It is now widely acknowledged that what sparked the most devastating attack on the American mainland in history was the continued presence of US troops on Saudi Arabian soil after the Gulf War--which, in 1991, prompted the disaffection of Osama bin Laden, until then part of the Saudi political/business establishment. With US troops, warplanes and other military hardware stationed in all the gulf Arab monarchies, and the Pentagon's Fifth Fleet headquartered in the island state of Bahrain, why does the United States need to maintain a military presence on Saudi soil?
It would be naïve to expect a straight answer from US authorities, so one has to make do with the explanations offered recently by unnamed Pentagon officials, especially the one "who has worked intimately with Saudi Arabia" and who told the Washington Post in mid-January that the United States promised to withdraw its contingent from the Saudi kingdom "when the job is done." As the Post reported, "Saudis interpreted that to mean the job of expelling Iraq from Kuwait [in 1990-91], but many US officials think the job remains undone as long as Saddam Hussein remains in power in Baghdad."
The official was referring to the written promise from President Bush Senior, secured by King Fahd before he invited US troops to his country, in August 1990, after Iraq's invasion of Kuwait. So, out goes the explanation dished up routinely by the State Department and the Pentagon for many years--that the troops and warplanes are based inside Saudi Arabia to monitor the US/UK-imposed no-fly zone in southern Iraq, implying that the discontinuation of this zone would end the Pentagon's presence in the desert kingdom. Secretary of State Colin Powell made the logic even more explicit in a January 20 Fox-TV interview quoted in the International Herald Tribune: The US military presence in Saudi Arabia, he said, "might end only when the world turned into 'the kind of place we dreamed of. They [US forces] serve a useful purpose there as a deterrent to Saddam Hussein, but beyond that as a symbol.'"
Fahd extracted Bush Senior's promise in 1990 in order to overcome stiff opposition from ranking clerics, who provide legitimacy to the rule of the House of Saud. The presence of US troops under their own flag in Saudi Arabia violates a cardinal Islamic principle that the kingdom has enforced since its inception in 1932, treating all Saudi territory as a mosque, based on Mohammed's deathbed injunction: "Let there be no two religions in Arabia." Clearly King Fahd was apprehensive about US troops in his kingdom acting as an independent force to achieve their anti-Iraq objective without regard for its impact on Saudi interests or sovereignty. Twelve years on, he and Crown Prince Abdullah, the de facto ruler, find Washington trying to impose its interpretation of what "the job" entails and when it is "done."
America's insistence on imposing its will on Riyadh is fueling the anger many Saudis feel toward Washington, especially regarding its unquestioned support for Israel in the Israeli-Palestinian conflict, which generates sympathy for Osama bin Laden. A secret survey in mid-October by the kingdom's intelligence agency, Istikhabart, showed that 95 percent of educated Saudis in the 25-to-41 age group supported "bin Laden's cause." Given this sociopolitical fact, it seems unlikely that the regime in Riyadh can continue its tight military links with Washington. The writing is on the wall. "Since September 11 America has lost the Saudi people," said Dr. Abdulrahman al-Zamil, chairman of the al-Zamil business group. "America tried to convince people that they are here to protect the [Saudi] regime, and that is total garbage. Their presence is a liability to the Saudi government." The airing of such a view by an affluent businessman, who is also a member of the consultative council appointed by the monarch, could have happened only with the connivance of the royal family.
Perceiving widespread opposition to the presence of US troops in the kingdom, the top decision-makers in Riyadh may have decided to raise the previously taboo issue in public, if only to signal to their subjects that their views are being taken into account. However, along with their American counterparts, they face a dilemma: How can US military presence in the kingdom be curtailed or ended without appearing to reward bin Laden? There is no easy way out.
Thomas White, the former Enron vice chairman appointed by George W. Bush to be Secretary of the Army, should resign immediately. The case against White is self-evident. Touted as "one of the most outstanding managers in corporate America" by Enron's favorite senator, Phil Gramm, he was named Army Secretary, promising to bring "sound business practices" to the Pentagon. But White's entire business experience was at Enron, where he participated directly in the lies and mismanagement that resulted in its bankruptcy and the betrayal of investors and employees. Enron's business practices generally, and White's in particular, are the last thing that should be inflicted upon the Department of the Army.
Before being named Army Secretary, White was vice chairman of a venture called Enron Energy Services from 1998 through May 2001. He was paid $5.5 million in salary and bonuses in his last year alone and walked off with stock and options valued at about $50 million and homes in Naples, Florida, and Aspen, Colorado, worth more than $5 million apiece.
Touted as a burgeoning profit center, Enron Energy Services reported a pretax operating profit of $103 million on revenues of $4.6 billion in 2000. But EES was a fraud, hemorrhaging money while covering up its losses with accounting maneuvers. Its profit in 2000, according to Enron vice president Sherron Watkins, was created by counting ersatz financial trading gains from one of the infamous off-budget Raptor partnerships. The recently released special investigation of Enron's board of directors concluded that those transactions violated accounting rules. White and EES chairman Lou Pai made millions, but the venture they ran was so mismanaged that in February 2001 Enron executives brought in another leadership team to clean up the mess.
Enron Energy Services was set up to compete with public utilities in selling energy to large enterprises like JC Penney, the Catholic Archdiocese of Chicago and the US Army. Enron would sign long-term contracts to provide energy at a sharply reduced fixed price. It would then install energy-saving devices to lower its clients' energy needs and use its trading savvy to supply that energy at bargain prices.
From the beginning, though, Enron's follow-through was something of a joke. "They knew how to get a product out there, but they didn't know how to run a business," former EES employee Tony Dorazio told the New York Times. Glenn Dickson, an EES director laid off in December, charged that White and Pai "are definitely responsible for the fact that we sold huge contracts with little thought as to how we were going to manage the risk or deliver the service."
Perhaps Pai and White were more concerned about selling than fulfilling contracts because they were making their money on the front end, benefiting from Enron's aggressive accounting practices. When Enron signed a ten-year contract with a customer, it would project its revenues and profits over the ten years and book all of them as received in the first year of the sale. This "mark to market" accounting is a generally accepted accounting practice--but only when the revenues and costs can be reliably projected. EES had to predict future energy prices, the pace of energy deregulation in different states and the conservation savings of its customers over many years. It then paid its managers and sales personnel bonuses based on those projections. This was an irresistible invitation to what former EES employee Jeff Gray called "illusory earnings."
And illusion there was. "It became obvious that EES has been doing deals for two years and was losing money on almost all the deals they had booked," wrote former employee Margaret Ceconi in an e-mail to Enron's board in August, warning that more than $500 million in losses were being hidden in Enron's wholesale energy division. Enron used its bankruptcy to walk away from EES's losing deals and dismissed most of its 1,000 employees.
Where was White during all this? His emerging defense is that he was out of the loop. He didn't do numbers. He provided a dashing can-do military figure for the customers, a rainmaker who helped land the deals. And EES was tasked to show growth. Bidding for a fifteen-year, $1.3 billion contract with Eli Lilly, it paid Lilly $50 million up front to seal the deal. The contracts could be projected as profitable, even if they were to bleed money in the succeeding years. So long as EES kept expanding fast enough and the contracts kept rolling in, no one need know. Under White's leadership, Enron Energy Services turned into a classic Ponzi scheme.
White still maintains that EES was "a great business...there were no accounting irregularities that I was aware of." It is hard to imagine a clearer self-indictment. Either he knew that EES was a lie and is potentially guilty of fraud, or he was oblivious to the lie and thus is utterly incompetent to manage the Department of the Army with its annual budget of $91 billion.
Tyson Slocum of Public Citizen argues that White is a walking conflict of interest. He came to the Army pledging to get it out of the energy business, even as Enron was bidding to supply the military with energy. He pledged to sever all financial ties with Enron but elected privately to receive an annuity payment, part of which came from the company. Enron's bankruptcy ended this conflict, but it doesn't put an end to White's complicity in a scheme from which he pocketed millions while running his venture into the ground, betraying the trust of investors and employees alike.
Ultimately Enron is about values, about integrity and responsibility. It is a story of executives who cashed out more than $1.1 billion in stock while misleading employees and investors. Thomas White is one of those executives. Personal responsibility should apply to the powerful as well as the weak. If it means more than election-year campaign rhetoric for this Administration, then it is time for Thomas White to go.
The Bush Administration is turning into one big rehab center for the Iran/contra schemers of the Reagan/Bush White House. The latest case involves retired Adm. John Poindexter, who's been hired by the Pentagon to head a new agency, the Information Awareness Office. Created after September 11 by the Defense Advanced Research Projects Agency, it is developing high-tech systems to provide government officials immediate access to new surveillance and information-analysis systems. Its focus, of course, includes terrorist groups.
Poindexter certainly has extensive experience dealing with terrorists. As Ronald Reagan's National Security Adviser, he was a key mover in the Iran/contra scandal of the 1980s, when the Reagan White House tried to pull off a secret arms-for-hostages deal with the terrorist-supporting regime of Iran. Poindexter also was one of the few Reagan officials who, according to the available evidence, knew that proceeds from the arguably illicit arms sales to Iran were diverted to the Nicaraguan contras. He later testified that he had deliberately withheld information from Reagan on the diversion because "I wanted the President to have some deniability so that he would be protected."
