On March 10 the citizens of a small African country went to the polls to cast their votes for an incumbent with a reputation as one of the continent's most unreconstructed tyrants, a man who used every form of trickery in the book to secure his re-election. Zimbabwe? No. I refer to the equatorial Republic of Congo (Brazzaville), which held its presidential election on the very same weekend as Zimbabwe's. Military strongman Denis Sassou-Nguesso was re-elected by a 90 percent landslide after his major opponent pulled out of the race the day before the elections, citing irregularities and urging his supporters to boycott. One such irregularity was Sassou-Nguesso's refusal to establish an independent election body to oversee the voting.
Observing the results in Zimbabwe and Congo, the respected Kenyan publisher Barrack Muluka has written in the East African Standard that "the continent of Africa abounds with miscarried and defrauded electoral history" and that the vote in Africa, when it happens at all, "can only be described as electoral fiction." Wondering why the West barely noted the Congo results, Muluka asks: "Is it possible for Tony Blair to admit that his concern over Zimbabwe arises first and last out of the fact that Mugabe has been messing up with the White population in that country?" Muluka concludes that he is as sickened by the hypocrisy of the West as he is by "the autocracy of the Mugabes of the world."
Zambia's recent elections were disputed, and Madagascar is in the throes of civil unrest because the incumbent there, Didier Ratsiraka, refuses to leave office after having been voted out. With a few shining exceptions (Senegal, South Africa, Botswana and, perhaps, Nigeria and Ghana), Muluka is right. Why, then, the fuss over Zimbabwe? Muluka provides part of the answer: The fact that there is a sizable white settler population in Zimbabwe and a steady diet, for the international media, of dead white farmers means there's a human interest dimension to the Zimbabwean story that poor Congo can't match. Did you know, for example, that 10,000 Congolese were killed in the civil war that brought Sassou-Nguesso to power in 1997 and that his ensuing repression displaced nearly a third of the country's 3 million citizens?
But Afrophobia aside, there are other, more honorable reasons for the world's current obsession with Zimbabwe's tragic descent into chaos. When Mugabe came to power in 1980, he was to many Western Afrophiles a shining light, a vision of reconciliation (he urged whites to stay and work with him) and a mark of the triumph of pragmatism over ideology (he was, in a nutshell, anti-Soviet). The generation now making policy in the West marched against Rhodesia and then marched for the brave new world Mugabe symbolized. His plummet into kleptocracy and tyranny signifies nothing short of betrayal for the Blair cohort of once-were-lefties.
And then there is Thabo Mbeki. The South African president has spent the past two years circumnavigating the globe peddling his New Partnership for African Development, which has as its precondition the achievement of African self-determination through democracy. When the Organization of African Unity approved the plan last year, Mbeki wrote that this "marked the moment when Africa took its destiny into its own hands for the first time in 500 years."
Mbeki acknowledged that Africans had said this before but explained how things are different from the moment of African independence in the early 1960s: We were no longer pawns in the cold war, and "corrupt and dictatorial leaders [could] no longer count on the patronage and protection of superpowers intent on maintaining a particular global balance of power and influence, which enabled the Mobutus of this world to thrive for decades."
And so Zimbabwe has become a litmus test for Mbeki's own aspirations: for South Africa (which, because of the "Mandela miracle," still carries the world's expectations for this continent) and for the unfettered African future Mbeki so publicly dreams of. Zimbabwe's 2002 election will be remembered as the moment at which Africa needed to make up its mind.
Mugabe has alienated the West, but he does seem to be able to count--with a couple of noble exceptions--on Africa's own ruling elite, including Mbeki's ANC. On March 19, however, Mbeki and his colleague, Nigeria's Olusegun Obasanjo, joined Australian Prime Minister John Howard in agreeing to suspend Zimbabwe from the Commonwealth. Have they, by doing this, exercised the self-determination Mbeki calls for? Or are they--as Mugabe's apologists would have it--colonial lackeys who have succumbed to racists with checkbooks?
Mbeki is in a tight spot. Chaos in Zimbabwe cannot but affect the whole region, and so, to date, his approach has been conciliatory. He understands, in a way that Tony Blair never could, that a Mugabe defeat would have spelled a bloody civil war. But it does not help Mbeki's case that he has not, at this writing, made any public pronouncement of his own.
Only when--as Mbeki himself has so compellingly put it--Africans really do start policing themselves, will shrill (and possibly racist) voices from the West begin to recede in significance. And only then will the ordinary people of countries like Zimbabwe really have a stab at the self-determination most people in the West take as their God-given right.
The Pentagon's Missile Defense Agency is on the verge of getting a sweetheart deal that is beyond the wildest dreams of even the craftiest Enron executive. If Secretary of Defense Donald Rumsfeld has his way, the new agency will be free to pursue the Bush Administration's Star Wars fantasy without the scrutiny of independent accountants, auditors or technical experts. As Bradley Graham of the Washington Post reported in mid-February, Defense Secretary Donald Rumsfeld has decided to exempt missile defense development from normal reporting procedures on costs and schedules, as well as from the need to relate the performance requirements being sought in the new system to specific projected threats. Just for good measure, key tests will be conducted without oversight by the Pentagon's independent testing office. Lisbeth Gronlund of the Union of Concerned Scientists sums up the Pentagon's new approach: "Rather than first spell out what's needed, it sounds like they're just going to create something and then say, 'This is what we need.' In effect, they're saying 'Whatever you've got, we'll take.'"
This all must come as a great relief to the big four missile defense contractors, Boeing, Lockheed Martin, Raytheon and TRW. Given the history of fraud, cost overruns and rigged testing that has characterized the program to date, the last thing they want is independent scrutiny. Two recent reports by the General Accounting Office have confirmed that Boeing and TRW manipulated data from a 1997 test in order to overstate the capabilities of antimissile sensor technology designed to tell the difference between nuclear warheads and decoys. The reports reinforce longstanding allegations of fraud in the testing program. Recent tests have raised further doubts about the integrity of missile defense testing. A November 2001 report by the Union of Concerned Scientists found that tests of ground-based missile defense interceptors have been using a beacon to guide the interceptor to within 400 meters of the mock warhead before an intercept is attempted--a courtesy not likely to be provided by an actual adversary. And a January test of a sea-based interceptor used a target that was substantially larger than the kinds of warheads the system would be expected to intercept in the event of a real attack.
The evaluation of future missile defense tests will be in the hands of Lieut. Gen. Ronald Kadish, the director of the Missile Defense Agency. And the task of integrating the proposed array of air-, land-, sea- and space-based missile defense technologies into a workable system will be contracted out to Boeing and Lockheed Martin, both of which will head a team of engineers handpicked from major weapons contractors. In short, no one without a vested interest in seeing the missile defense program move forward will be involved in evaluating the capabilities of the proposed system. Given recent estimates from the Congressional Budget Office that a multitiered system of the kind favored by the Bush Administration could cost as much as $238 billion, don't expect to hear too many discouraging words from the Missile Defense Agency's development team. There's too much money to be made.
In early March, the Bush Administration adopted a policy that the steel industry as well as the United Steelworkers of America (USWA) have long been agitating for--tariffs on steel imports. The official reason is to give the industry some "breathing space," so it can restructure while shielded from foreign competition. It's more likely that Bush wants to carry some important industrial states in 2004.
Thanks to NAFTA, Canada and Mexico are exempted, as are some poorer countries. Imports from elsewhere will face initial duties ranging from 8 percent to 30 percent, though the levels will decline over the next three years as they are gradually phased out. This is less than what labor and management wanted, but it's still striking coming from a professed free-trader. The Clinton Administration never did anything remotely like it--and if it had, Wall Street, which was unfazed by the Bush announcement, would have panicked about the protectionist threat.
Loud complaints did come from abroad, though. Even British Prime Minister Tony Blair, usually found waving the Stars and Stripes with hysterical glee, denounced the move as "unacceptable and wrong." He urged the industry to restructure rather than hide behind trade barriers--exactly the prescription the United States usually gives other countries (with similar indifference to displaced workers). Blair was joined by politicians, businesspeople, unions and pundits around the world--and by Bush's own frequently indiscreet Treasury Secretary, Paul O'Neill, who told the Council on Foreign Relations that the tariffs would cost more jobs in steel-using industries than they could save in steel.
Indeed the industry is in dire shape. It's lost 35,000 jobs in the past two years. Sixteen producers are operating in bankruptcy. Steel employed 1.5 percent of US workers in 1950, 0.6 percent in 1980 and 0.2 percent in 2000, versus 0.1 percent today. It's hard to believe three years of protection can reverse that long slide.
Clearly the Administration structured its tariffs with an eye on the political map. The kinds of steel offered maximum protection happen to be produced in the electoral battlegrounds of Ohio, Pennsylvania and West Virginia. There's a political pattern to the victims too: Turkey, an important factor in the likely war on Iraq, was spared. Brazil, key to any future hemispheric free-trade agreement, got off relatively lightly, as did Russia, key to many things. The most affected producers are in South Korea, Japan, China, Taiwan and the European Union. Most have filed complaints with the World Trade Organization. The EU is also threatening to retaliate against US steel and textiles, which could limit Bush's political gain in steel country and alienate the textile-intensive South.
Defenders of the tariffs--from US Steel to the union-friendly Economic Policy Institute--argue that everyone subsidizes and protects its steel industry except us. As a result, the US steel industry is getting killed. So the tariffs are necessary to defend it.
Not everyone agrees with this picture of America as victimized innocent. According to the EU's count, the United States has imposed more than 150 measures over the years to protect steel. More than subsidized foreign competition, the US steel industry is suffering from the high value of the dollar, recession, global overcapacity and high pension and healthcare costs.
The United States could have filed a complaint with the WTO, but it would have had a hard time proving its case. Another multilateral route was available too--negotiations to reduce world steel capacity by some 12 percent are well under way. But the Administration and its supporters claim that having the tariffs will strengthen Washington's negotiating hand.
