Americans, after all. Sorry. It's true,
though embarrassing. I felt sorry for them because they weren't us. I
needed a reality check, which the French were only too happy to provide.
They soon taught me how superior to us, and to me, they were in every
way, especially intellectually and in matters of literature, fashion,
proper cigarette inhalation and the application of maquillage.

Well, let that pass. Now Granta has published the greater part of
an issue (Spring 2002) devoted to Their perceptions of Us, called "What
We Think of America." Interestingly, the writer who is possibly the most
violently anti-American in the collection, or who admits to the most
violently anti-American feeling, is not French, or Arab, but Latin
American. Ariel Dorfman, the US-born Chilean writer, tells about the
time he watched an American toddler tumble into a swimming pool at a
resort in the Andes and carefully measured what his own reaction might
be--after all, the kid had been behaving badly (loud, blond, white,
Anglophone, whining, stupid, spoiled, exploitive, rapacious,
intervening, assassinating legitimate heads of state, financing coups,
training torturers... oops... but really, you catch Dorfman's drift). In
the end, though, he did dive in after the brat.

There is the gentler French person, badboy Benoît Duteurtre,
author most recently of the novel Le Voyage en France, which won
the 2001 Médici prize. Duteurtre criticizes Europe for
proclaiming a high ground in human rights from which to criticize the
Americans, as if, he says, to disguise from itself that it belongs to
exactly the same world and is mired in identical contradictions. He
makes fun of the way the French use the word Disneyland (pronounced
Deez-nee-lahhhhnd) to refer to the entire American polity.
President Jacques Chirac--that unsuccessful chameleon--comes in for a
smacking, too. In Chirac's speech after September 11, Duteurtre writes,
"I heard the inferiority complex of a Europe deprived of its role as
world leader...but still quick to judge good and evil."

The effect of Granta's roundup is shockingly human: Here are no,
or few, diatribes, and much affection--through tears--from Arab and
Muslim contributors. A piece that perhaps explains well what led to
September 11 (which I take to be the ostensible reason for
Granta's package) is Pankaj Mishra's "Jihadis," a beautiful,
brilliantly observed essay about Pakistan (by an Indian!) and its
troubled identity, as well as about the US and Pakistani governments'
growth and nurturing of the jihad movement. Gives you an idea, too, of
the level of corruption that made the initially pure-minded Taliban
attractive--at first.

This, to me, is the best issue of any magazine trying to explain
September 11. There is also Ziauddin Sardar's "Mecca," both funny and
instructive about the rituals of the hajj and of Saudi society in
general. Don't forget to appreciate the photo essay on Afghanistan by
Thomas Dworzak: It captures the dust, the mud, the turbans, the
mountains, as well as Northern Alliance soccer, burqa ladies buying
their liberation pop-music cassettes and the eerie ruins of eternal
Kabul, after the attacks.

Out on the Links

Sometimes, the problem with online magazines like The Black
Commentator (www.blackcommentator.com) can be the links. For
example, in the inaugural (April 2002) issue, there's a very persuasive
piece on the much-discussed Cory Booker, running for mayor of Newark in
the Democratic primary against the picaresque Sharpe James. Booker,
another dang Rhodes scholar, seems to pride himself on adopting some of
the meretricious conservative bent of Bill Clinton. The TBC piece
attacks Booker for his support of school vouchers and goes on to map out
in great detail the web of conservative groups that have supported the
Booker movement in Newark--not a pretty picture. It argues that Booker
is another pawn in the right's effort to develop African-American
politicians it can work with and manipulate.

The piece has no byline. But at the end, it has a feature possibly more
meaningful than a byline: "sources that contributed to this commentary,"
followed by a series of hyperlinks to information both pro- and
anti-Booker. In his speech at the Manhattan Institute, you can
hear--behind Booker's pro-voucher position--not only the clink of money
and financial backing and the Evil White Rich Men Who Run The World but
also the will of a black electorate with whom Booker, having lived in
Newark's projects and spent month after month on a notorious
never-cleaned-up corner in Newark's drug-dealing inner city, is not
unfamiliar. The problem with TBC is its paranoid style: I'd like
to see it address the question of why there seems to be a drift among
African-American voters toward conservatism--something that doesn't just
tell me the new black pols are being paid for it but that considers the
electorate as well, considers Booker's supporters: what they think of
people like Colin Powell or the improbably named Condoleezza Rice, or of
Cory Booker, who's no idiot. Don't some black families hold these
successful conservative types up as examples to their sons and
daughters, or is that just too Cosbyfied?

A Corrective

Al-Ahram Weekly, a venerable English-language publication based in Cairo
(www.ahram.org.eg/weekly), is
another paper that for themoment is focusing on an oppressed people--in
this case, the Palestinians. Al-Ahram is a useful corrective for
my formerly peace-leaning Jewish friends who feel that the US media,
especially the New York Times and CNN, are increasingly biased
against Israel. It's a real source for uncovered news about what's
happening in the territories, with much less of the myth-making and
demonizing that characterize so much of the Palestinian stuff coming out
of the West Bank over the Internet in these impossible times. Much less
paranoia here but, still, a painful and useful reality check.