After the arms-for-hostages deal became public in late 1986, Poindexter "repeatedly laid out a false version" in order to distance Reagan from the most questionable weapons transactions, according to Iran/contra independent counsel Lawrence Walsh. Poindexter, with his aide Oliver North, also attempted to shred and destroy records regarding their Iran/contra activities.
Poindexter was tried and convicted of five felonies, including obstructing official inquiries and lying to Congress. He was sentenced to six months in prison. But he walked. In a two-to-one decision in 1991, the Court of Appeals for the District of Columbia overturned Poindexter's convictions on the ground that his trial had been tainted by his immunized Congressional testimony. (North, convicted of three counts, avoided jail for the same reason.) This was escape, not vindication. Since leaving government service, Poindexter, a physicist by training, has been active as a military technology consultant. But the record remains: Poindexter admitted withholding information from his boss, he destroyed government documents and he misled official investigators. Does that sound like someone to entrust with a new government agency?
No problemo for the Bushies. They have happily provided homes to other Iran/contra reprobates. Elliott Abrams, who as Assistant Secretary of State for Latin America in the Reagan years supervised contra policy, pleaded guilty to two charges of withholding information from Congress. Today, the fellow who downplayed reports of military massacres in Central America works for the National Security Council, overseeing human rights and democracy issues. (Abrams was pardoned by Bush I.)
Otto Reich ran a State Department office during the Iran/contra affair that "engaged in prohibited covert propaganda," according to a government inquiry. Now he has Abrams's old job at State. John Negroponte was US Ambassador to Honduras and facilitated a clandestine quid pro quo deal, under which the Reagan Administration sent aid to Honduras in return for Honduran assistance to the contras, at a time when Congress had banned the Administration from assisting the contras. Negroponte's embassy also suppressed information about human rights abuses committed by the Honduran military. Negroponte is currently our UN ambassador.
Perhaps the most significant Iran/contra rehabilitation concerns the President's father: "41" was an Iran/contra ringleader who lied about his role. After the scandal broke, Bush claimed he had not been "in the loop." But according to documents later released, he had attended high-level meetings on the Iran initiative and had participated in the Administration's quid pro quo with Honduras. It was only after Bush I was bounced out of office that his personal diary notes--long sought by investigators--became available. His entry for November 5, 1986 (two days after the Iran initiative was revealed by a Lebanese weekly), reads, "I'm one of the few people that know fully the details.... This is one operation that has been held very, very tight, and I hope it will not leak." That boastful note wins Bush the Elder a top spot in the roster of Iran/contra prevaricators. Yet he went on to become a rather important adviser to a high-ranking member of the present Administration.
There has been one exception to the all-is-forgiven rule at the Bush II White House. In October, Duane Clarridge, a CIA official involved in the scandal who was indicted for lying to Congress, was set to become an assistant in the NSC's counterterrorism office. But then the White House yanked the welcome mat. In speaking to one reporter, a disappointed Clarridge cited Abrams, noting that, unlike Abrams, he had not pleaded guilty. (Clarridge was pardoned by Daddy Bush before his case could be tried.) Poor guy, he does have a point. Why embrace Abrams--and Poindexter, Reich and Negroponte--but not Clarridge? Was secretly mining Nicaragua's harbor, a Clarridge initiative that earned a World Court ruling against the United States, worse than shredding, or lying to Congress, or covering up human rights abuses?
So is there anyone left to be rehabilitated? Oliver North has a good gig at Fox News, where he shares his expert opinions on how to deal with terrorists. (Sell them missiles and bring them a nice cake?) Richard Secord, the wheeling-dealing general-turned-arms-merchant who managed North's secret contra supply operation, may well be seeking business opportunities arising from the war on terrorism. Perhaps retired Gen. John Singlaub could be assigned a mission. Recently, at a conference of conservatives I bumped into Singlaub, who ran the World Anti-Communist League in the 1980s and plotted with North to raise money covertly for the contras from foreign countries. Are you active these days? I asked. "Yes," he said, adding no more. Same sort of stuff as always? "Yes," he replied and shifted his feet. Like what? I asked. He stalked off. The man can still keep a secret--sign him up. By the way, Robert McFarlane, Poindexter's predecessor as National Security Adviser and a co-author of the Iran deal and the contra policy, re-emerged in October as an adviser to an anti-Taliban Afghan fighter who was ambushed and killed during a botched operation. Maybe there's a spot available for him. When it comes to personnel, Iran/contra is no stigma for the Bush clan. In most instances, it seems to be a mark of honor.
The Court of Appeals for the DC Circuit has given an important boost to the cause of low-power FM radio--those small, limited-range, noncommercial stations that give voice to community concerns ignored by remote, conglomerate-owned broadcasters. The court held unconstitutional a "character" provision in the Radio Broadcasting Preservation Act that prohibited awarding microradio licenses to applicants who had "engaged in any manner in the unlicensed operation of any station in violation" of the Federal Communications Act's original ban. The RBPA was passed after the FCC lifted the ban on microradio stations in an effort to increase diversity on the airwaves. Corporate broadcasters (and National Public Radio) successfully lobbied to limit the frequencies available to low-power stations, claiming they interfered with the broadcasters' signals. The "character" provision was added to the RBPA to blacklist the passionate low-power broadcasters who had broadcast as an act of civil disobedience to protest the original FCC ban. The court ruled that this part of the law had no rational purpose and was intended to punish the protesters and keep them off the air.
GIULIANI'S PAPERS GRAB
After finishing his term as New York mayor in a glow of post-September 11 glory, Rudy Giuliani reverted to his old control-freak self. He made a quickie arrangement transferring all his mayoral papers to a private storage facility under his control. He says they'll be available but reserves the right to withhold any papers he deems of "private interest." Never mind that a mayor's papers belong to the city. All previous mayors have sent theirs to the municipal archives, where they are accessible without conditions to journalists and scholars. Historians, publishers and civil libertarians opposed Giuliani's grab, but Mike Bloomberg, who pays his campaign debts, signed off on the deal. Supposedly the city will determine if a document is public or private, but opponents say Rudy will still have the final say.
THE LATE HARVEY MATUSOW
Back in McCarthyite times, Harvey Matusow was the young ex-Communist who specialized in naming former Communist folksingers before various inquisitorial tribunals. Not only folksingers, though. He once reported that there were 126 Communists in the Sunday Department of the New York Times (the total number of employees was 100). Harvey was proud of the fact that although he started out appearing before the Ohio Un-American Affairs Commission, he eventually worked his way up to what he called "the Palace of informing," Joe McCarthy's Senate committee. Then he got religion and wrote a book, False Witness, recanting his testimony and charging, among other things, that Roy Cohn got him to perjure himself as a witness in one of the Smith Act trials. He came down to The Nation's old offices at 333 Sixth Avenue to see if the magazine could help him find a publisher. Associate publisher Marty Solow did what he could, and eventually the book was issued by Cameron & Kahn in 1955. But the government then prosecuted him for perjuring himself--the second time around. It argued that his book was part of a conspiracy to undermine the Smith Act convictions of the Communist leadership against whom he had testified. And it tried unsuccessfully to implicate Nation editor Carey McWilliams and Solow in the so-called conspiracy. Harvey went on to serve time for perjury, invent a stringless yoyo and work for the homeless. By the time he died, he had changed his name to Job, because of the many misfortunes that had befallen him. Harvey was a sad and comic figure, but his story shows what can happen to a country and a culture when it abandons its democratic values and stampedes in a heresy-hunt masquerading as patriotism.
The hoofprints of Lucifer are everywhere. And since this is America, eternally at war with the darker forces, the foremost Enemy Within is sex, no quarter given. Here are some bulletins from the battlefront, drawn from a smart essay on "Sex & Empire" in the March issue of The Guide (www.guidemag.com), a Boston-based monthly travel magazine that has "about the best gay sex politics around," according to Bill Dobbs of Queerwatch, whom I take as my adviser in these matters.
In February 2000, Matthew Limon, an 18-year-old, had oral sex with a 14-year-old schoolmate. A Kansas court sentenced him to seventeen years in prison, a sentence duly upheld by a federal court in February. Last July, an Ohio court sentenced 22-year-old Brian Dalton to seven years in prison because of sex fantasies he wrote in his diary. A woman teacher in Arizona faces 100 years in prison for having an affair with a 17-year-old boy. Frankly, I'd have risked two centuries in prison to have sex with Miss Hollister when I was in school.
Apropos the triumph of identity politics across the past thirty years, Bill Andriette, the author of "Sex & Empire," remarks that "the same PR machinery that produces all these feel-good identities naturally segues into manufacturing demonic ones--indeed, creates a demand for them. The ascription of demonic sexual identities onto people helps drive repression, from attacks on Internet freedom to sex-predator laws. Identity politics works gear-in-gear with a fetishization of children, because the young represent one class of persons free of identity, the last stand of unbranded humanity, precious and rare as virgin prairie."
This brings us into an Olympian quadruple axel of evil: sexually violent predators (familiarly known as SVPs), preying on minors of the same sex. There's no quarreling between prosecutor and judge, jury and governor, Supreme Court and shrinks. Lock 'em up and throw away the key.
The other day I listened to Marita Mayer, an attorney in the public defender's office in California's Contra Costa County, describe the desolate business of trying to save her clients, SVPs, from indeterminate confinement in Atascadero, the state's prime mental bin.