The USWA seems to have no idea of how offensive foreign workers find Bush's big stick policy. Most of the affected countries have higher unemployment rates than ours. The EU, Japan and Latin America haven't seen a boom in decades, and Asia is still recovering from its 1997 financial crisis. Gary Hubbard of the Steelworkers' Washington office conceded that the EU and Japanese unions were annoyed but wasn't sure whether the USWA had consulted at all with its counterparts abroad (no one had ever asked the question before). So much for solidarity.
It's nice to imagine another world, where we protect workers, not their jobs. If we had a good system of income support, retraining, job placement and job creation, we wouldn't have to disemploy foreign workers to fight what's probably a losing battle to save jobs here. Sweden has long had such an active labor market policy, as it's called. Workers wouldn't have to fear innovation if they knew they wouldn't end up on the sidewalk. But that's not the way the world works these days. It's all about market solutions--except when George W. Bush is cruising for votes.
The Senate Judiciary Committee's 10-to-9 rejection of Mississippi Federal Judge Charles Pickering for the Court of Appeals for the Fifth Circuit showed a rare Democratic combativeness. That Senate Democrats might actually apply standards of ethics and judicial temperament--Pickering consorted with segregationists and challenged the Voting Rights Act--drew cries of foul from Republicans. But New York's Charles Schumer shot back: "There's clearly no mandate from the American people to stack the courts with conservative ideologues. So if the White House persists in sending us nominees who threaten to throw the courts out of whack with the country, we have no choice but to vote no." The next test of the Democrats' political fortitude comes with Federal Judge D. Brooks Smith, nominated for the Court of Appeals for the Third Circuit, whose oft-reversed decisions have paralleled the agenda of the conservative legal and corporate groups that foot the bill for his frequent judicial junkets.
WHERE HAVE YOU GONE, MARY ROBINSON?
Following heavy US pressure, the UN won't ask Mary Robinson, its High Commissioner for Human Rights, to stay on to complete her three-year term. Her sins included supporting the Durban conference on racism despite the US/Israeli boycott, criticizing refusal of POW status to prisoners in Guantánamo Bay and vociferous condemnation of Israeli behavior in the occupied territories. The Bush Administration kept its campaign to oust her quiet to avoid alienating Irish-Americans, but the UN Human Rights Commission bureaucracy found Robinson's outspokenness hard to reconcile with their softer approach. Human rights organizations wonder whether any replacement will be as independent and committed to human rights as Robinson.
BRING BACK BILL
Some thirty public television stations suspended Bill Moyers's Now during pledge drives, apparently on the theory that the program's controversial stories might offend donors. If your PBS station isn't carrying it--protest (and withhold your donation). Note: House Majority Leader Dick Armey, who says PBS is too liberal, recently called for totally defunding the Corporation for Public Broadcasting as a way of trimming the deficit.
A Mexican migrant acquaintance once told me that he'd love the opportunity to brief Congress on immigration policy. Let us imagine him now, walking into the hallowed chamber, dressed in his typical migrant attire: a fading Oakland Raiders jersey, oversized bright orange painting pants, imitation Air Jordans. He wears a baseball cap with the epigram ¡qué viva México, cabrónes! rendered in red, green and white--the colors of the Mexican flag. He reaches into his well-worn backpack and pulls out some handwritten notes on crumpled sheets of paper, and begins:
First, I would like to tell the distinguished sirs and madams a bit about the migrant life. I'm from a luckless southwestern Mexican town whose timber-based economy is in tatters--no sign of economic development on the horizon, NAFTA or no. I made my first trip to the States at 13, a solo journey that included a few months of indentured servitude to a "coyote," a real cabrón. I paid off what I owed him by picking aluminum cans out of the garbage. When I finally broke free, I took to the road.
I never had a problem getting a job. With a cheap forgery of a green card, the bosses never looked twice. As the years went by, I cruised from state to state. I got married to a girl from home and soon we were on the road together, hopping back and forth across the border that supposedly separates our nations.
Beginning in the latter half of the 1990s, our border-crossings became increasingly difficult. Suddenly, you built walls on the US-Mexico border. Big ones, made of coppery steel. These you have referred to as "interdiction measures," which include programs with names like Gatekeeper, Safeguard and Hold the Line. Since 1995 as many as 1,400 migrants died on that line, pushed by your Border Patrol into the remote, deadly desert and lonely stretches of the Rio Grande.
You recently deployed the first of more than 1,600 National Guard troops along the frontiers with both Canada and Mexico, to provide "tactical" support to the other agencies on the line. The last time you put the military on the line, the result was the shooting of an 18-year-old who was out herding his goats; you did the sensible thing and pulled them out. Now they're back; so far, thankfully, they are unarmed.
I tell you that this is a dangerous situation, and yet, in the wake of September 11--when I grieved as much as if Mexico herself had been attacked--I am mindful of your security concerns. I submit to you that you cannot secure your borders alone. I humbly suggest consultations at the highest levels between the federal law-enforcement agencies of our two countries, a starting point for recognizing that American homeland security is Mexican homeland security and vice versa.
We must re-imagine the border between us. All the money you've poured into "holding the line"--some $4 billion a year for the total INS budget--does nothing of the sort. Yes, it makes it more difficult, and sometimes deadly, to cross. But we still do cross back and forth over that line.
Dear legislators, I watch CNN en Español and have been following your recent debates over immigration policy very carefully. Let us speak frankly here: You've been playing an age-old shell game--appeasing the rabid dogs of nativism but leaving the border open enough to supply labor to big business, which keeps getting you re-elected.
What a great buzz there was in the migrant communities before 9/11! You were speaking (well, some of you) about an amnesty--pardon me, a regularization--of the immigration status of the nearly 9 million estimated "illegals" in your midst. Then for several months you shied away from such discussions. But now your President is on his way to Latin America, and he will meet with my President. It is clear to us, the migrants, that these men want to see some movement on the issue--Bush, to bolster his standing among Latinos and his business cronies, and Fox, to please paisanos like me--but this makes many of you uncomfortable. I know why. It's Al Qaeda and the Taliban. Now, I might look a bit like Caliban (especially in these surroundings), but I'm no Taliban, no terrorist! What are my weapons? Leaf blowers and dishrags?
You must place regularization and some version of a "guestworker" program back on the fast track. Everybody wins with real reform: Your labor-hungry industries will be happy, and you might even get some of that coveted Hispanic vote. But you need to understand one thing: We migrants will not accept any kind of program modeled on the infamous, exploitative Bracero Program. Braceros, my grandfather among them, had no right to leave an abusive boss, had no recourse to better their working conditions and wages, could not join unions. The guestworker program of the new century must give us the rights that all American workers enjoy. And there must be a mechanism for affording those workers who spend, say, six years living and working in your country the opportunity for permanent legal status.
When Vicente Fox rose to power two years ago, he made a statement that caused you much anxiety: He foresaw the border between the United States and Mexico disappearing within a decade. I tell you today that this prophecy will come to pass. There are no lines in nature, dear sirs and madams. The fact that I am here before you today proves that this is so. I thank you for your kind consideration in allowing me to speak before you today. ¡Qué vivan los mojados! Long live the migrants!
When Bill Clinton signed the welfare overhaul in 1996, he and his supporters promised that its problems could be fixed later. One problem at the top of the list was the bill's savaging of the food stamp program, including sharp financial cuts and the removal of legal immigrants from its rolls. It wasn't fixed.
Six years and lots of empty plates later, there's a chance to make a considerable improvement--if the senators who see the need to fix it hold out. The 2002 farm bill, with a price tag of $75 billion, has passed both houses and is now in conference committee. The Senate version adds $8.9 billion to the nutrition budget, mostly for food stamps, and requalifies most legal immigrants, including all children and also the disabled--which would add an estimated 400,000 people. In determining general eligibility, it also takes a more realistic view of what poor people have to spend for shelter and to keep a car running. The House adds only a bit more than a third of that and, in the spirit of both the House leadership and the 1996 welfare bill, doesn't fix much.
The Senate pays for its nutrition increases by limiting the farm subsidies that can be paid to individual and corporate farmers. The House--and some senators--would rather keep the money flowing in the same old streams. "The problem is that the House doesn't like the payment limits," says Andy Fisher, spokesman for Senator Richard Lugar of Indiana. "You would think that members would be ashamed to take that position, but they're not."
It's one of the quirks of Washington that the major federal nutrition programs are part of the farm bill, written by legislators generally more interested in peanut price supports than peanut butter sandwiches. This year the bill was complicated by the large number of vulnerable Democratic senators from farm states--including Tim Johnson of South Dakota, Jean Carnahan of Missouri, Tom Harkin of Iowa and Paul Wellstone of Minnesota--and Democratic nervousness about the effect of subsidy limits on their chances this fall. But, insists Wellstone, "There's no reason why we can't get it right on both family farms and nutrition."
The issue comes up as the need for food help is surging, spiked by the unemployment jump of the past year--especially in areas like Florida and Las Vegas, where the drop in airline traffic belted low-wage (and heavily immigrant) tourism workers. America's Second Harvest, the national alliance of food banks, issued a call to action in February to raise 365 million pounds of food. "When legal immigrants lost eligibility," says Doug O'Brien of Second Harvest, "it just shifted responsibility from the federal government to food banks." With the small difference that it's a lot harder for food banks to pay for it.
In January the Bush Administration--driven by the realities of hunger in Texas and by GOP interest in the Hispanic vote--came out for sharply relaxing the legal immigrant exclusion, giving the idea momentum. The National Governors Association, seeing hunger from closer up than Congress does, backs the Senate bill.
But in early March the Senate plan was hurt by the discovery that its bill would cost $6 billion more than expected and more than the budget allowed. Still, the senators on the conference committee include longtime nutrition advocates like Lugar and Patrick Leahy, and a high-ranking Senate staff member insists that the Senate side has so far refused--even after the revelation of its faulty accounting--to put nutrition cuts on the table. "I'm very hopeful," says Representative Eva Clayton, the first black woman to represent North Carolina and described by O'Brien as a "heroine" on hunger issues. "The House has not been very strong or aggressive on the issue of nutrition. We really need a little more pressure on us."
Senators--and all those who think it's a good idea to feed more hungry Americans--should turn up the heat on the nutrition conference committee.