ENRONED OR NOT, HERE THEY COME

Rocky River, Ohio

I was unable to digest William Greider's "Enron Democrats" [April 8]. It's important to know about Dems who had Enron ties, but to consider them unacceptable as presidential candidates is nonsense. Any potential candidate will have liabilities, but comparison on issues is what's necessary. Progressive Democrats always manage to damage potential candidates who aren't "perfect," which makes a unified response to the right impossible. Let me introduce you to the real world. It's OK to feel guilty that these Democrats did not do the right thing, but shooting ourselves in the foot is not the way to relieve our guilt. It just might be the way to support the right wing.

JEAN GELDER


Issaquah, Wash.

William Greider is right on: We do have a problem of viable candidates in the Democratic Party. Here's a list of those I believe could get the job done, based on speaking ability and intact ethics: John Kerry, Russ Feingold, Mark Udall, Dennis Kucinich and Chaka Fattah. Tom Daschle and Dick Gephardt may be qualified but won't get the votes, and our erstwhile ex-VP has taken far too much money from Enron to even be considered.

CATHRYN BAILLIE


Seattle

"Enron Democrats" explains why I left the Democratic Party in the early 1990s. As near as I can tell, the main difference between Democrats and Republicans in economic matters is that the Democrats feel sheepish about doing the bidding of big business while the Republicans consider it a virtue.

DANA FINLEY


New York City

I enjoyed William Greider's article, including his mention of Terry McAuliffe's overlapping role at Global Crossing. The political intricacies of Global Crossing are astonishing, given its five-year history relative to Enron's seventeen-year one.

Global Crossing isn't simply the fourth-largest US telecommunications-industry bankruptcy; it leads the list of telecommunications bankruptcies of more than $60 billion filed just in the past year. This list includes ancient darlings like Exodus, Winstar, PSInet and 360 networks. It may grow to include Qwest and Worldcom as the SEC and Congressional investigations gain steam. It may also include XO and Metromedia, tottering under heavy debt. A major Democratic Party cause of this meltdown was Bill Clinton, who signed the Telecommunications Act of 1996. Republican Tom Bliley, chairman of the House energy and commerce committee at the time (and buddy of Leo Hindery, ex-CEO of Global Crossing) helped. Both lobbied the WTO to pass their 1998 telecommunications liberalization rules, which allowed the globalization of deregulated networks.

Global Crossing's Republican ties also include co-chairman Lodwrick Cook's $862,000 election gift for George Bush Senior's 1988 presidential campaign while he was CEO of ARCO, the seventh-largest oil company. Republican ex­Defense Secretary William Cohen sat on Global Crossing's board as he helped pass key defense initiatives enabling growth of its fiber optic networks. Global Crossing Development gave more than 62 percent of its $1.33 million political donations to the GOP. Gary Winnick and Cook are trustee and board member, respectively, of the George W. Bush Library foundation. Campaign finance reform may help untangle future corporate-government ties but will unfortunately not undo the myriad of past bipartisan damage.

NOMI PRINS



THANK GOD I'M AN ATHEIST

Worcester, Mass.

Katha Pollitt was dead right in identifying and roundly criticizing the hypocrisy and immorality of contemporary religion, from Boston's Cardinal Law to violent fundamentalists of all stripes ["God Changes Everything," April 1]. The question, however, is what all this tells us about the nature of religion in general; and my hunch is that it tells us very little. A
lot of people use their religion to justify all sorts of horrible things; but a lot of people use their religion to justify all sorts of progressive, positive things.

"God changes everything" for Rabbis for Human Rights and for the West Bank settlers, for engaged Buddhists working for peace and ecology and for Buddhists who fight with Hindus in Sri Lanka, for courageous Christian peacemakers like the Mennonites and Sant'Egidio and for Osama bin Laden. The problem is not with religion; and the problem with religious violence and suppression is violence and suppression, not religion. I imagine Pollitt would be irritated if we talked about how "the secular changes everything" and by implication lumped Stalin with Eugene Debs, Margaret Thatcher with Robin Morgan, and Henry Kissinger with Ralph Nader. The secular IMF, World Bank and WTO can match the destructiveness of any crazed Islamic, Jewish or Christian fanatic. In our tortured time, religion has not cornered the market on sin, nor secular politics, on virtue.

ROGER S. GOTTLIEB


Kingston, R.I.

God and his/her/its adherents can be blamed for much human misery, but they've had lots of help from nonbelievers. There is Nicolae Ceausescu, Idi Amin, Jonas Savimbi, Slobodan Milosevic, Roberto D'Aubuisson, Gen. Rios Montt (a born-again Christian but not killing in God's name), not to mention Stalin, Hitler, Pol Pot, the rulers of Red China. And those are just a few of the twentieth-century butchers. None of these blood-stained "leaders" benefited their compatriots, nor was any god the inspiration for their murderous acts. Clearly, human beings don't need a deus ex machina to take the blame for their violence.