Among Mayer's clients are men who pleaded guilty to sex crimes in the mid-1980s, mostly rape of an adult woman, getting a fixed term of anywhere from ten to fifteen years. In the old days, if you worked and behaved yourself, you'd be up for parole after serving half the sentence.
In California, as in many other states, SVP laws kicked in in the mid-1990s, crest of the repressive wave provoked by hysteria over child sex abuse and crime generally: mandatory minimum sentences, erosion of the right to confront witnesses, community notification of released sex offenders, surgical and chemical castration, prohibition of mere possession of certain printed materials, this last an indignity previously only accorded atomic energy secrets.
So California passes its SVP law in January of 1996, decreeing that those falling into the category of SVP have a sickness that requires treatment and cannot be freed until a jury agrees unanimously that they are no longer a danger to the community. (The adjudicators vary from state to state. Sometimes it's a jury, or merely a majority of jurors, sometimes a judge, sometimes a panel, sometimes a "multidisciplinary team.")
Mayer's clients, serving out their years in Pelican Bay or Vacaville or San Quentin, counting the months down to parole date, suddenly find themselves back in jail in Contra Costa County, told they've got a mental disorder and can't be released till a jury decides they're no danger to the community. Off to Atascadero they go for a two-year term, at the end of which they get a hearing, and almost always another two-year term.
"Many of them refuse treatment," Mayer says. "They refuse to sign a piece of paper saying they have a mental disease." Of course they do. Why sign a document saying that for all practical purposes you may well be beyond reform or redemption, that you are Evil by nature, not just a guy who did something bad and paid the penalty?
It's the AA model of boozing as sin, having to say you are an alcoholic and will always be in that condition, one lurch away from perdition. Soon everything begins to hinge on someone's assessment of your state of mind, your future intentions. As with the damnable liberal obsession with hate-crimes laws, it's a nosedive into the category of "thought crimes."
There the SVPs are in Atascadero, surrounded by psych techs eager to test all kinds of statistical and behavioral models, along with phallometric devices designed to assist in the persuasion of judge and jury that, yes, the prisoner has a more than 50 percent likelihood of exercising his criminal sexual impulses, should he be released.
Thus, by the circuitous route of "civil commitment" (confining people deemed to be a danger to themselves or others), we have ended up with a situation that from the constitutional point of view, is indeed absolutely Evil: people held in preventive detention or being locked up twice for the same crime.
"It's using psychiatry, like religion, to put people away," Mayer concludes. "Why not hire an astrologer or a goat-entrail reader to predict what the person might do? Why not the same for robbers as for rapists? What's happening is double jeopardy. People don't care about child rapists, but the Constitution is about protections. How do I feel about these guys? When I talk to my clients I don't presume to think what they'll do in the future. I believe in redemption. I don't look at them as sexually violent predators, I see them as sad sacks. They have to register; they could be hounded from county to county; even for a tiny crime they'll be put away. Their lives are in ruin. I pity them."
But not goat entrails, surely. The animal rights crowd would never stand for it.
In my last column, I called the expansion of profiling that has occurred since September 11 "equal opportunity." I meant it ironically, but a surprising number of people took me literally. So I want to make clear that I don't consider this upgraded frisking any kind of opportunity, nor do I think that its expansion is really the same as equality. I am also aware, as was pointed out to me, that there are people in the world who might appreciate a good cavity search, confident that this is all for their benefit. And while I understand that we have all become subject to "nothing more than" the same ministrations that visitors to maximum security prisoners go through, the fact that some think this is the best of all possible worlds strikes me as fatuous.
The billions of dollars currently being pumped into police and surveillance budgets represent an unprecedented investment in a heavily patrolled world. Such an extraordinary buildup will inevitably exacerbate questions about the limits of state force; it will require the greatest vigilance to prevent our turning into not just a police state but one big global military base. Specific categories of us will probably continue to bear a special burden--black women in airports are, according to some figures, searched more than anyone else because I, as Typical Black Everywoman, meet the description of a drug courier better than you--as in You, profiled Nation reader and Typical Ungendered White Person.
Blacks and Latinos are the profiled shape of the "war on drugs," even though the majority of actual drug abusers are young white people like Governor Jeb Bush's poor daughter, Noelle. The "war on terror" promises to be even more sweeping. For the time being, our new international, militarized police force has increased its scrutiny, from black women in airports and black men in cars, to include Middle Eastern men anywhere, Asian people who look vaguely Filipino, as well as ample Minnesota housewives actually armed with sets of silver fondue forks.
Is this better or worse? I think it's a misuse of data, often creating a false sense of security. The kind of profiling that seems to inform the majority of stops and searches is usually based on statistical relations so vague as to be useless. Such profiling, premised on diffuse probabilities about looks and dress, ethnicity or nationality, class or educational status, begs for more analysis. Otherwise it can be defeated on the one hand by guards and gatekeepers whose interpretation of looks or class status is skewed by selective and subjective prejudice and on the other hand by travelers committed to the art of disguise.
The attacks on the Pentagon and the World Trade Center were carried out by deeply rational and well-trained operatives whose tactics defied easy profiling. They looked--and were--well educated; they dressed professionally. The fact that the FBI actually had information that some of them had been involved in terrorist networks counted less in the real world than that they looked good. After all, it is true that in a very large sense sleek, well-dressed professionals commit fewer crimes than the hungry, grumpy lower classes. I have this painful recurring dream of the security guards at Logan on September 11, carelessly waving all eighteen men through, while strip searching long lines of black women having bad hair days.
I worry that we're doing the same thing with shoes: Richard Reid was able to board an airplane because he played against the expectation embedded in profiles. He looked odd enough to have been stopped and questioned, but ultimately looks had little to do with what made him dangerous. Although they were suspicious, security officials did not discover his criminal record, surely better evidence of his propensities than whether he wore a ponytail. He was finally allowed on board; he was a British citizen, and British citizens were not the subject of any profile. They searched his bag but not his shoes, because shoes were not at that point the subject of any profile. Now that we know thick-soled sneakers can be turned into weapons of mass destruction, airports spend a lot of time removing and examining them. It's likely to catch copycats, I suppose, which is not a problem to be ignored, but does anyone really believe that Al Qaeda would use shoes again? In other words, while there is, after Richard Reid, a marginal relation between shoes and bombs, the actual odds of it ever happening precisely like that again are slim to nonexistent. Indeed, what distinguishes professional operatives who calculatedly sow terror is that they take the time to play against type.
So I worry when I hear about plans to expand profiling as we now seem to practice it. I worry when I hear about plans to have our thumb prints taken, our irises scanned, our DNA plotted. How can we be putting all this work into appearances when appearances bear no necessary relation to intent? The risk of this is not just one of diminished dignity or privacy. The problem ought to have been made clear to us in the wake of "accidents" like Amadou Diallo. The problem ought to be apparent in recent news stories about the CIA having flown an unmanned surveillance craft over a street in Afghanistan. It had a night vision camera on it that caught in its scope a group of men conversing who fit a profile because one of their number was unusually tall, as is Osama bin Laden. After some consultation at the remote site where the CIA officers and their telemonitors were located, the CIA decided to bomb the group. The men were killed, but as of this writing, the CIA admits it still doesn't know who the men were. Civilians on the ground claimed that the men were townspeople scavenging for scrap metal.
This death by actuary. This profiled guilt. This trial by night vision drone. Our superlative technology permits us to listen, scan, survey and X-ray anybody and everybody in the world. But a sea of data alone won't help us if there is no higher wisdom in the final analysis. Good "intelligence" means more than eyes and ears--there must be a heart and a brain, or we will never achieve the global stability we all so desperately desire.
The McLaughlin Group is about to "celebrate" its twentieth anniversary. We might as well "celebrate" the discovery of anthrax.
The show flatters itself--and its corporate sponsor, GE--that it is providing some kind of public service. It's even offered on PBS in many cities, and its website features such faux educational trappings as classroom guides and discussion-group questions, along with $50 golf shirts. And while ratings have dropped steadily and precipitously for the past seven years, that is due largely to the fact that it has very nearly taken over our media world. Entire cable networks are devoted to its ethos, and even the old reliables of respectable political discourse--like NBC's Meet the Press and CBS's Face the Nation--are dancing to its dissonant tune. Before McLaughlin, public affairs television programs were often dry and pompous, but with the exception of the painfully pompous Agronsky and Company, they were devoted to the proposition that reporters--like everyone else--should appear on news programs only when they've learned something of value of which most people are unaware (hence the word reporter). The McLaughlin Group transformed this essential qualification from specialized knowledge to salable shtick. Not only television but journalism itself has never recovered.
As evidence of how little education, expertise or good, old-fashioned shoe-leather reporting matters in this universe, consider McLaughlin himself. Before building his television empire, he earned his fame as a Jesuit sex lecturer. He ran a hapless Senate race in 1970 in Rhode Island as a McGovernite Republican--yes, you read that right--but still managed, with Patrick Buchanan's assistance, to land a job in the Nixon White House. There, in priestly garb, he defended the Unindicted Co-Conspirator as "a moral man, thirsting for truth." Nine days before Nixon's resignation, McLaughlin predicted that Watergate would soon be viewed as a "mere footnote to a glorious administration."