What was originally billed as Dick Cheney's mission to recruit Arab nations' support for ousting Saddam Hussein became a lecture tour on the urgency of dealing with the Israeli-Palestinian conflict--with Cheney as the lecturee. By the time he reached Israel the Vice President was promising that the United States would become "very actively engaged" in peace efforts in the Middle East.
Was this a Paul-like conversion on the road not quite to Damascus? Hardly. Whether it evolves into a full-scale US diplomatic effort to achieve a workable peace settlement remains to be seen, but there are new glimmers of hope as other key parties are now speaking out. Saudi Crown Prince Abdullah's proposal injected a fresh impetus into the bloody Israeli-Palestinian impasse. The Saudi plan--which calls for Israeli withdrawal to its pre-June 1967 borders in exchange for a Palestinian state in the West Bank and Gaza and normalization of relations with the Arab nations--is, of course, nothing new. But its source, a conservative Arab state, carried weight, and its enunciation was timely. Such a vision still offers the best framework for a lasting solution. To the Israelis it promises peace, security and commerce with its neighbors; to the Palestinians it promises an end to the occupation and the establishment of a viable Palestinian nation. As Israeli novelist Amos Oz recently wrote, "Even Ariel Sharon and Yasir Arafat know the solution: peace between two states, established by the partition of the land roughly in accordance with demographic realities based on Israel's pre-1967 borders."
The United States, for its part, has taken several mildly positive steps, including engineering a UN Security Council resolution for a Palestinian state and Bush's admonition that Sharon's massive incursion into the Palestinian refugee camps was "not helpful." US disapproval stopped Sharon's invasion, and the Prime Minister also dropped his condition that peace talks would proceed only after seven days without Palestinian violence.
The Bush Administration's let-'em-fight-it-out policy, coupled with continued military and economic aid to Israel, has been a disaster, tacitly encouraging Sharon in his admitted attempt "to increase the number of losses on the other side. Only after they've been battered will we be able to conduct talks." Also a disaster was Washington's myopic ritual of blaming everything on Arafat's alleged failure to stem Palestinian terrorism. The US stance ignores what UN Secretary General Kofi Annan recently called Israel's "illegal occupation" of the West Bank and Gaza. Annan notably followed up those words with an indictment of the Israelis for unleashing the military in what resembled "all-out conventional warfare" against heavily populated civilian areas.
The Administration must now recognize that the best tactic in this renewed peace process is to work for a political settlement in tandem with a military truce. Achieving such a settlement will require a deep and evenhanded involvement on its part. Peace in the Middle East, not toppling Saddam Hussein, should be the United States' top priority. Many Arab leaders don't like the Iraqi dictator, but they know that military action against Iraq would further destabilize the region at a time when Arab opinion is inflamed against Israel and America.
Implementing the Saudi plan would mean taking some difficult steps, including the removal of Israeli settlements and the creation of a contiguous Palestinian state. The issues of the Palestinians' right of return and the location of their capital in East Jerusalem must be faced. These aren't intractable once the principles of full withdrawal for full peace are agreed on. International monitors should be introduced into the region to implement and enforce a peace agreement--particularly on the Palestinian side, because Arafat's power to curb terrorist elements (and curb them he must) has been undermined by Israeli incursions as well as his own weakness. Once a just settlement has emerged, Washington should impose compliance, if necessary, by cutting off aid and support to the recalcitrant party.
Washington must bring to bear its immense power, in coordination with the good offices of the European Union and the UN, and work to resolve this conflict. Such an outcome would be the most effective measure yet in the so-called war on terrorism.
Call it the year of the yellow notepad. Doris Kearns Goodwin, ejected from Parnassus, Pulitzer jury service and kindred honorable obligations, sinks under charges of plagiarism consequent, she claims, of sloppy note-taking on her yellow legal pads.
Michael Bellesiles, flayed for knavish scholarship in his Arming America, says that his notations from probate records, central to his assertions about gun ownership in eighteenth- and nineteenth-century America, were on legal yellow pads that were irreparably damaged when his office at Emory University was flooded in May 2000, the year his book was published.
Stephen Ambrose, overtaken by charges of plagiarism, did not have recourse to the yellow-notepad defense, presumably because he had become rich enough not only to discard them in favor of teams of researchers, including his family, but to make an out-of-pocket, $1.25 million donation for environmental good works, including restoration on the Blackfoot River, no doubt hoping that water in Montana would be as efficacious as at Emory in purging the record.
The plagiarist lurks in all of us, and temptation or carelessness looms closer with the cut-and-paste function of the computer, though Shakespeare managed to steal a lot of Holinshed without electronic assistance.
With Bellesiles the stakes are high, because he addresses the issue of gun ownership in America and the Second Amendment. By the mid-1990s the battle was tilting decisively in favor of those arguing that the amendment asserts the right of individual citizens to own guns for self-defense and, if necessary, to counter government tyranny by means of armed popular resistance. (NB: The preceding sentence concludes with twenty-two words lifted from a piece by Chris Mooney in Lingua Franca.)
Like any good tactician, Bellesiles shifted the terms of discussion. He said he'd reviewed more than 11,000 probate records between 1765 and 1850 from New England and Pennsylvania, and discovered that roughly 14 percent of all adult white Protestant males owned firearms, meaning about 3 percent of the total population at the time of the Revolution, and that hence "all this talk about universal gun ownership is entirely a myth that I can find no evidence of." (More cribbing from Mooney.)
So if the people weren't armed, and if even official militias were mostly a disheveled rabble without arms, the Second Amendment was really an antic fantasy, like feudal armor in the mock-Tudor hall of a Bradford cotton millionaire.
The antigun crowd greeted Bellesiles with as much ecstasy as any relief column by early settlers in Indian Country. The Organization of American Historians gratefully pinned the Binkley-Stephenson Award to Bellesiles's bosom for his 1996 essay on the origins of American gun culture. Arming America elicited not only fervent applause by Garry Wills in The New York Times Book Review and Edmund Morgan in The New York Review of Books, but also the Bancroft Prize.
Bellesiles came under attack, but since his assailants included NRA types and even Charlton Heston (who cut to the heart of the matter by charging that Bellesiles simply had too much time on his hands), their often cogent demolitions were initially discounted as sore-loser barrages from the rednecks. Even so, the sappers pressed forward and began to penetrate Bellesiles's inner defenses.
A crucial chunk of battlement crashed to the ground when Bellesiles's most sedulous critic, James Lindgren, investigated his claim to have researched probate records at a National Archives center in East Point, Georgia. The center told Lindgren no such records existed. (Cockburn's source here is Danny Postel in The Chronicle of Higher Education. Since Cockburn once borrowed Postel's car in Chicago and saddled him with a couple of parking tickets, he definitely owes him a cite. These two tickets were probably the final straws in a load of fines that prompted Postel to flee Chicago for Washington, DC.) Then more chunks fell when other archival records cited by Bellesiles, in San Francisco and Vermont, turned out not to exist.
Bellesiles's Little Big Horn comes in the January edition of the William and Mary Quarterly. Primed in part by Lindgren, Gloria Main of the University of Colorado pounds Bellesiles with medium-range artillery, as in "[Bellesiles] found only 7 percent in Maryland with guns. My own work in the probate records of six Maryland counties from the years 1650 to 1720, ignored by Bellesiles, shows an average of 76 percent of young fathers owning arms of some sort." Ira Gruber of Rice slides the bayonet into Bellesiles with incredulous harrumphs about misrepresented evidence on casualty rates in American and European battles ("But Bellesiles has counted 18,000 prisoners among the killed and wounded at Blenheim"). In an interesting essay on guns, gun culture and murder in early America, Bellesiles is finally dispatched by Randolph Roth of Ohio State ("every tally of homicides Bellesiles reports is either misleading or wrong").
To give him credit, Bellesiles falls with some dignity ("Arming America is admittedly tentative in its statistics"), but fall he does. Now Emory is making nasty noises, and erstwhile allies are fleeing into the hills. Morgan, who whooped him up in the New York Review, says he's rethinking. Garry Wills says he's too busy now to address the matter, which is pretty lighthearted, considering that Bellesiles's phony scholarship is as devastating a blow as the antigun crowd has sustained in decades of fighting over the Second Amendment. (I speak contentedly as the owner of a 12-gauge and a .22, though I think too many discussions, pro and con, of the Second Amendment lack any sense of dynamism in the surge and ebb of class struggle in America.)
What about Knopf, which published Arming America? Editor Jane Garrett tells Postel that the house "stands behind" Bellesiles, that his were not intentional errors but the result of some "over-quick research." Knopf is renowned for its cookbooks. Suppose Bellesiles had suggested putting Amanita phalloides into the risotto. I don't think Garrett would be so forgiving.
It all began with a missing sheet of homework. "Contractions," my son had written very clearly in his assignment log. "What's this?" I asked when he announced he'd finished everything else, noting that there was no book or worksheet to which the reference logically applied. "Don't know," replied my son.
I was off to the races, astride my high horse, afroth with my mission of dutiful motherhood, my son sniveling that he had No Idea what it meant.
"The teacher made you write it down, n'est-ce pas?"
"No buts--I am calling for reinforcements." So we called his best friend. No Idea. Aha, I thought, the two of them must be in league. We called his next best friend. No Idea. Three in league? Better try the girls, girls are sober, reliable, always bright as buttons. But girls were not home, out sick, at gymnastics, No Idea.
I called my mother: How will he ever get to college at this rate, I moaned. "Is this a joke or are you working out for the high blood pressure Olympics?" she asked quietly.
By 6 o'clock, I gave up, took two aspirin and went off to a school board meeting. Most unfortunate for my throbbing temples, gifted and talented programs were the topic of the evening, and the room was packed with parents, 100 percent of whom were banking on the hope that their children were in the ninety-ninth percentile. An expensive array of options was on the table, products and "packages," computer programs and reading lists. It was a veritable Tupperware party of the education industry, but what most people seemed to want most was A Separate Class.
One of the things I get to do in my profession is travel around to schools and talk about the benefits of equal access in all its forms. I find myself increasingly concerned that a kind of triage mentality has settled over schools, a vise of constraint that has led to a bottom-dollar hunt for top students. Triage is a theory that makes a certain sense in extremely dire settings where such a cruel cost-benefit analysis has the remote moral justification of salvage-under-fire. That educational opportunity should at all resemble such a configuration in this, the wealthiest and most technologically developed country on the planet, speaks of a deep and troubling class divide.