ROSA MARIA PEGUEROS


Northampton, Mass.

Too bad Andrea Yates wasn't a priest. Had she been, the Catholic Church would have moved her quietly to another town where she could have begun another family; she would have been assured a living wage and become a pillar of spiritual and moral leadership until the next time her psychosis overtook her. She would have had the backing of a powerful and moneyed patriarchal institution pressuring the community to suffer her crimes in silence. Instead, the delusional Mrs. Yates will pay dearly for killing her children in an attempt to save them from the devil, while those sane priests who harm children for pleasure will be flanking Cardinal Law at the bake sale to pay off their legal debts.

ALISON GREENE


South Orange, N.J.

Every time I read Katha Pollitt I have one comment, and "God Changes Everything" was no exception: Amen.

HETTY ROSENSTEIN



UN-REASON-ABLE

Los Angeles

In "The Politics of Ethics" [April 8], Randy Cohen levels two laughable and false charges against Reason magazine. First, he asserts that Reason is "right wing," lumping us in with the weekend Wall Street Journal, The American Spectator and National Review. That Reason is right wing is news to me. We have praised vulgar culture as liberatory, argued that illegal drugs can be used responsibly and should be legalized, and raised serious civil liberties concerns regarding the war on terrorism. We support gay marriage, open immigration, choice and human biotech--none of which was particularly popular on the right the last time I checked. To be sure, we're not left wing, either; authoritarianism, wearing a Che beret or a bishop's miter, leaves us as cold as Lenin's corpse. But I'd expect a professional ethicist to understand that American politics is not simply the bipolar, manic-depressive spectacle it often seems to be.

Second, Cohen mischaracterizes Reason's critique of his column. "There was something particularly vituperative about these screeds," writes Cohen of his detractors en masse, also referring to "the virulence of these attacks." Make no mistake: In 1999 Reason panned his "Ethicist" column as trivial, but the critique is made in measured tones, with ample evidence. Unless Cohen believes that to criticize him is inherently virulent and vituperative--alas, a position held by windbags irrespective of ideology--I'd say he's mistaken. In fact, I'm tempted to say he's willfully mistaken. The alternative is that he's simply delusional. (Nation readers can judge for themselves by reading the Reason column at http://reason.com/9912/co.jl.the.shtml.)

NICK GILLESPIE,
editor in chief, Reason


COHEN REPLIES

New York City

It seems to me that the only people absorbed by the precise taxonomy of Reason are its editors and its readers, assuming it has readers. What insensitive American was it who, when asked what his countrymen think of Canada, replied: "Well, er, we don't"?

RANDY COHEN



'CITY OF THE WESTERN WORLD'

Brooklyn, N.Y.

Like Jonathan Schell ["Letter From Ground Zero," April 1], I too was born, raised, live in and love New York City and am worried about the destruction of this incredible place and its people. But he offers no prescription for having the iconic city of the Western world de-targeted by terrorists. Instead he frets about the Nuclear Posture Review, which will "inspire those targeted to do likewise to us."

Aren't we already targets of these nations, as they finance and supply terrorists? The difference between a fuel-laden plane crashing into a skyscraper and a nuclear weapon detonating in a shipping container is one of the magnitude of destruction; it is not a question of motive or intent. The intent to destroy us is already present, as it was in the 1993 bombing of the World Trade Center and in every attack before and since.

Leo Szilard was right; nuclear weapons will eventually be available to all. During the cold war, the Soviet Union had a lot to lose in a nuclear exchange, just as we did--the primary reason a nuclear war never occurred. But the ghettos of the Middle East, Africa and every other poor place on earth produce people who feel they have nothing to lose. The terrorists and some of their state sponsors are not interested in our world. They don't just want to be left alone or to get along, they want us gone. We face nihilistic, theologically extreme enemies. No amount of negotiation will yield the results they seek, so we will not be de-targeted.

The prescription must have three components: a strong defense, a renewed commitment to nonproliferation and a long-term commitment to lifting the poor out of their misery. A strong defense requires us to signal potential enemies that they will lose everything, including their states and lives, if they are governments supporting terrorism (the reason the Nuclear Posture Review was leaked), and we must capture or kill terrorists. Nonproliferation must be pursued not because it is effective but because it is right. And while not generally effective, the treaties and negotiations surrounding nonproliferation may be useful tools. A long-term commitment to lift the poor out of their misery will require us to change the way we interact with the world, and it will require the rise of local leaders who have the best interests of their people in mind, another factor we must gently nurture.

GABRIEL ESZTERHAS

If the rightwing had actual cheerleaders, they would be chanting, "What do we want? Moral clarity! When do we want it? Now." In recent weeks, "moral clarity...

On the morning of April 20, in the nation's capital, activists held two anti-war rallies, each of which drew thousands, almost within sight of one another.