Aside from talk-radio and religious writings, McLaughlin's most significant brush with journalism was a brief stint as Washington editor of National Review, where he would sign his own name to the work of the NR's interns and research assistants. But the show turned him into a superstar in Reagan's Washington. He bullied and humiliated fellow panelists and terrorized his young staff members, at least three of whom felt themselves to be victims of his sexual harassment. According to the court documents of the lawsuit Linda Dean filed against him, McLaughlin told her that he "needed a lot of sex" and "would take care of every material desire" she had, as he fondled her "intimately and against her will." Dean was fired, but her lawsuit resulted in a private settlement. (I guess this would be as good a place as any to plug the second edition of my book Sound & Fury: The Making of the Punditocracy from Cornell University Press.)
The genuine journalists whom McLaughlin casts as foils on his show tended to hate his guts but could not walk away from the unmatched buck-raking opportunities it spawned. While McLaughlin appearances paid a pittance, they came with invitations from corporate sponsors to recreate the show at conventions for five figures a pop. Mediocrities like Morton ("Ronald Reagan is a kind of magic totem against the cold future") Kondracke and Fred ("I can speak to almost anything with a lot of authority") Barnes quickly developed celebrity cults. The more ambitious among them--like Kondracke, Barnes, Robert Novak and Chris Matthews--eventually used their newfound status to jump-start their own carnival-barking careers on rival networks. The warhorse Jack Germond stuck it out for fifteen years, at considerable cost to his self-respect as an honest reporter but considerable benefit to his income. (When Germond learned that the program would be distributed internationally, he replied that the panelists could now rejoice in "dumbing down the world." McLaughlin promptly benched him.)
In addition to debasing the culture of journalism, the McLaughlin monster also aided its corporate sponsors and conservative friends in shifting the foundation of political debate into the heartland of Reagan country--where it remains to this day. The group set up a center of gravity in which two right-wing ideologues, Buchanan and Novak, were "balanced" by the wishy-washy neoconservatism of Kondracke and the bourbon-laced, no-nonsense nonpartisanship of Germond--a down-the-line reporter with no political axes (or axises) to grind. McLaughlin acted--and I do mean "acted"--as referee. The net result was to bestow respectability on views that had only recently been the exclusive property of the caveman right and to marginalize liberalism beyond "responsible" debate.
The group's ideological legacy is hardly less significant than its deleterious impact on the civility of our discourse. I wonder how valuable it was, on a scale of one to ten, to George W. Bush in the late fall of 2000 to have a conservative punditocracy parroting James Baker's arguments before his case reached the Reagan/Bush-packed Supreme Court. And I wish I could predict whether Bush would have been able to shift the budget debate away from his showering trillions in tax breaks on the wealthy toward the alleged trade-offs between money for the war on terrorism versus that for health, education and the environment, without the spawn of the McLaughlinites marching in lockstep--like a parade of Stepford Wives--to the drumbeat of the Republican right wing. The ultimate public service of The McLaughlin Group has been to make it nearly impossible for anyone to speak to public issues on television except to repeat the most banal, and frequently conservative, clichés--albeit accompanied by snappy and self-serving wisecracks. Why not genuinely honor this signal achievement on its anniversary and start making calls to PBS and its local affiliates demanding that they stop wasting our precious contributions and tax dollars to broadcast it? Will it work? No predictions, there, I'm afraid, given the size of GE's sponsorship. But I promise you'll feel better about yourself.
Some magazines have an identity problem, and some don't. The New York Review of Books doesn't, as you may have noticed. It's relentlessly highbrow, which is how we like it. For the most part. But every once in a while, a little bit of pop culture creeps in, hooray, and then the editors do their best to hide it. In the February 14 issue, for example, there's an ebullient review of Stephen King's Dreamcatcher, among a million other of his books, by the always bubbling and boiling John Leonard. But the cover gives no hint that this amusement lurks within. Instead, it plugs yet another review of yet another book on Anthony Blunt (Blunt and Kim Philby are to NYRB what the Beatles are to Rolling Stone: no issue complete without at least one mention, even if it has to be in the personals); a searing legal indictment of Bush's military tribunal "concept" by Aryeh Neier, the former executive director of Human Rights Watch; and, smack in the center, a piece by John Updike on Gustav Klimt in New York, the exhibit at the new Neue Galerie on Museum Row in New York.
Updike's review is fine, but it gives me the feeling, again, that there are two sides to the man: Updike the great writer, and Updike the whiny curmudgeon who hangs out in New York, goes on taxing trips to China and believes he heard the twin towers "tinkle" to the ground from his vantage point in Brooklyn. Thus the Klimt review begins with a litany of complaints about traffic flow at the museum and the placement of the bookstore and gift shop on the ground floor (where else would they be?), with the brave Updike thrusting forward like a great beaky bird through the plebes. "As stated," he writes, "the café, with windows on Fifth Avenue, was thriving; in my haste to get to the art I missed the bookstore and 'design shop.'"
I'm glad the King review is there as a counterweight to the difficult walk amid the gifts and the latte drinkers and the Austrian furnishings, but it shouldn't be a secret kept from newsstand buyers. Leonard's encompassing review includes the funny and instructive story of King buying a table at the National Book Awards for himself and John Grisham (among others), who will never be invited or granted such a prize by what Leonard, borrowing a fine word from King, calls "those shit-weasels, the anal-retentive literary establishment." Not at the table, and not on the cover.
I've always been a coward, and the events of September 11 have not alleviated the problem. I own: one roll of duct tape, a medium-sized Leatherman tool, a small flashlight, seven surgical masks, a box of latex gloves, many cans of beans and a box of Carnation evaporated milk, all bought in the aftermath of that day. I admit it's not total coverage. But then, I am not much of a survivalist. Five months after the attacks, I went through some of the post-9/11 magazines, and I now know why survivalism is not for me. A person who depends on one box of Carnation (which, I have learned from my reading, lasts only six months) should not go on living on an earth that will be filled with post-Armageddon survivalists. We could not be friends. They call knives "edged weapons."
Of course, all the survivalist and mercenary magazines are pro-gun, and they seem to think that having a gun will somehow help you in the next new world. In Terrorism Survival Guide's second issue, an article about choosing the right firearm tells families that "self defense has reached a level in this era of murderous terrorism that to be unarmed is equivalent to surrendering to ruthless evil." It's hard to imagine how a handgun would help as a skyscraper flattens to the ground, but I suppose the civil unrest that might follow could justify it. (And I did like the look and name of that Black Widow .22 Magnum, which weighs in at just over 6 ounces and is only 5 inches long and would fit quite snugly next to my Leatherman and flashlight.) As ever, Soldier of Fortune is the most interesting of the wacko military mags. Like Aryeh Neier--to whom you can safely say its writers are not too often compared--it abhors Bush's military tribunals, and its March issue contains a semi-thought-provoking piece on Johnny Michael Spann and Director of Central Intelligence George Tenet, with most of the ideas and attitudes taken from Seymour Hersh's piece on Tenet in The New Yorker last fall. Hersh and SOF: another unusual team. But then again: The World Has Changed. You can tell it has, because in the photo of a young girl and her Barbie doll in Terrorism Survival Guide's article "What Do We Tell Our Kids?", the girl is wearing a supermodern protective plastic helmet, and Barbie has on a pink tank top, lace skirt and gas mask.
There's a new niche magazine: Heeb, the New Jew Review. Intended to stir up controversy, this sparky and slightly inane newcomer will reignite the old, old controversy over what it means to be Jewish. If it means skateboarding and deejaying and graffiti-writing, I've blown it completely. But there are some great things in here, too: a wrong-minded but amusing meditation on the use of Jews in The Simpsons; a lovely homoerotic paean to Allen Ginsberg, with a moving photo of the great one in his bathrobe, cooking; a twisted essay on Pizza Hut's new Twisted Crust pie, which the writer insists is a reference to the swastika (Hakenkreuz, in German, or twisted cross); someone's old bubbe reviewing the latest pop music ("Oh, I love that beat!"). Heeb takes only a minor interest in the major crisis facing Jews today--there's a short bit (in a department called Underground Oslo) on the Old City Peace Vigil, a small interfaith group that is bravely keeping up a protest in the shadow of the Western Wall. Everything in this eye-catching magazine is irreverent, but only a teaspoonful is important. Still, it's a rare pleasure to see my people not take themselves too seriously. Oh, and it has a centerfold of Neil Diamond. Not nude, but the mutton chops are swell; he's like a luscious pinup from another lifetime.
The legendary Surrealist exhibitions of the late 1930s and early 1940s were Surrealist in spirit and secondarily Surrealist in content. In 1942, for example, an exhibition called "The First Papers of Surrealism" was installed at the Whitelaw Reid mansion on Madison Avenue in New York, and those that attended it were far more likely to remember the show itself than any of the works on display. It was designed by Marcel Duchamp, using one mile of string to weave a sort of spider's web from floor to walls to ceiling, which visitors had to climb through to look at the art hung on temporary display panels. Moreover, they had to put up with a crowd of schoolchildren, boisterously playing ball or skipping rope or chasing one another through the show. The children were instructed to say that Mr. Duchamp said it was OK for them to play there, if anyone raised the question. It was an ideal way to subvert any propensity to seek a rich aesthetic experience in contemplating the art, and by indirection to demonstrate that it was not the point of Surrealist art to be an object of aesthetic contemplation in the first place. Duchamp disdained aesthetic response--"That retinal shudder!" as he dismissed it in a late interview.