I cannot help thinking of this as I read headlines about libraries being shut, public universities shrinking, school music programs disappearing everywhere. I cannot help thinking about this as I sit in yet another roomful of parents desperately touting their children's special attributes, waving credentials about as though clawing their way up from the steerage deck of the Titanic.
The guest expert at this particular meeting defined "gifted" as the top 3 or 4 percent of the population, although that particular cutoff reflected a monetary limit, rather than any rational relation to the potential of a child "only" in the ninety-fifth percentile. In a different district there might be enough money to provide services for only the top 1 percent; in yet another, for the top tenth.
But I can't help believing that in a world of universally well-funded education, schools could provide for almost all their students much of the enrichment that is now reserved only for the most endowed. We seem to have forgotten that there are many successful models in which all levels are accommodated, in which neither gifted nor special education students are segregated but are given materials that both educate and engage; programs where individual differences in ability can be negotiated in small classes, by teachers who are well-educated and well-supported.
As I glanced around the room, I did the math that a lot of people seem to be ignoring: A Separate Class for the top 3 or 4 percent would mean that no more than one or two students in a given grade would have access to the truly wonderful materials being discussed--materials from which any child could profit. There will be a heap of hurt feelings if this plan comes to pass. But more important to the state of our union, it is wasteful of precious human resources. It is inconceivable to me why we Americans can't cough up enough money so that the "bottom" 95 percent are exposed to Shakespeare and calculus and music theory from as young an age as possible. If they can't all write a concerto by the time they're 7, at least a whole lot more of them will be able to enjoy one.
While I think programs and materials for the gifted are fine and good, I worry about meetings like this in which the dominant sentiment is that the only way to educate the gifted is to remove them from the company of mere mortal riff-raff. In a world where public schools are shuddering beneath hatcheted budget cuts, gifted programs have become a kind of status symbol, the equivalent of those new "designer" medical practices where doctors charge exorbitant fees to make themselves available to only a few patients for round-the-clock cell-phone access and midnight consultations.
The board meeting ended with a description of how a special class for the gifted had helped maximize the strengths of one particular child described as "brilliant but unmotivated"--a child of such genius that he was too preoccupied to get to school before the day was half over. His tardiness was so great that the teacher would actually go to his house in the morning and drag him to school herself. Hmm, I thought. What a wonderful world it would be if we put together the resources to push all children with such unyielding solicitude.
When I got home, I checked my e-mail to find a note from my son's teacher explaining that she had simply forgotten to give the children the worksheet on contractions. All the tension drained from me. Education has become such an awfully anxious rat race. I kissed my son--who in the meantime had come up with the inventive theory that contractions are the physical product of any given page of long division--on the tip of his nose. How lucky our worries. How perfect the children.
A few years ago I concocted a theory about John Grisham I was too lazy to prove. Here was the hypothesis: This bestselling author was the most successful popularizer of populist notions in American culture. His stories--on paper and onscreen--often pit small folks against malicious corporations and their anything-for-a-buck lawyers who manipulate a system that favors monied elites. In The Pelican Brief, a rapacious oil developer looking to drill in the environmentally precious marshlands of Louisiana funnels millions to government officials and bumps off two Supreme Court Justices to thwart a lawsuit brought by public-interest lawyers against his wildlife-threatening scheme. In The Rainmaker, a young lawyer battles a mega-firm on behalf of a couple screwed over by an insurance company that won't cover a bone-marrow transplant for their son, who is dying of leukemia. The Runaway Jury's bad guy is Big Tobacco. In The Street Lawyer, a corporate attorney bolts from his firm when he discovers it's been wrongfully evicting poor people from their homes. Justice for sale. Money in politics. Corporate greed and malfeasance. And millions of readers devour this stuff.
But not me. I was interested in this notion of Grisham the Populist, based on reading the book reviews and seeing several Grisham flicks. After tearing through The Pelican Brief--too breezy, too melodramatic, too unrealistic, even for airport fiction--I was not eager to do the heavy lifting necessary to confirm the theory (that is, read the books). Instead, I tasked an assistant to peruse some Grisham novels and draft plot summaries. In the meantime, I wrote Grisham and requested an interview to discuss the politics of Grishamland. Should face time be granted, I figured, I would crack open paperbacks in preparation. In the meantime, the summaries started appearing on my desk, and my assistant complained, "This is like reading television." But no word came back from Oxford, Mississippi. I deep-sixed Project Grisham.
Then recently the phone rang. A book review editor asked, "Didn't you once have some ideas about John Grisham?" "Well, uh, kind of, but I didn't really pursue it...." Yet that was enough for this editor: The new Grisham was being FedExed to my office. I was back on the case.
I was under no illusion that Grisham was a modern-day Steinbeck or Odets. He's not writing to send a message. And he does take his swipes at progressive-minded characters. The NAACP lawyer in A Time to Kill is an egotistical cad who cares more about money and power than helping a black man on trial for killing the two white men who raped his daughter. The anti-tobacco activists of The Runaway Jury use underhanded means to defeat the tobacco-industry lawyers. But by placing legal Davids in battle against corporate Goliaths to derive drama, Grisham has consistently presented an unflattering picture of the Enron class. However, his latest, The Summons, only marginally hews to such a story line. The main clash is not between the powerful and the screwed. It occurs within a family. There is an evil-corporations subplot, but it's mostly device, not driving force.
The setup: Ray Atlee, a 43-year-old law professor at the University of Virginia, receives a letter from his dying father, "The Judge," calling Atlee back home to Clanton, Mississippi, to discuss his father's estate. Atlee, estranged from Dad and the ancestral home, does not look forward to the trip. He's already in a funk. His ex-wife has married a millionaire corporate raider and borne him twins (conceived, all too obviously, while she was married to Atlee), and a lovely (and rich) third-year law student is teasing Atlee silly. So off he goes in his midlife-crisis sports coupe to the town he escaped. When Atlee arrives home, he finds Dad dead. Atlee dutifully starts organizing his father's papers and stumbles across a surprise: more than $3 million in cash hidden in twenty-seven stationer's boxes. Where did this poorly paid public servant get the moolah? What should Atlee do with all those Ben Franklins? Include them in the estate--which would mean the government would grab its share, his father's honor might be tainted and Atlee's alcoholic/junkie brother, Forrest, would claim half and be able to finance his descent into complete self-destruction?
This is a what-would-you-do mystery, and a how-would-you-do-it thriller. (We learn that three mil in hundreds fills three large garbage bags--and that poses logistical difficulties if you're driving a car with a small trunk.) Grisham throws in enough moral shading to supply Atlee reason beyond avarice to take the money and run. But greed hovers, even as Atlee tells himself he's not sure he's going to keep the loot. First, he has to uncover the backstory.
A warning to any potential readers of The Summons: There are a few plot points in this book, and to describe it further is to reveal precious twists. If you have an inclination to read this novel, do not continue beyond this paragraph. Skip ahead to the review of the Italian Baroque lady painter who specialized in blood-drenched scenes.
OK, now that the Grisham fans are gone, let me say that this book is much better than the improbability-ridden Pelican Brief, but it was still unsatisfying. The main dilemma is engaging--what to do with free, albeit probably tainted, money?--yet there's not much oomph to the tale. Perhaps that's because Grisham does not provide reason for readers to care about Atlee. He's a good-enough sort, plays well with fellow faculty members, has been hurt by a woman who done him wrong and won't sleep with a student until she graduates. He specializes in antitrust, but we're spared his views. He's not the Jimmy Stewart type, drawn helplessly into an alternative world of intrigue. He's a guy who likes flying and is coasting. Until he finds the cash.
Atlee then faces three immediate challenges: how to move the money without being spotted, how to determine whether it's marked and how to discover its origins. Of course, he's able to succeed on each front, but the trouble is that these tasks end up not requiring great ingenuity. Also, there's someone trailing him, and that unknown person wants the cash and is willing to use violence to get it. Atlee has to watch his back as he shuttles to various rental-storage lockers (where he keeps the money) and to various casinos (where he drops hundred-dollar bills, looking to see if the expert money-handlers will detect them as marked). As for the money's source, Atlee's investigation is too straightforward. In the judge's papers, the files concerning one case are missing. Atlee heads to the Gulf Coast to examine the court records. He then talks to the lawyer who won. And--bing!--that mystery is solved, a bit too easily.
It is this case that brings us the novel's hint of populism. Seems a Swiss pharmaceutical behemoth was selling an anticholesterol drug that had an unfortunate side effect: kidney failure. The company was aware of the problem but marketed the drug anyway. By the time Judge Atlee came to be presiding over a wrongful death suit, filed against the company by a widow living in rural Mississippi, tens of thousands of kidneys had been ruined. The judge showed the company's lawyers no quarter and in the end socked the pharma with an $11.1 million fine. "The opinion," Grisham writes, "was a scathing indictment of corporate recklessness and greed.... [The] trial was Judge Atlee at his finest." How did this lead to boxes full of cash? I'll leave that to your imagination. Here Grisham is in sync with his past us-versus-them plots. But The Summons does not dwell upon the malfeasance of the drug-maker. Rather, the book blasts away at the attorney who won the case, in what amounts to an indictment of mass-tortlawyers. The pages drip with scorn for attorneys who become wealthy by handling class-action suits against corporate malefactors, such as tobacco companies and asbestos manufacturers. "I worship money," this lawyer tells Atlee. Grisham takes the bogeymen of the Naderish left and the Chamber of Commerce right--corporate evildoers and trial attorneys--and places them in a state of moral equivalence.
But this is far from the point of the book; it's simply the point of my review, for there's not much to dig into in The Summons. The solutions to the few mysteries in it are not big shockers. The novel contains just enough elegant touches to make readers realize there should be more. Atlee's difficult relationship with his brother is rendered well. The impact of the found money on Atlee is interesting to watch. Yes, watch--this is like reading television. But the drama is not as intense as in A Simple Plan, which used a similar scenario. (Grisham does obliquely reference that book/movie in this novel.) Atlee's desire to hold on to the bucks ends up threatening his comfortable life, and Grisham throws in a much-yearned-for curveball toward the end. For a moment, it looks as if Atlee might actually be facing time in the slammer. But fate is not that unkind. And who is it that's after Atlee? A reader who looks at this book as an English parlor mystery, wherein the culprit has to be someone in the room, will not be hard pressed to conjure up the answer.
Back to the important matter: my take on Grisham. He's certainly not writing left-wing agitprop disguised as legal-drama pulp. But in his universe, lustful and reckless corporations often run wild until they are checked by a righteous judge or some other soul moved by ideals, not dollars. Trial attorneys might be scumbuckets who care more about champagne baths than about their clients. Still, Grisham has the novel's annoying millionaire ambulance-chaser tell Atlee, "It takes people like me to keep 'em honest"--a proposition that neither author nor protagonist rebuts. The Summons does not advance the unsteady justice-ain't-equal populism of Grisham's previous work. That's not its mission. But in general Grisham presents the tens of millions who glide through his popcorn novels with the view--in some books more than others--that life is often unfair for a reason, unfair by design, and that specific interests are responsible for this. Not quite a Nation editorial, but better than Sidney Sheldon.
In the vestibule of the superb exhibition of Orazio and Artemisia Gentileschi at New York's Metropolitan Museum of Art (until May 12), the organizers have installed a large colored photograph of the ceiling decoration, done in 1611 for the Casino of the Muses in the Palazzo Pallavicini-Rospigliosi in Rome. It shows a number of musicians--the Muses themselves--performing on a balcony around the room, and it is painted in the confectionary colors of some improbable Italian dessert--candied fruit in sculpted whipped cream. A handsome girl, elegantly dressed and holding a large fan, gazes out over the balustrade. It is said to be Artemisia Gentileschi herself, posing for Orazio, her father, who painted all the other figures as well, making music or standing about enjoying it. Artemisia would have been 18 at the time, and was already an accomplished painter. The illusional architecture was then painted by Orazio's associate, Agostino Tassi, a master of perspective, who had been engaged to teach that art to Artemisia. The whole scene, of an almost edible beauty, is an image of life at its sweetest--music, indolence and the pleasures of an attractive company.
The following year, Orazio, Artemisia and Agostino Tassi were to be caught up in scandal. Orazio brought suit against Tassi for having violently deflowered his gifted daughter, and Tassi denounced Artemisia as having had no virginity to lose at the time the two of them became lovers. The sensational record of the trial, which became the buzz of Rome, has inspired novels, a film and a recent play; and Artemisia--characterized by the art historians Rudolf and Margot Wittkower as "a lascivious and precocious girl, [who] later had a distinguished and highly honorable career as an artist"--has become a feminist heroine. The degree to which her sexual trauma inflected her subsequent art remains a topic of debate. It has, for example, become something of an interpretive commonplace to read her gory depictions of Judith cutting off the head of Holofernes as an act of revenge for having been raped.
The ceiling decoration, which serves as a kind of prelude to the exhibition, could not contrast more vividly with the dark violence typical of the Gentileschis' paintings. Father and daughter were both much under the influence of Caravaggio, and indeed it is as prominent caravaggisti that they were largely remembered in histories of the Italian Baroque before Artemisia was rescued by feminist art historians with a natural interest in forgotten and neglected woman painters. In Caravaggio, an uncanny light picks out scenes of violent conduct that would otherwise have transpired in a world of utter darkness. It is as though we see as with the all-seeing eyes of God the terrifying deeds that those who perform them might believe are hidden--murder and robbery, violation and revenge, torture and defilement. The consolation of Caravaggio's paintings is the assurance that every sin is known and registered. The soft bright world of the Casino of the Muses belongs to the taste of a gentler age than the Baroque, in which the Gentileschis, father and daughter alike, earned their fame for paintings of extreme drama in which, if anything, they went beyond Caravaggio in the ferocity of their protagonists. And they selected their subjects precisely as occasions for demonstrating their unflinchingness.
The Baroque in Italy saw a coarsening of culture, in which painters were enlisted to depict the spilt blood and broken bodies of the great heroes and heroines of the Christian faith undergoing their martyrdom. Blood was the emblem of redemptive suffering. Almost the first work one sees by Orazio is an immense altarpiece showing the Circumcision of Christ, in which God sheds the first blood of his human incarnation. Painting was the arm of Catholic revival against the threat of Protestantism, and the wounds and visible agonies of holy beings were designed to awaken sympathy in viewers. A splash or spurt of blood was as commonplace in Baroque painting as automobiles exploding in flames are in action movies. Artemisia was a painter of her time.
Agostino Tassi's injury to her was not so much the violence of his attack as the fact that he robbed her of her virginity and falsely promised marriage. It is after all not the standard response of raped women to want to marry their ravishers, but there is evidence of continuing affection on both sides after the incident, and Orazio emphasized in his petition of 1612 that his daughter had been known in the flesh many a time by Tassi. Artemisia, whose description of her forced seduction is recorded in some detail--the judge asked how she knew that she was bleeding from it, for example, and not menstruating. When she underwent torture, by an instrument involving rings tightened around her fingers by means of string, she called out to her betrayer, "This is the ring you gave me, and these are your promises!" She was a spirited woman, and it is worth comparing her version of Judith with Caravaggio's. Caravaggio's Judith is a young girl, with her hair braided in rings over either ear. She handles the sword to kill Holofernes, the general who had conquered her people, awkwardly, as something foreign to her, and she performs the action with a becoming squeamishness, as if repelled by the sight of blood, which spurts out in red jets. Caravaggio has composed the scene within a canvas far wider than it is high, in order to put as much distance between Judith and the victim as possible. Her servant is a crone, to show off Judith's innocence and inexperience. Artemisia's Judith is a femme forte. She handles the sword with the confidence and power of a fishwife dealing with a particularly large tuna, while her maidservant holds Holofernes down with both her arms. And the canvas is higher than wide, so that the full weight of the two women presses down. And the blood is there because--well, that's the way decapitations were represented in Roman painting circa 1613.
If any of Artemisia's paintings refer to unwanted sexual attentions, it would be her first known work, the amazing Susanna and the Elders, the story of which even refers to a trial and a vindication. But the painting antedates the trial of Tassi by two years, according to the experts. Artemisia was 17 when she painted it, and it would compel our astonished admiration even if there were not the subsequent whiff of scandal. Pure, beautiful Susanna sits naked in her husband's garden, waiting for her maidens to bring a basin of water and some oil, when the horny elders, who have no business there, attempt to blackmail her. Either she yields to their lust, or they will say that they saw her in the arms of a man. But the wily Daniel establishes her innocence by examining the elders separately, and showing that their stories do not jibe. It was a fairly popular subject, and it is not difficult to see why. The viewer is given an eyeful of Susanna's nakedness, with the excuse that the story after all is from the Bible--and there is the added benefit that one can condemn the prurience of the elders while enjoying Susanna's discomfiture, unable to cover herself with the towel that the artist always makes just too skimpy for purposes of modesty.
The question remains of why this particular subject would have recommended itself to Artemisia. My own thesis, probably not entirely original, is that it was important to potential patrons to know that a painting that dealt with embattled sexual innocence was by a woman, who presumably knew the problem from within. Susanna and the Elders was the ideal subject for showing that, all the more so when there was the added possibility that it was the artist's own nakedness that one was seeing--that the artist painted her own breasts, ruled out in the case of Rembrandt or Ludovico Caracci or Lucas Cranach or Veronese or Tintoretto or the many Old Masters who found the subject irresistible.
Artemisia belongs to this great company by virtue of her artistic achievements, but it was her gender that defined her artistic identity, in this case as in others. Being a woman actually helped in Artemisia's art world. One of the most interesting things I learned from the show's excellent catalogue was the fact that in 1636, when she was established and illustrious, Artemisia received payment for three quite different paintings (all untraced today)--a Bathsheba, a Susanna and a Lucretia--from Prince Karl von Liechtenstein, an avid collector who obviously associated these alluring female subjects with the famous female painter. There is an engraving, based on a self-portrait by Artemisia, in which she is identified as "Artemisia Gentileschi, Most Famous Roman Woman [romana famosissima], Painter of the Academia Desiosa." In the self-portrait, Artemisia showed herself in an opulent, low-cut dress, in lace collar and jewels, wearing an expression of almost aristocratic disdain and a wild, disheveled coiffure. She did not hesitate to bestow her own strong features on her passionate and heroic Judiths, her Lucretias, her Esthers. It was an age of great collections. It would be altogether desirable, in showing visitors through one's gallery, to be able to say, before a painting of this or that famous woman, that she had been painted by a woman no less famous--the great Artemisia Gentileschi--and to display the engraving as evidence that she had given to that brave and forceful figure her own mouth and eyes.
Of course, Artemisia was not famous at all in 1610, when she painted her Susanna. But the painting has a certain gestural authenticity that makes it feel like a personal allegory of a young woman's ordeal. The elders are shown leaning over the wall against which Susanna's back is almost literally pressed. It is as if her oppressors are crowded into Susanna's space, where they press down upon her like a dense cloud. They have already penetrated her person in a symbolic way by being much closer to her than decency allows, far closer than voyeurs, and are already touching her hair. Susanna is twisting her body to escape their touch and has raised her arms to shield herself from her tormentors--though we viewers get to see one of her breasts. There is a marvelous expression of anguish and disgust on her face. Her gestures are entirely convincing, and one cannot but infer that Artemisia knows from her own experience the way a girl would respond to unwelcome approaches.
A diary by Fernande Olivier, who was to become Picasso's mistress, has recently been published. She was a beautiful girl, and others could not keep their hands to themselves when around her. Fernande at first welcomed the attention as evidence of her attractiveness. But she had constantly to defend herself against sexual molestation. I don't think a male artist would know how to enact the bodily gestures that expressed this the way someone who had to deal with it all the time would do. And it would not have occurred to a male artist to ask a model to pose that way. Whether anyone had gotten as close to her as Tassi was to do, Artemisia conveys through her Susanna the bodily truth of what one might call the proto-rape that Fernande (who was brutally raped by her husband) describes so graphically. There is a question in connoisseurship as to whether Orazio had a hand in Artemisia's Susanna, but if my interpretation is sound, it was essentially her painting. You can check his picture of the same subject in the Met show for purposes of comparison. It is a fine painting, but it lacks the internal fire that came naturally to his daughter in dealing with the subject.