Duchamp had also installed the legendary International Exposition of Surrealism at the Galerie Beaux-Arts in Paris four years earlier. There he arranged to have the ceiling hung with 1,200 coal sacks that, though empty, showered residual coal dust on the throngs below, who were supplied with flashlights to see the paintings hung in shadows. Upon entering the show, visitors encountered Rainy Taxi by Salvador Dali--an ancient taxicab on which water poured down from the ceiling. The driver and passenger were both mannequins, the former equipped with a shark's head and wearing goggles, the latter a frump covered with escargots, and both placed on a bed of lettuce.
These exhibitions achieved the same shock of incongruity that was intended to characterize what one might think of as Surrealist experience in general, as expressed in one of their favorite paradigms from a text by Isidore Ducasse, a k a le Comte de Lautréamont: "The chance meeting on a dissecting table of a sewing machine and an umbrella." There is a 1920 photograph by Man Ray of a mysterious object, wrapped in a heavy blanket and bound with rope. It was used as the frontispiece of the first issue of a magazine, La Révolution surréaliste, the readers of which would immediately have inferred from its title--"The Enigma of Isidore Ducasse"--that the wrapped object must be a sewing machine. Visitors to non-Surrealist exhibitions of Surrealist art--such as "Surrealism: Desire Unbound," on view at New York's Metropolitan Museum of Art through May 12--might be let in on the secret by a wall label reading: "sewing machine, wood, fabric, card." But without knowing the identity of Ducasse or the text alluded to, the point of the work would be lost on them.
Surrealism was essentially a literary movement, whose primary products were books, magazines, poems, letters and manifestoes. These in fact form a considerable part of "Desire Unbound," which, together with the many aging snapshots of groups of smiling Surrealists, could with equal suitability have made up a show at the Morgan Library or some comparable venue. Art itself was largely peripheral to the movement, serving, like Man Ray's photograph, to illustrate the essentially philosophical ideas of the writers, who were chiefly poets and what one might term aesthetic ideologists, tirelessly taken up with defining what we might term "Surrealist correctness." At least in the early stages of the movement, one of their questions was whether painting was even a Surrealist possibility. Ironically, the writers have become the subject of scholarly specialization, while Surrealism itself is widely identified with a body of paintings, pre-eminently those of Dali--desert landscapes in acute perspective, on the floor of which various objects, often teeming with ants, cast sharp shadows. It was Dali who designed the dream sequence in Alfred Hitchcock's film Spellbound--and it is his idiom that has been universally appropriated for the representation of dreams.
It is with reference to dreams that Surrealism was initially formulated in André Breton's First Surrealist Manifesto of 1924. What excited Breton about dreams was the fact that what happens in them defies reason and certainly common sense. But for just the reason that dreams cannot be captured in the discourse we use in our waking lives, they were, until Freud, relegated to parentheses that we felt no need to incorporate into the narrative of our lives. Breton was convinced that this was, in effect, throwing away something of inestimable value, and in the Manifesto he described a method of writing that makes the dream accessible to our waking consciousness. This, in effect, is a kind of automatic writing--writing that as far as possible is uncontrolled by our critical faculties. The resulting pages will be impossible to appreciate in the ways in which ordinary writing is appreciated. "Poetically speaking," Breton says, "they are especially endowed with a high degree of immediate absurdity." Nevertheless, what we have done has somehow brought the dream before our conscious minds, and what we have is at once reality and dream, hence a kind of "absolute reality." Surrealism is then the method through which this absolute or "sur-" reality is made available to us as a resource to be used. Here is Breton's definition:
SURREALISM, noun, masc. Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
I have italicized "either verbally or in writing" to emphasize that Breton does not mention either singing or playing, or drawing or painting. There is little if any Surrealist music, though one might think that jazz would exemplify psychic automatism to perfection. Breton thought Surrealist music was impossible, probably because music lacks the dimension of realism that is a precondition for sur-realism--an objection that would be overcome in the case of opera, and indeed my musical informant, Lydia Goehr, has told me of a Surrealist opera, Julietta, by a Czech composer. Painting, on the other hand, met the criterion of realism, but as far as the Surrealists were concerned, it lacked the spontaneity of writing or speech. Dali painted like an old master, using perspective and chiaroscuro, building up glazes, creating illusions. There is no way it could have been done automatically, or without rational control. So by definition, his painting cannot be Surrealist. It would be like transcribing a dream in rhymed verse. The most that can be said is that he illustrates strange conjunctions and encounters, directed, as it were, by a strong artistic will.
One might say that the visual arts became admitted to Surrealism only when artists found ways of working more fluidly. Max Ernst's marvelous collage narratives, in which he clipped and pasted images from old engravings, recommended themselves to the Surrealists. Miró, who actually used writing in his paintings together with images, was also accepted. When Breton encountered the sculpture of Giacometti, it was as though he at last found someone who seemed to dream while awake, in the medium of clay and plaster.
In truth, it was mainly the painter Matta who found a way of drawing automatically and hence surrealistically. And Matta taught the New York painters--especially Pollock and Motherwell--how to do this. Psychic automatism evolved spectacularly into what we now think of as Abstract Expressionism, and it was through the chance encounter of Right Bank Poets and rednecks like Pollock on the dissecting table of Manhattan that American artists were able to produce work that Motherwell describes as "plastic, mysterious, and sublime"--adding that "no Parisian is a sublime painter, nor a monumental one, not even Miró." But Abstract Expression was never "Surrealist" in the sense in which Dali's images were. It was as though there were two dimensions to Surrealism--psychic automatism and absurdity. The latter does not figure in Breton's definition, but it certainly figures in what we might call Surrealist sensibility.
I learned a certain amount about what it would have been like to be a Surrealist from Robert Motherwell, who as a young artist in New York in the early 1940s became a kind of guide to Breton and a cadre of other Surrealists, then in exile in New York, where they endeavored so far as possible to re-create the form of life they'd lived in Paris. Twice a week they would gather for lunch at Larre's, an inexpensive French bistro on West 55th Street, and proceed afterward to Third Avenue, at that time lined with all sorts of secondhand stores and antiques shops. The activity for the afternoon was to decide which of the objects on display were Surrealist and which were not. It was a fairly serious matter to be wrong about this. Matta would have been disgraced when he misidentified as Surrealist a certain gargoyle head--until Duchamp intervened, saying that maybe he had a point. Duchamp, listed as Generateur-Arbitre (producer and arbitrator) in the catalogue for the 1938 exhibition, was not officially a Surrealist, but Breton regarded him as having perfect pitch when it came to what possessed surreality and what did not.
A famous such object was a curious wooden spoon Breton and Giacometti had found at the flea market in Paris. A little shoe was carved just under the spoon's handle. It struck Breton that the whole spoon could be seen as itself a shoe, with the little shoe as its heel. He then imagined the possibility that its heel was another shoe, with a heel of its own, which itself was a shoe...and that this could go on to infinity. The spoon he saw as an example of "convulsive beauty" in the sense that it revealed through its structure a state of mind, which consisted in a desire for love. There is a photograph, again by Man Ray, of this found object with the descriptive title "From the height of a little slipper making a body with it..." which was published in Breton's book L'Amour fou. There would be no way of telling from the photograph--or from the spoon itself--that it had convulsive beauty, or the evasive property of surreality. And I am uncertain whether it has either of these intrinsically, or only for the individual to whom it reveals, the way a verbal lapse does in Freud's The Psychopathology of Everyday Life, a state of mind that would otherwise have remained unconscious. At the very least, some fairly elaborate chain of interpretation--as again in the The Psychopathology of Everyday Life--has to be supplied. Surrealism was a taxing and fully absorbing form of mental activity.
In the First Surrealist Manifesto, Breton mentions having become aware of a certain "bizarre sentence" that came to him "bearing no trace of the events with which I was involved at the time." He was unable to remember the exact wording, but it generated the writing he subsequently identified as Surrealist. The little spoon, as it happens, helped unpack a different such phrase, one that had been obsessively running through his mind--"Cendrier-Cendrillon"--which means "Ashtray-Cinderella." Breton refused to learn English, not so much, I believe, out of the vanity that is threatened when we lose the fluency of our native tongue but because we dream in our own language. The terms "ashtray" and "Cinderella" have no obvious connection, but "cendrier" and "Cendrillon" have a common root--the French word for cinders or ashes, which enables them to be conjoined in free association. Breton went so far as to ask Giacometti to make an ashtray in the form of Cinderella's slipper. But he remained baffled by "Cendrier-Cendrillon," and somehow the slipper spoon helped clarify the emotional state that expressed itself through the conjunction. But you have to read L'amour fou to find out how.