But for the legal wit of her attorney, Susanna, like Lucretia, would have been the victim of her virtue. Susanna placed virtue above life, since she knew she would be punished with death as an adulteress, which the elders would say she was if she refused them her body. And Lucretia, raped by Tarquin, had to erase the stain with her own blood--which is more or less the equation implied in cleansing sin with Christ's blood in the Christian theory of redemption. The attractiveness of Lucretia as a topos for painters is that, as with Susanna, it gives them a moral opportunity to display a woman's breasts in a narratively compelling way. She is almost invariably shown with a dagger pointed at her bared bosom. Artemisia seems to me to have posed for her Lucretia, executed 1623-25. I base this on the fact that she is shown with the knife in her left hand, which would be puzzling until we take into account the fact that it is probably a mirror image of Artemisia holding a knife in her right hand. But I don't think we are to read it as a self-portrait--a portrait of herself as Lucretia.
There is a difference between using oneself as a model and painting oneself as the personage for whom the model stands. We may be seeing Artemisia's flesh in her paintings of Lucretia or Susanna or Cleopatra, but I don't see her portraying herself as Lucretia or Susanna or even Cleopatra, whose self-administered death by means of an asp allows the same natural way to show bared breasts. I feel the same way about Artemisia'a depiction of Danae in a marvelous painting she did in 1612, the very year of the trial. Titian had painted a Rape of Danae and so, for that matter, had Orazio. The story was well-known. Danae's father was told that his daughter would give birth to his slayer, and he prudently locked her up in a tower. What he had not counted on was Zeus, who was stricken with Danae's beauty, and metamorphosed himself into a shower of gold, impregnating her. The child turned out to be Perseus, who indeed killed his grandfather. Danae is always shown nude, though there is reason to wonder why, if Zeus could get through stone walls, a nightgown would be much of an obstacle. In any case, Artemisia's Danae is clearly enjoying the experience. It is raining gold coins in her chamber, and she is in some sort of sexual transport, clutching the coins in her hands--though whether because of sexual or monetary greed is difficult to say. It is a nice piece of ambiguity for a young artist to have negotiated, and not far from seventeenth-century reality. But I cannot see the painting as a self-portrait of Artemisia as Danae.
I would, on the other hand, accept the possibility that the painting of Clio in the exhibition is Artemisia as the Muse of History, because fame was so integral to her artistic persona. Or that her Allegory of Painting is to be read as at least a symbolic self-portrait, since it would show her as one with the attributes of her art (it would be difficult to see it as a literal self-portrait, since the figure is heavily foreshortened). There are four Judiths (excluding those painted by Orazio) in the show, and I would willingly accept a conjecture that Artemisia identified with her, not on the grounds of paying Tassi back for having raped her but because Judith was a paradigm of a woman who used her femininity to achieve real goals. For one thing, Judith is described as being beautifully dressed, with jewels and a hairdo to enhance her desirability. Holofernes invited her and her maidservant into his tent, where he drank himself into a stupor. When Judith displayed his severed head, she so raised the morale of the Israelites that they overcame their enemy. Artemisia was a proud woman, as she had every right to be, as a recognized wonder of the age. Her letters are full of grumbles, since she was the head of a household, in need of cash since she had a daughter to marry off and no husband to turn to; the man she married after the trial had disappeared, and she did not know if he was even alive. But she had patrons in high places, her prices were respectable and she corresponded with Galileo. And being known as a woman was internally related to her success.
We must all be grateful to the Met for having put this show together, even if it has a particular relevance to specialists, still sorting out the attributions of the works. There will always be a nagging question of what was done by Orazio and what by Artemisia. This is by no means mere pedantry, since a lot of our readings depend on being clear on authorship, and even on getting the dates right (the Wittkowers thought Artemisia 15 at the time of the trial). But I am even more grateful to the feminist art historians who pulled Artemisia out of obscurity, and who did so much of the research needed to set the story straight. Too many great artists have been forgotten to get indignant because she was, or to explain it as the result of her being a woman. Think of Vermeer, Caravaggio, Piero della Francesca, just for starters. There is a fringe benefit to this: Thinking hard about Artemisia helps us begin to appreciate the great painters of the Italian Baroque, her father included, who, like her, have been too opulent, too operatically passionate, too vehemently theatrical to appeal to our minimalist tastes. It helps to see her work through gendered readings, so long as we recognize that this does not entail seeing her as a victim.
My sister-in-law, a historian and researcher in alternative medicine, once told me of a doctoral dissertation she'd happened across in which the writer interviewed a number of committed liberals and conservatives for the purpose of drawing conclusions about their governing emotional equipment. Liberals, the student found, feel most at home with guilt. Conservatives, as you might expect, don't have much truck with that; instead, they do anger.
It may be hard to call these findings shocking ones, and I do not know whether the candidate's advisers concluded that he or she had sufficiently advanced the literature so as to earn a doctorate. But I can say from personal experience that the liberalism-guilt correlation rings true, and, after reading David Brock's Blinded by the Right, I can certify on the strength of Brock's eyewitness--and often eye-popping--account that conservatives really do anger. Anger as trope; anger as strategy; anger as immutable biological condition; and anger just because it's fun. Yes, we knew this. But we didn't know it the way Brock knows it. Let me put it this way. Throughout the Clinton era, I read every major newspaper and all the magazines and a lot of the websites and most of the pertinent books; I didn't think there was much more for me to learn. But once Blinded by the Right kicks into gear, there is a fact, anecdote or reminiscence about the right's feral hatred of the Clintons every ten pages or so that is absolutely mind-boggling. And, as often as not, these stories are also about the rancid hypocrisy (usually sexual) that underlay, or probably even helped cause, the hatred. In sum: You cannot fully understand this fevered era without reading this book.
The question you may fairly ask is the one some people are already asking: Given the source--Brock was the capital's most famous conservative journalistic hit man before quite famously commencing a mea culpa routine in 1997--can we believe it? The short answer is yes, mostly. The long answer requires that we start, as Oscar Hammerstein III put it, at the very beginning.
The book dances back and forth between exposé and memoir. David Brock was raised in New Jersey, the adopted son of a mother who paid too much mind to what the neighbors thought and a father so rigidly conservative that he did something, as Brock notes, that even Pat Buchanan never felt moved to do: He left the Catholic Church to protest the liberal reforms of Vatican II and worshiped in a sect overseen by the profoundly right-wing French archbishop Marcel Lefebvre. It was partly for the sake of agitating his taciturn father that Brock's first political stirrings were liberal (Bobby Kennedy) to moderate (Jimmy Carter, for whom he secretly persuaded his mother to vote). The family moved to Dallas, an inhospitable milieu in general for a Kennedy acolyte, not least one who was coming to terms with the fact that the sight of his fellow boys disrobing after gym class did more to quicken his pulse than, say, a stolen glance in the direction of the décolletage of the Cowboys cheerleaders. Hating Dallas and still seeking to traduce the old man, for college he chose, of all lamentable destinations, Berkeley.
There, Brock expected to drop anchor in a tranquil moorage of like-minded, tolerant, liberal bien pensants. Instead, he ran head-on into the multicultural, academic left, a bird of altogether different plumage. When Jeane Kirkpatrick came to campus to speak, and protesters would not let her utter a sentence as one of them unloaded a bucket of simulated blood on the podium, that was enough for Brock. Soon he was writing columns in the Daily Californian applauding the "liberation" of Grenada and submitting an essay to the Policy Review, a publication of the Heritage Foundation, on campus Marxism. The Wall Street Journal adapted that piece as an Op-Ed, which caught the eye of John Podhoretz, son of Norman, and Midge Decter, and then an editor at Insight, a magazine put out by the Washington Times. Podhoretz offered him a job, and Brock was off to Washington.
The story of Brock's ideological conversion is important, because it reflects a pattern with regard to several of his comrades we meet later in that it was at once both shockingly superficial and utterly fervent. Forget Burke or Oakeshott or Hayek or even Russell Kirk; Brock admits he hadn't read a single thing beyond some issues of Commentary he tracked down in the library. "I knew nothing of the movement's history," he writes. Joe McCarthy, Goldwater, Nixon--all were mysteries to him, for the most part. His politics were nothing more than a reaction to his personal experience. While the same cannot fairly be said of the movement's intellectuals, from Brock's telling it was indeed true of many of the activists, operatives and media babblers. Their conservatism was purely an emotional or psychological response to their immediate environment. In the most extreme case, Brock writes that his former close friend Laura Ingraham, one of the bombastic blondes of cable television, didn't "own a book or regularly read a newspaper." But as we have seen, in our age, ignorance is no barrier to expertise, particularly on cable television.
Shallow though it may have been, Brock's conversion was virtually consummate. I say virtually because there were some matters on which he claims he never drank the Kool-Aid. He had little taste, he says, for the racist shock antics of the Dartmouth Review crowd; he quietly backed abortion rights; and, of course, on the gay question, he marched to a very different drummer than that of the movement to which he belonged. Of parties at the home of archconservative fomenter Grover Norquist, who hung a portrait of Lenin on his living room wall and often quoted Vladimir Ilyich's dictum to "probe with bayonets, looking for weakness," Brock writes that he was "ill at ease" at these gatherings; "unsure of how to handle the issue of my sexuality, I drifted in late and out early, usually accompanied by a woman colleague," traversing the room "like a zombie." Nevertheless, he wanted nothing more than their approval, and he put his remaining misgivings, and the odd homophobic joke, to the side.
This brings us to the book's second vital point about the winger psyche. The need to belong--and, specifically, to belong to a self-styled minority that felt itself embattled, thumbing its nose at the larger, contaminated culture--is a constant motif of Blinded by the Right, and it becomes clear over the course of the book that it was this convulsed emotional state, even more than ideology, that was, and I suppose still is, the real binding glue among the right. For Brock, it began with his trying to shock his father with Jimmy Carter and Berkeley; it went on to Brock's seeking to vilify the campus lefties. It was present, too, among many of the movement types he befriended: "There was electricity on the right, the same sense of bravely flouting convention--of subverting the dominant culture--that I had first felt in Texas and then at Berkeley."
It was by the time of the 1992 election, when this mindset joined hands with a group of men--and their many millions of dollars--who couldn't accept that the GOP was losing the White House to such a man as Bill Clinton, that it went from being a kind of batty nuisance to a well-oiled agitprop apparatus to, ultimately, a threat to the Constitution. Brock was by then ensconced at The American Spectator, which became in time the most virulent right-wing magazine in America, willing to publish any thinly sourced rumor as long as it made a Clinton look bad, and the home of the Arkansas Project, the Richard Mellon Scaife-funded operation that sought to dig up any Clinton dirt it could find. Brock sharpened his knife first on Anita Hill. With Laurence and Ricky Silberman holding his hand--he was a circuit judge in Washington and a member of the hard-right Federalist Society; she had worked for Clarence Thomas with Hill--Brock could scarcely believe how quickly and easily previously unreleased affidavits and so on fell into his hands from GOP Congressional staffers.
Brock knew intuitively what he was supposed to do with this material, and it wasn't journalism. It was character assassination, and not only of Hill. Of one Democratic Senate staffer, he wrote that the man was "known for cutting ethical corners...to achieve desired results." Brock admits he knew nothing about the man. He made no effort to contact sources who might have had different interpretations (and obviously not Hill herself); he double-checked nothing; he twisted the hearing record to make Hill look like a vengeful harridan who was, in his infamous phrase, "a little bit nutty and a little bit slutty." But it was good enough for the Spectator, which billed it, natch, as investigative journalism. Rush Limbaugh began reading sections of the piece on the air. Brock was put on to Glen Hartley and Lynn Chu, the literary agents of choice for the hard right. He signed a book contract with the Free Press, then run by archconservative Erwin Glikes and Adam Bellow, son of Saul. The Real Anita Hill hit the bestseller lists. The right-wing newspeak machine, now such a fact of political life, was born.
Next up, the famous "Troopergate" story (again in the Spectator), about Arkansas state policemen supposedly setting up sexual liaisons for Governor Clinton. Brock followed the old MO--no independent sourcing, printing rumors, etc.--to the same triumphant effect. And this time he found to his surprise a willing abettor. Though a few mainstream news organizations did shoot down some specific charges that didn't check out, the chief response of a largely panting Washington press corps ("I was astonished to see how easy it was to suck in CNN") was for more, more, more. Brock became a bigger star still.
Hillary Clinton was the next quarry, and Adam Bellow had obligingly put a $1 million price on her head in the form of Brock's advance. But Hillary proved to be Brock's Waterloo--as she has been, incidentally, for several other men who were supposed to steamroller her (Starr, Whitewater committee chair D'Amato, candidate Giuliani, candidate Lazio...). By then, Brock was starting to develop a conscience. In 1994, Jill Abramson and Jane Mayer's book on the Thomas-Hill matter, Strange Justice, had hit the stands. It proved to everyone in the world but hard-shell rightists that Thomas was indeed a ravenous porn enthusiast and that Hill, in all likelihood, was the truthful one. When even Ricky Silberman, who had been Brock's source and cheerleader while Brock was writing the Anita Hill book, seemed to acknowledge privately that Thomas had lied, Brock was shaken.
By the time he got around to Hillary, Brock was determined to write an actual book. ("I began to relish the complexity of my subject. I realized I had never known what journalism was.") I cannot here convey the full flavor of the contempt his old comrades regarded him with as a result: the sideways glances, the calls not returned, the party invites not received--and, now that he wasn't "on the team," in the argot, the jokes about and denunciations of his sexuality, suddenly delivered within earshot. He was not supposed to commit journalism or write what he thought. He was supposed to kill Clintons. Period. Once he stopped that, his life on the right was finished.
David Brock gave up anger and turned to guilt. In the process, he flings open a most illuminating window on this hideous circus. Here is Newt Gingrich, vowing "to say the word 'Monica' in every speech" even while "conducting his own illicit affair." We see Georgia Congressman Bob Barr plotting to bring the troopers to testify on Capitol Hill to expose Clinton's adultery--the same Barr who, interestingly enough, married his third wife within one month of divorcing his second. We hear Jack Romanos, the head of Simon & Schuster, telling Brock, as he signed the million-dollar Hillary book deal--without even writing a proposal!--that the only thing he wanted to know before OK'ing the money was whether Hillary was a lesbian. We eavesdrop on the publisher of the Spectator asking Brock, "Can't you find any more women to attack?" We read of George Conway, one of the lawyers who played a crucial role in pushing Paula Jones's story, admitting that privately he didn't believe Jones's allegation at all but that her case must be pressed nonetheless because the point was to force a situation in which Clinton would have to lie under oath about extramarital sex. We witness Ted Olson, a member of the bar and now this country's Solicitor General, telling Brock that while he believed Vince Foster had committed suicide, the Spectator should still run a trashy, unsourced piece about Foster's "murder" to keep the pressure on the Administration until the Spectator could shake loose another "scandal."
Anecdotes like these spill out of this book. And so we return to the question: Why believe this man? I was not persuaded by every assertion about his emotional state in 1992 or 1995; there could be some after-the-fact varnishing going on there. But as for what he saw, and whom he saw doing it, there are three very good reasons to believe every word. First is the simple standard of factual recall. Brock names names, places, dates, the food and wine consumed, the color of the draperies. Perry Mason would love to have called Brock as a witness and watched as poor Hamilton Burger buried his vanquished head in his hands.
Second, quite simply, the writing has about it the tenor of veracity and candor. Brock comes clean on things he has no contemporary motive to come clean on, like a lie he told back at Berkeley in an attempt to discredit a journalistic foe. That strikes me as an act of expiation, not public relations.
And third, most persuasive to me, is this: You would think the right's screamers would be engaging right now in flamboyant public harangues about Brock's duplicity and so forth. But to date, I've scarcely heard a peep. Admittedly, it's early yet, as the book is just out. If Blinded by the Right ascends the bestseller lists, I expect at that point that the screamers will decide they have to deal with it. Until then, my hunch is that they hope they can bury it with their silence. That tells me that David Brock, while no longer right, is, in fact, right as rain.
The new Daedalus is out. I have to admit to having not read Daedalus with much fervor in the past, say, fifteen years (well, if ever, to be honest), but I was curious about the venerable journal now that it's under the editorship of James Miller, professor of political science and director of liberal studies at the New School, and author, most notably, of Flowers in the Dustbin, a book about rock and roll that actually won a music-book award, to say nothing of his other books (one on Foucault, another on the SDS, another on Rousseau, plus History and Human Existence: From Marx to Merleau-Ponty).
Miller's first issue (Winter 2002) is about inequality. Whoever would have suspected twenty or thirty years ago that inequality could be considered good or that a discussion about its attributes could fuel an entire 117 pages of intelligent commentary? I'm aware of the debates--say, since Reagan--about the societal advantages of greed and inequality, but has any decent person ever seriously thought that inequality was good for anything other than sustaining the kind of high culture that produces journals like Daedalus, and of course for people like Marie Antoinette and Kenneth Lay? Anyhow, as Daedalus has traditionally, the new magazine suffers painfully from the kind of writing academics do ("In this essay, I shall attempt...," etc.) and the kind of writing policy wonks do ("The Luxembourg Income Study, which is the best current source of data on economic inequality in different countries, has calculated 90/10 ratios for fourteen rich democracies in the mid-1990s").
Yet because Daedalus has in the end a liberal mind, the new issue provides, if you can plow through it, a strong restatement of the value (economic, political and moral) of equality; and convincing arguments that inequality is pretty regularly--if sometimes more subtly than one would imagine--an evil. A historical essay that happens to be written by my distant cousin Sean Wilentz offers, among other things, lively illumination of the idea, dimly seized by me in my sporadic and unsuccessful attempts to buy a house, that the ability to purchase real estate lies at the heart of all equality or inequality.
In spite of the general impenetrability, many of the pieces have good bits. Martha Nussbaum's essay on women in India begins with an unforgettable story: A Bangladeshi woman waiting for a train at Howrah Station in Calcutta is first gallantly helped by railroad officials, and then drugged, kidnapped and gang-raped by four station employees; when she finally makes her way back to the station, battered, blood-stained and disoriented, she's tricked once again by other kindly, courtly, decent-seeming chemin de fer types into another gang-rape hideaway. Amazingly (cheerful Indian ending), she survives to bring suit against her attackers. This one anecdote brings life to Nussbaum's piece, while reminding us (as if one needed reminding, after the recent train burnings, etc.) that all the exotic incident and violence in Indian literature does not come from nowhere.
Quarrel & Quandary
As long as we're looking at venerable journals that I haven't read recently (an ever-widening category, it seems), let's talk about Partisan Review. I picked up the first issue of 2002 because it contains an article arrestingly titled "Melville's Skull and the Idea of Jerusalem," by Cynthia Ozick. Ozick is a great writer; her style is fluid and personal, and there is wonderful voice in everything she touches. This essay is no exception--if I agreed with any of its passions or arguments, it would be a beloved object of reflection. In it, among other things, Ozick claims that the modern state of Israel has at its foundations "ethical visionariness," unlike the states of Europe and other contemporary nationalist movements. Zionism, she says, "is distinct because it is inextricably bound with a coherent concept of the moral obligations of civilization: land cannot mean land alone, land bare of civilized purpose, land bare of law." This, by the way, is someone writing about Zionism not in the nineteenth century or two years ago, but today, as Israel's tanks roll back into the territories (land bedecked, no doubt, in "civilized purpose," so long as it remains occupied by those equipped with ethical visionariness). Ah, well; in her Zionist arrogation of all indignation, all righteousness, all suffering, Ozick even indicts Herman Melville for not recognizing Jerusalem's holiness, because he preferred the whiteness of the whale. She can't bear that.