L'amour fou brings us to "Desire Unbound"--since unbound desire is exactly what L'amour fou is. Desire--and in particular erotic desire--is the theme of the Metropolitan exhibition. With qualifications, everything in the show possesses surreality--or convulsive beauty--providing we understand how to unlock it. The most helpful thing to understand is that aesthetics was never a central Surrealist preoccupation, so looking for an aesthetic experience here will not get you to first base. You have to look at the exhibits the way those displaced Surrealists looked at the objects on view in shop windows sixty years ago, trying to decide which were the Surrealist objects. Motherwell told me that his problem in playing that game lay in the fact that he had been brought up to look at antiques aesthetically. His mother was an antiques collector. But he got a kind of education surréaliste in those afternoons spent peering through dusty shop windows, tutored by Breton and Duchamp. With a sigh of what I felt was despair, he said, on one occasion, that the whole world was beginning to look surrealistic to him. But that, as he of course knew very deeply, was a metaphorical truth. The world seemed pretty crazy when the International Exposition of Surrealism took place in Paris in 1938. France was falling apart, German planes were bombing Barcelona, Germany was poised for conquest. The Surrealists were not aiming for the kind of experience that could be had from reading the headlines.
But neither did they think that the creation of the surrealistic was their unique contribution to art. The surrealistic existed avant la lettre. The Surrealists found it present throughout the history of art--in Hieronymus Bosch and in Hans Baldung Grien for obvious reasons, in Seurat's La Grande Jatte for less obvious ones. The first gallery in the show is given over toGiorgio de Chirico, whom the Surrealists took as a predecessor, and the second one to Dada, many of whose members, especially Max Ernst and Marcel Duchamp, were to make substantial contributions to Surrealism when it emerged as a movement in the 1920s. But the first object one encounters in entering the show--Venus aux tiroirs, 1936--a plaster Venus in whose torso Dali had placed a number of small drawers, as in a jewelry case, each with a fur-covered knob--is self-consciously Surrealist. Fur seemed by itself to confer surreality when adjoined to any object, the use of which seemed to rule fur out as a material--like a teacup, for example. No survey of Surrealism would be complete without Meret Oppenheim's 1936 fur-lined teacup, which somehow is like a dream object rendered concrete. One can see why. The last thing one expects, lifting a teacup to take a sip, would be the feeling of fur on one's lips. It happens only in dreams, where it would seem to disguise an obvious reference and a no-less-obvious repressed wish. Oppenheim had a genius for finding ways to express genital references through everyday objects, and much of Surrealism was taken up with such disclosures. There is a photograph by Man Ray of an unidentified woman, her head thrown back so that we see the lines of her jaw from below. But then, with the irresistibility of an optical illusion, the neck convulses into the shaft of a thick penis, with the jaw becoming the glans--and the image looks like a huge penis coming out of a woman's shoulders. Surrealist objects are displacements of the objects of desire with which the world around and within us abounds--though a lot of good it does us so far as the gratification of desire is concerned. Perhaps that is why it seems to constitute the constant preoccupation of mental life, which surfaces distortedly in our dream life.
The great emblem of unfulfilled and perhaps unfulfillable desire is Duchamp's 1915 masterpiece The Bride Stripped Bare by Her Bachelors, Even, usually referred to as The Large Glass. A display case here holds notations and sketches for the work, and there is a painting of the bride in Duchamp's Cubist manner. The stripping has gone so far that the flesh has been taken away, and what we see looks like her reproductive system, including a schematized uterus. She is suspended in an upper chamber, separated by a glass shelf from her "bachelors"--a chorus of "malic forms" in the lower chamber. The two chambers are united and separated by an erotic desire that leaves everyone at once unsatisfied and inseparable. Duchamp, as is well-known, took a female identity for himself as Rrose Sélavy--Eros, c'est la vie--and was photographed wearing a woman's hat, makeup and furs by--who else?--Man Ray. In one of his most famous works--a postcard of the Mona Lisa on which he drew a mustache and goatee--Duchamp sought a reverse transgendrification. Magritte showed the female torso as a readymade pun on a male face, with the nipples as goggle eyes, and the pubis as beard. In Surrealist thought, male and female are often transcriptions of each other, as in the myth of Aristophanes that once upon a time we were a single being, male and female at once, and that ever since we have longed, in futility, for our other half. In Surrealism, though, the split was not clean--each of us bears something that belongs to our sexually opposite number.
The Surrealists did have robust love lives, and the heart of the show--no pun intended--exhibits the cat's cradle of their relationships: Gala with Paul Eluard, Man Ray and finally Dali; Max Ernst with Leonora Carrington and Dorothea Tanning; Eluard with Nusch; Man Ray with Meret Oppenheim and Lee Miller; Louis Aragon with Elsa Triolet; Breton with Nadja and Jacqueline Lamba. And there were plenty of secondary loves as well. Many of the women were artists in their own right, and it is a merit of the show that a lot of their work is shown. I'll end with one of my favorite lines from a Surrealist poet, Robert Desnos, bound to two women--Yvonne George and Youki Foujita--by l'amour fou: J'ai tant rêvé de toi que tu perds ta réalité. ("I have dreamt of you so much that you have lost your reality.") The line is logically equivalent to: "I have dreamt of you so much that you have gained surreality." The beauty of the objects of Surrealist desire became convulsive through dreams. May this become true for us all!
Pat Buchanan surely holds the record for the greatest impact on a presidential election with the fewest votes. With less than 0.43 percent of the tally nationally, he still managed to decide the 2000 election. But for the thousands of votes mistakenly cast for Buchanan in Palm Beach because of the infamously confusing "butterfly" ballot, Al Gore would be President today and George W. Bush would be the Republican Michael Dukakis.
Buchanan's pernicious influence, however, did not end with the 2000 election. He's now picking up where he left off with his infamous "cultural war" speech to the 1992 Republican convention, a speech, as Molly Ivins quipped, that "sounded better in the original German." Well, Buchanan's been translating from Deutsch again, this time with The Death of the West: How Dying Populations and Immigrant Invasions Imperil Our Country and Civilization, his new book. The Death of the West harks back to the xenophobic jeremiads of the early twentieth century, such as Madison Grant's The Passing of the Great Race, Lothrop Stoddard's The Rising Tide of Color, Houston Stewart Chamberlain's The Foundations of the Nineteenth Century and Oswald Spengler's The Decline of the West.
Indeed, enterprising journalists and historians looking to expose the next Stephen Ambrose or Doris Kearns Goodwin should consider comparing Buchanan's book side by side with these others. In addition to revising Spengler's title, Buchanan shares Stoddard's love of watery metaphors--both books gush with rising tides, surging oceans and flooding rivers of nonwhites, all of which push inexorably against the ever more precarious dams and dikes around the white world. The two authors also share a predilection for quoting Rudyard Kipling, the poet laureate of the "white man's burden."
Each of these earlier books shares the same simple theme: It's Us against Them, and with fewer and fewer of Us and more and more of Them, things look grim for Us. Buchanan readily accepts the "demography is destiny" argument: "As a growing population has long been a mark of healthy nations and rising civilizations, falling populations have been a sign of nations and civilizations in decline." Buchanan's data clearly put the West into the latter category. "In 1960, people of European ancestry were one-fourth of the world's population; in 2000, they were one-sixth, in 2050, they will be one-tenth. These are the statistics of a vanishing race."
And who's responsible for this disappearance? For Buchanan, women bear most of the blame. Liberated by technological and cultural changes, he argues, Western women have abandoned their true calling as designated racial breeders. "Only the mass reconversion of Western women to an idea that they seem to have given up--that the good life lies in bearing and raising children and sending them out into the world to continue the family and nation--can prevent the Death of the West."
Faced with declining birthrates, the only alternative available to Western nations if they wish to maintain themselves is massive immigration from the burgeoning populations of Asia, Africa and the Middle East. But for Buchanan, this medicine is worse than the disease, since immigration on this scale entails the introduction of too many nonwhite non-Christians. Regarding Europe, he writes: "And as the millions pour into Europe from North Africa and the Middle East, they will bring their Arab and Islamic culture, traditions, loyalties, and faith, and create replicas of their homelands in the heartland of the West. Will they assimilate, or will they endure as indigestible parts of Africa and Arabia in the base camp of what was once Christendom?" Clearly he thinks the latter. The United States faces a similar danger, he warns: "Uncontrolled immigration threatens to deconstruct the nation we grew up in and convert America into a conglomeration of peoples with almost nothing in common--not history, heroes, language, culture, faith, or ancestors. Balkanization beckons."
Buchanan must know that many have rung this tocsin before him, and each time it has been a false alarm. The West's population has probably declined relative to the rest of the world ever since the Western world defined itself as such. For example, when Stoddard wrote in 1922, he sounded the alarm because Western nations had declined to only one-third of the world's population. By 1960, as Buchanan points out, the Western share of the world's population had fallen to one-fourth. Despite this relative decline in population, he considers 1960 as the height of Western power and influence. Furthermore, most evidence suggests that Western nations are at least as powerful now as in 1960, even with the decline in population.
Buchanan's warnings about the United States ring just as hollow. Of the 30 million foreign-born residents, he claims, "Even the Great Wave of immigration from 1890 to 1920 was nothing like this." He's right--that wave surpassed the current one. Today, foreign-born residents make up about 11 percent of the US population, but from the 1870s to the 1920s, that number fluctuated between 13 percent and 15 percent.