Woman Is the Deejay of the World
Yoko Ono, an equally self-possessed woman, is on the cover of Mixer magazine, a decidedly unvenerable journal devoted to "music, clubs, life." In my house, we have a Don't Diss Yoko rule. Amazingly, my small sons have learned to despise her. They've informed me that Yoko "broke up the Beatles" and that she is "bad"--by "bad" they mean "bad." The great thing about Yoko is that, at age 68, she goes on being herself. She recently refused to give Paul McCartney any special credit on the Lennon-McCartney songs that he in fact wrote himself ("Yesterday" comes to mind), keeping the old enmity with Sir Cheerful simmering. Ono's latest prank: She's become an occasional club deejay down in New York's meatpacking district. "It's weird," says Peter Rauhofer, a city deejay, "when you're in a deejay booth...and find Yoko Ono standing beside you...at 3 am." He goes on: "Her manager asked me if I had a microphone, because Ono wanted to do some 'orgasmic moans.' I thought he was joking." He wasn't, of course. She does the moans, to the supposed delight of the dance floor. Later she repairs with a reporter for further insight to her "vast, conservatively decorated kitchen" in the Dakota. Yoko's evolution from child of Japan's banking aristocracy to alternative artist and outrageous darling of New York's demimonde would make an instructive entry in the annals of inequality. But if someone has to be rich, it should be Ono. Why? Because at a happening in Hyde Park in 1968 or so, she blindfolded an entire fashionable audience with sanitary pads--and then silently left them there to contemplate their own ridiculous abandonment. That's visionariness.
'CREEPS' ON PARADE
Wonderful to read David Corn on the return of all the creeps from contra ["Iran/Contra Rehab," March 11]. As a combat veteran, I always felt North's and Poindexter's convictions should have led to firing squads, not leadership positions and millionaire status. We can also add ol' Jimmie the Geek Watt to the list of convicted felons who walked courtesy of Reagan/
Bush court appointments. And why do some worry about Bill's sexcapades, when Bush and Cheney both got Layed?
An addition to Christopher Hitchens's point about the use of the word "niggers" in Robert Lowell's poem, "For the Union Dead" ["Minority Report," March 4]: It was, in fact, a reference to a message--originally intended as an insult to the family of Robert Gould Shaw--from a Confederate: "We buried him with his niggers!"
The Shaw family turned it into an exultation, saying: "What finer bodyguard could he have had?" Robert Shaw's sister Josephine married Charles Russell Lowell, an ancestor of the poet, so this bit of Civil War lore was part of his family history.
JAMES F. PENCE
CHALLENGING THE BEAST
Marc Cooper's report from Porto Alegre ["From Protest to Politics," March 11] was inspiring and included some hints about the state of the US portion of the anti-corporate globalization movement. As an activist from the marine division of the ILWU here in Seattle, I was upset to read, "The post-9/11 labor movement doesn't want its rank and file to see its leaders in street demonstrations that turn violent." Now, don't get me wrong--I'm not condoning violence as a tactic; however, there is more to the story. Our union not only shut down the docks on the West Coast during the WTO meeting here in Seattle, a group of 200 of our members and elected leaders walked through the marshals and bolstered the Direct Action folks. We were not led by any NGOs or top AFL-CIO leaders. We took the initiative and did the right thing. We are fortunate to belong to one of the few remaining US rank-and-file-run unions with a heritage of militancy and direct action. The vast majority of unions are top-down business unions whose leaders are deathly afraid of their members thinking or acting on their own.
By the way, no one from the ILWU made it to sunny Brazil. But three of us flew back to the "bellybutton of the belly of the beast," New York, for the WEF street protest. We participated in a peaceful, fun, vibrant street protest of 12,000 to 15,000. Yes, there were more NGO superstars in Porto Alegre, but I think history will show that it was more important to brave the weather and 4,000 NYC cops to challenge the beast.
JEFF ENGELS, IBU-ILWU
RESIST LOCALLY--AND NONVIOLENTLY
David Cortright's "The Power of Nonviolence" [Feb. 18], combined with The Nation's call to oppose globalism locally, points us toward more than nonviolent demonstrations and more than pressure on Congress.
Those sitting at forbidden lunch counters in the 1960s were not different from Seattle vandals just by being nonviolent. They were also clearly demonstrating what their message was: They wanted to be able to sit at those counters. We need boycotts of big-box stores with human chains around them, human walls against bulldozers, demonstrations at factories proposing to move overseas, campaigns in the street to take money out of big banks and put it in local ones, student walkouts of schools targeted for privatization, local sandwich sales in front of McDonald's. We need to think globally and practice nonviolent resistance locally.
David Cortright is correct in arguing that "a 95 percent commitment to nonviolence is not enough" in the movement against corporate globalization. As long as protests are planned around such events as the WTO meetings in Seattle, it is likely that protesters who refuse nonviolence will show up. By planning protests on dates of their own choosing, at the offices of governments, corporations and global trade organizations, nonviolent organizers would be better able to "run their own show" and maintain stricter nonviolence. High-profile meetings offer the perks of free, guaranteed press coverage and a convenient kind of roadshow for the global protest movement. But the baseball-bat-and-football-helmet crowd is less likely to crash a nonviolent protest if staying away doesn't mean giving up those same perks themselves. The sit-ins of the civil rights movement took place at lunch counters, not at Klan rallies.
DANIEL J. MORIARTY
Have we heard this myth of protester violence so many times that we believe it ourselves? True, Seattle was violent, but not on the part of the protesters. As for Genoa, credible reports point out that most of the "street battles" and property destruction were carried out by police infil-traitors. Instead of giving our critics ammunition by adopting the rhetoric of a hostile media, why don't we cease framing the debate by pitting "violent" protesters vs. "nonviolent" protesters and alert others to the true nature of our cause, which is, after all, global justice and peace.
ZINN: 'ELOQUENT'? 'MUSHMOUTHED'?
There was a deluge of mail in response to Howard Zinn's "The Others" [Feb. 11]. A sampling appears below.
Thank you for "The Others" by Howard Zinn. Finally someone has the integrity to raise a voice for the innocent people of Afghanistan amid the blind fury of the US media and the government. Please don't stop raising this issue again and again.
Howard Zinn has given us an eloquent and devastating rebuttal to those who think there is such a thing as an acceptable loss of civilian life in warfare. Any loss of life through violence is unacceptable. Until we can understand that the "others" are really ourselves, we will be the playthings of madness.
It's sad to see Howard Zinn stoop to peddling such softheaded, mushmouthed, sentimental claptrap. "Those who celebrated the grisly deaths...what if, instead of symbols, they could see, up close, the faces of those who lost their lives? I wonder if they would have second thoughts, second feelings." Please! As a corrective to his "can't we all just get along?" speculations, we should recall that the hijackers had no trouble looking into the faces of those they were about to murder without any second thoughts.
My sister was at work on the eighty-first floor of the first tower of the WTC. It took her more than one hour to come down, but thank God she made it. I have followed the developments since September 11 and am not surprised that the casualties in Afghanistan are underreported, as clearly the Afghans are insignificant. We have come to know that only American blood is blood, and it is water that runs in the veins of all others. What happened at the WTC is way past reprehensible. But an eye for an eye makes for only blind men. The government had a golden opportunity to prove to the world that it is different from the terrorists, but sadly, it hasn't, because it isn't.
Fujisawa, Kanagawa, Japan
It has disturbed me that critics of the war on terrorism have not pointed out that besides the possible 4,000 Afghan civilians dead after September 11, some 1.7 million Afghans have fled as refugees, with no home to go back to. If we could imagine an equivalent number of Americans displaced so that several hundred militants could be arrested, well, it would not be tolerated.
My Japanese students are surprised when I speak against the bombing, and impressed. Everyone who speaks the truth has an impact. Thank you, Mr. Zinn.
Howard Zinn accuses the September 11 hijackers and US politicians of perpetrating "terrorism" against "men, women and children." To make a moral equivalence between the two events is ridiculous. Distinctions matter. In the case of the World Trade Center, civilians were massacred deliberately during a time of peace by a nonuniformed group whose intention was to spread terror. In the other case, civilians were killed during an exercise of legitimate self-defense by a state, in response to an act of war, and were killed unintentionally despite good faith efforts by targeteers to avoid doing so.
If I, as a young historian, can see the difference between the two incidents, it is strange that Zinn, whose breadth of knowledge vastly exceeds my own, cannot.
Howard Zinn's putting a human face on the Afghan people killed and maimed by our bombing is of dire importance. I teach US history in a big urban university and have told my students that the greatest obscenity in the corporate media's coverage of this and other recent US wars is that only American lives matter. People trying to live in whatever impoverished, defenseless country we are currently bombing do not register on big media's cockeyed moral compass. Hence we never get to see or feel any of their anguish. I only wish Zinn's words could be circulated more broadly.
George W. Bush said in his State of the Union address, "Evil is real, and it must be opposed." Upon reading Howard Zinn's article, one has to stop and wonder just who the evil nation is. If US bombs had just wiped out your village and family, you would know who is evil, just like those who lost friends and loved ones on September 11 know who is evil. It's all a matter of perception, I guess.
Just how would Howard Zinn defend US citizens? Or would he? He may be of the school that feels, because of past morally indefensible interventions, that this country owes a sacrifice to "even out" the accounting in blood. September 11 was not a one-shot Oklahoma City-like catastrophe: It was an opening salvo. An armed response was mandatory; the workings of that action were, I imagine, informed by the grown-ups who advise the President. Had Zinn been in that cohort, what would he have advised?
Howard Zinn's article is a powerful reminder of the horrors that are perpetrated in the world. I, too, cried as I saw the portraits of the 9/11 victims. I, too, was crying not only for them, and not only for the victims of the wars the United States and other powers perpetrate but also for the millions who die every year because of economic terrorism. Detailed, in-depth TV and newspaper portraits of, say, the 12 million children who die from hunger every year might wake up our collective consciousness.
Zinn makes another important point that I stress with my quantitative reasoning classes: Statistical data can distance us from a deep empathy and understanding of the conditions of people's lives. Of course, the data are important because they reveal the institutional structure of those conditions. But, also, quantitatively confident and knowledgeable people can use those data to deepen their connections to humanity. Those 12 million children are dying faster than we can speak their names.