Buchanan, however, also argues that today's immigrants are fundamentally different from earlier generations of newcomers; but again, there's no evidence for this. America was hardly more familiar to a Southern Italian peasant who came to New York City in 1900 than it is to an immigrant today from Nigeria or the Philippines. If anything, the spread of global markets and American popular culture has made recent immigrants more attuned to the ways of their new home than their predecessors of a century ago. Furthermore, the bulk of contemporary immigrants come from Latin America, and thus possess the Christian faith that Buchanan views as central to any definition of America. Indeed, the vast majority of Latin American immigrants share Buchanan's Catholicism. Nonetheless, these immigrants "not only come from another culture, but millions are of another race," making it difficult if not impossible for them to assimilate into US society. While Buchanan might consider Latinos as his brothers in Christ, he draws the line at having them as neighbors or fellow citizens.
September 11, Buchanan argues, painfully exposed the threat from contemporary immigrants: "Suddenly, we awoke to the realization that among our millions of foreign-born, a third are here illegally, tens of thousands are loyal to regimes with which we could be at war, and some are trained terrorists sent here to murder Americans." But the past is full of similar warnings about the enemy within. During World War II, anti-Japanese prejudices combined with national security concerns to result in the internment of thousands of US citizens. During World War I, "unhyphenated" Americans saw German-Americans as the Kaiser's minions, engaging in sedition and sabotage to aid the cause of the Fatherland. Yet as these instances demonstrate, the real threat, then as now, existed largely in fevered nativist minds.
This selective and myopic view of American nativism runs throughout The Death of the West. On the one hand, Buchanan refers to nativist statements by such people as Benjamin Franklin, Theodore Roosevelt and Calvin Coolidge to support his assertion that concerns over immigration are not un-American. On the other hand, while he is correct that nativism has always been one of America's multiple political traditions, Buchanan has nary a mention of how pervasive, inaccurate and pernicious such sentiments have been. Of the Know-Nothings, he knows nothing. He quotes Al Smith, the first Catholic nominated for the presidency by a major party, but includes no mention that anti-Catholic prejudices made a major contribution to his landslide defeat in the 1928 election, as he was vigorously opposed by Protestant leaders and groups such as the Ku Klux Klan. (After the election, the joke went, Smith sent a one-word telegram to the Pope: "Unpack.") To Buchanan, it seems, anti-Catholic sentiment is a recent development and limited to left-wing intellectuals. Overall, he chooses to ignore the fact that nearly every immigrant to this country confronted nativists who argued that their race, religion, ethnicity or culture made them unfit to become full American citizens. Furthermore, if these previous nativists had had their way, they would have excluded the ancestors of most current American citizens, including Buchanan's.
Buchanan recognizes that he's in a minefield with this subject, and he makes some efforts to tread lightly. To rebut accusations that he's an anti-Semite, he sheds crocodile tears over the danger to Israel from a growing Arab population and occasionally (but not consistently) refers to America's Judeo-Christian values. But like Dr. Strangelove's hand, Buchanan's anti-Semitism refuses to stay under control. As examples of conservative leaders who have failed to fight the culture wars with sufficient zeal, he singles out Irving Kristol, Gertrude Himmelfarb and Norman Podhoretz. One might well ask why these three when one could level similar charges against Jack Kemp, Bob Dole, John McCain and even George W. Bush.
By the end of the book Buchanan has dropped all pretenses, declaring America to be a Christian nation. His racism is equally apparent. For example, in addition to warning that many current immigrants are of a different--that is, nonwhite--race, he includes a lengthy discussion of black crime rates. Given that most blacks can trace their American ancestry back further than most white Americans, it's clear that Buchanan defines America not by "history, heroes, language, culture, faith, or ancestors" but by race.
If Buchanan's diagnosis of the problem is objectionable, his solution is even worse. For him, democracy, a shared culture and even a common race offer no defense against the West's impending doom. Rather, he argues, "If the West expects a long life, it had best recapture the fighting faith of its youth." And what were these youthful characteristics? "Protestant monarchs and Catholic kings alike did not flinch at burning heretics or drawing and quartering them at the Tyburn tree. The Christianity that conquered the world was not a milquetoast faith, and the custodians of that faith did not believe all religions were equal. One was true; all the rest were false." To believe otherwise invites disaster, "For it is in the nature of things that nations and religions rule or are ruled."
Buchanan's right-wing nativism is nothing new, so it might be tempting to dismiss him and his book as inconsequential. After all, didn't the 2000 election prove that Buchanan had only marginal electoral support and that even the Republican Party considers his views too extreme? But votes don't always measure influence, and The Death of the West has clearly struck a responsive chord. Not only does it stand near the top of the New York Times bestseller list, but its author remains a prominent fixture on the TV talk-show circuit. Indeed, it's interesting to contrast the reception of The Death of the West with that of Buchanan's previous book, A Republic, Not an Empire. The latter set off a firestorm of criticism, especially among Republicans and conservatives, when Buchanan argued that Hitler had not threatened the United States. If anything, The Death of the West is even worse, since Buchanan moves beyond minimizing the danger of Hitler to the open espousal of many of his doctrines. Yet this time around, the conservative commentators have not been nearly as critical. Then, of course, Buchanan was in the middle of bolting the GOP, potentially splitting the conservative vote and throwing the election to the Democrats. None of this came to pass, with Buchanan even helping Bush to win Florida. But the lesson seems clear: Conservatives are more than willing to tolerate Buchanan's racism and xenophobia, so long as he doesn't pose a direct threat to their political interests.
Even more disturbing than Buchanan's kid-gloves treatment by the media and the right is that the book's popularity stems from and seems likely to reinforce the upsurge in nativist sentiments after September 11. For many Americans, those tragic events gave even more reason to see the world in manichean terms and to divide Americans along lines of race, religion and ethnicity. Consequently, relatively open immigration policies came under attack. In Congress, a House caucus devoted to immigration restriction doubled in membership after September 11. Representative James Traficant, Democrat of Ohio, spoke for many of those members when he asked, "How do you defend your home if your front and back doors are unlocked? What do we stand for if we can't secure our borders? How many more Americans will die?... If 300,000 illegal immigrants can gain access to America every year, trying to find a better life, do not doubt for one moment that a larger contingent of people with evil intentions could gain entry into America and continue to kill American citizens."
Thankfully, such sentiments have not gained much headway in the ensuing months. Although the Bush Administration has backed off its proposal for granting amnesty to illegal immigrants from Mexico, it has shown few signs of embracing significant immigration restrictions in response to September 11 and has even agreed to restore food-stamp eligibility to legal immigrants. In Congress, immigration opponents have failed even to gain a formal hearing for their proposals. Yet the popularity of The Death of the West shows that nativist attitudes have not disappeared, and Buchanan's diatribe will undoubtedly help reinforce such views. Furthermore, both opponents and supporters of open immigration recognize that another incident of terrorism is perhaps all that is needed to turn The Death of the West from polemic to policy.
For a while I thought about designing a flag. Something bigger, blurrier than "nation." I imagined a hovering planet on a field of blue, and "United We Stand" could be written under that--which felt good. I mentioned my idea to a few visual artists, who smiled and said I know what you mean, though some felt the American flag was fine and did stand for "something." Though no one could say what that something was, except maybe a desire to feel safe, together. Nonetheless, it kept happening. The war got sold on TV right in front of us. First, "Attack on America," then "America Strikes Back," then "America at War." It felt like a gradual poem coming across the TV screen in the same way a news story keeps adding one tiny little detail every hour on the hour. A poetry of repetition, so very American. We do understand the selling of a thing. Patriotism is, of course, a language system; a reality is getting constructed, just like "sobriety" exists as it does because of AA and the success of its endless repetitions ("it works if you work it!"), because, as Fredric Jameson says, conviction is related to the amount of redundancy in the message. But what about a flag for that other us? If there is another country, or many of them, in North America, or even in the world, how shall we know ourselves? Or shall we just darkly slide into the abyss under Gertrude Stein's ominous words: "Each civilization insisted in its own way, until it went away."
Long before September 11, I received countless e-mail petitions, still do, concerning the inhumane treatment of women in Afghanistan, though at dinner parties one hears the "good news" about the war--that windows in Afghanistan have been flung open, TV stations are coming back on and women are abandoning their burqas, going back to work. Suddenly, the US military has become the liberator of Afghan women. Yet this cheeriness is complicated by the story of Lieut. Col. Martha McSally, the highest-ranking female jet pilot in the Air Force, stationed in Saudi Arabia, who was, until recently, bizarrely forced to wear restrictive clothing--a black head-to-foot robe called an abaya, female Muslim attire, for her own protection whenever she was off base. Also, she was required to sit in the back seat of the car, as Saudi women do. (The Pentagon recently declared the black head-to-toe robe is now "not mandatory but strongly recommended" as off-base dress code. And McSally was reassigned to Arizona in what didn't sound like a promotion.) So while women were being liberated in Afghanistan, McSally's experience seemed like a recapitulation of the same oppression in mini-form, as if Muslim culture and the entire incident afforded the US military an opportunity to restrain women within its own ranks--obviously a goal. Because no one would ever suggest that a man in the military wear a dress for any reason. It would get him thrown out--so the masculine "out" is the feminine "in." Clearly, the patriotic have lots of work to do to change this pattern. Perhaps the war is "our" opportunity. We really need a flag.
In recent months I've read some radically female books that use poetics to promote a sexy and beguiling peace. Lisa Robertson, a Canadian writer, has written a small but epochal collection of poemlike prose passages and intermittent poems called The Weather. Once you crack the cover of this incidentally stunning-looking book--three floating white spheres in an azure sky--a folded turquoise sheet tumbles out, a press release it seems, from "The Office for Soft Architecture." It pronounces in boldface, "We think of the design and construction of these weather descriptions as important decorative work," and it wonders grandly, "How should we adorn mortality now?" This is a serious political question, since, it explains, "sincerity's eroticism is different from wit's." I suspect "sincerity's eroticism" is the condition of that "other America" that put Colonel McSally in an abaya. Lisa Robertson embarked on The Weather during a residency at the University of Cambridge, where she began an intense yet eccentric research in the "rhetorical structure in English meteorological descriptions." Referring to these weather descriptions, the Office for Soft Architecture temptingly promises, "They sculpt what rhythmed peace could be." The Office for Soft Architecture is a poet's fiction, a poet's dream--utopia, what used to be called a manifesto. Robertson's trope is exactly what we need to see whapping in the air, and, as the vastness of her international conceit reminds us, it is the air. In this so-often-impersonal book (which is no small crime for a female writer) she lets the landscape narrate, and from this newly constructed body politic, a collective tells the tale. The writing of the weather descriptions (which, I must admit, instantly changed mine) is incantatory. The Weather is a work of dazzling surface divided up into the days of the week, each "day" being rhythmic prose with a pendant poem at its end.
"Sunday" opens like a stick being thrust in the ground. "About here. All along here. All along here...." Later on it grows more dramatic: "Here a streak of light, here and there a house...." She continues: "Here is a system. Time pours from its mouth. We design it a flickering. Here is its desolation. Here it crosses. Here it falls at last...." The perspective is so deliberately precise and unclear, and so lovingly guided, that we follow it like a beautiful film, one quivering between art and politics, and the classic calm of her narration slides us over to a meditation on the State. Her text is a Virgil who would lead us humming through our mutating atmosphere. "Monday" begins with this suggestion: "First all belief is paradise." She shifts readily into the philosophic realm because she was never absent from it, and as the payoff for her constant mutation--just as swiftly she shifts out. The flickering ground of her book is all exits.
"Wednesday" is, among other things, a litany of female saints. She plops them into her landscape like paratroopers. These are military girls, leaders. "Days heap upon us. Where is our anger. And the shades darker than the plain part and darker at the top than the bottom. But darker at bottom than top. Days heap upon us. Where is Ti-Grace. But darker at the bottom than the top. Days heap upon us. Where is Valerie. Pulling the hard air into her lung." The effect of her naming and moving over the schematic, flickering landscapes is a cumulatively emotional one. "Days heap upon us. Where is Olympe. Going without rest. The polis crumbles open." When she quickens the pace of her unfolding, by shifting the scale, drawing her terms closer to one another, it sexualizes: "When monogamous, besieged. When no perception, doing warning. When none would, a pip of wet, stillness, a runnel." As each sentence opens with a poised "when," and as the gaps shorten, the field is suddenly jarring, exciting: "When the plan, a purse, optical." The rhythm of the collapse is a way of focusing, containing, then pulling back. This single practice, this excision of space and time, becomes a manner of speech itself. If all is weather dividing into week, week made of days, days of moments and letters, then the whole is a reference to a continuous surface of enlightenment in language, in being. It's exalted, even patriotic to me. We see the words that remain, and our selves reflected in it. In this fragment, the poem after "Friday," her work almost done, she speaks keenly of her utopia:
I make a little muscle
to disallow each part; a collar clamped against the cold, a nail against the rock. Sometimes, just what I praise, I believe.
Dodie Bellamy in Cunt-Ups uses overtly sexual texts, her own and ones written by others. She arranged her pages whole cloth, cut 'em into quarters and re-arranged them like tiles. She smoothed the resulting page out till it seemed right. The "cunt-ups" of the title refer to William Burroughs's famed cut-up technique. I think there's a deliberate air of domesticity (like working-class moms making dresses from patterns) to how she describes her project--this female riffing on the historic practice of the quintessential "outsider" man. Especially when I think of Burroughs's prophetic railing against the corporate monstrosity, while taking into account the irony of his being the scion of a huge corporate family; and when I recall how much Burroughs hated women, calling them (us) "two-holed monsters," and how he shot his wife (allegedly a lifelong sorrow for Burroughs, yet still how much worse for her!). There's something horribly fitting that Dodie Bellamy, who incidentally comes from a Midwestern, no-privilege background, would construct a small book of endless romps like:
I contact either myself or you, I recall being involved at this time when I moved our hand across my body and I felt like I had one of those small water pistols. You were dripping instead of shooting your victims, you were living in your stomach penis and balls. I fuck you in a garage, I fuck you as if you'll be recovered like a sledgehammer in a garage, like you'll eat my brains. I get all stirred up, I was still half asleep and started flopping about, I was shown to have my right hand cupped around the sledgehammer's base, I used to break up the bones to reach your balls, kneeling before you, here, a sledgehammer will be placed on inventory, your cunt is comfortable, that and your tits, orgasm, after orgasm, but I can't shake wanting to plant myself inside you, gray handle, my hips spreading across the chair, feeling me over. I just want to suck on your nipples.
In a way Burroughs could say anything--he couldn't be thrown out of anything, could he?--being a man, being on a small trust fund, living at the end of the world. Already killed his wife. What's to lose? I think about how Bellamy's appropriation of his method is not unlike Kathy Acker's, but Kathy was also a trust-fund kid, and was personally safer being bad--because the upper classes are entitled to transgress for us all. I applaud this dedicated act of replacement, the joyfully willful construction of a Frankenstein text, one where the genitals are all confused in a timeless flow--all present, as a particularly ballsy female accomplishment. Going one further than Bill, the avant-garde's Dubelyew, in taking this sublime stab at pleasure, the rearrangement of hundreds of cunts and clits and dicks and pussies: The exhausted "I just want to suck on your nipples" has tremendous immanence, all gesture, a mad kind of one-time power.
Honor Moore's Darling is in many ways the most ambivalent creature of the lot. Its cover is a photo that looks like a painting; the whole question of artifice abounds in this book. It's conventionally poetic in some ways, but the ground is unstable, the largest tease in Darling being its title. A female nude leans into her position, gazing at flowers, and so many of the poems in the book are about love; sometimes the lovers are female, sometimes male. It's truly a midlife book about love and relationships, but the "Darling" of the title is not the woman gazing on the cover or one of the lovers or all of them. Instead, there's a dream of a funeral in an eponymous poem toward the end of the book; it's a family funeral, I guess. And there the dream's narrator saw her first gay man kiss another. After which he calls him "Darling." It puts a spin on all the poems, making this trickster aspect of love be the star. Which love? The woman on the cover thinks: Hell, what's he gonna do now. Love is unfathomable, this poet knows.
Stylistically, Moore does not speak in excision. It's an older ear. I'm thinking that a material everything hovers in her view, and the poems feel selected from that. We're moving through the fullness of a world, and memory. The surprises, the replacements, are conducted almost by sleight of hand. Like Bellamy's, this is also a poetry of class. I mean, what poetry isn't, but here I'm thinking upper class, and the poems are full of the aches of privacy; figuratively it starts in the dark and it returns. In the book's first poem, "Bucharest, 1989," a painter yearns for white, but the color is unavailable. The whole of this book is richly dark. It's hard to imagine most readers not approaching this world without a certain covetousness. In the same way that the name Robert Lowell was part of that poet's poetry, so is "Honor Moore." Her name approaches allegory, and even when you know she's being daily, it's a rarefied daily and it sings differently. A poem called "In the Dark," however, approaches a Djuna Barnes or a Hart Crane wildness: "A goat strays/through my dreams, Doctor, a crazy dove,/and from Pontormo, a woman struck/blind, her arms raised against the stranger." It's a medallion of chaos, but emotionally it's as stamped as a coin, like an old dream that clangs long after its images are gone. I'm glad for the mystery here. The house of the book is huge, and it sheds light on the unknown. History is a place, after all, a very real and glamorous one, where strange things occur. In "Citizenship" she states: "I wake to cars raging north up a rise, a truck/banging south." There's a loneliness to the notation.
My sense of the real time of the book comes out of these matter-of-fact lines. The poet wakes up and you feel she is ready to move, while still swarming with dreams. You feel the pause before the gesture, and the effect is quietly awesome. In "Undertow" a woman is described: "She liked to wear bright/colors, used the word 'sweetie,'" then a line later you realize it's the poet's mother. There's a movie star quality to the description: "I'm tiny in her arms, as if/flat against a steep mountain." Even as we read the lines, the poet is fading into the distance--no one is bred for this experience. The poet endures her own pathos: "Understand, I don't/believe this will ever change." "Hollow Hill" is a swatch of prose that is not a "prose poem" but a tiny memoir of a child in a big house, where people have "old rooms," as in "my father's old room." On a planet where many people spend their lives moving constantly, on "Hollow Hill" not only is the poet's own childhood stable but her father's is too. Her parents sleep in "the Modern Room." The reality of this family life is uncanny, museumlike, and the child iterates herself theatrically: "They don't let me keep the doll. I gallop back...but I will never undress her or untie the red ribbons under her chin." How I understand this book has to do with what seems disallowed in this very ornate, very conditioned reality. So much undoing is not visibly possible. I understand, for instance, how our sense of the Gothic springs out of exactly this imaginary of old, dark ancestral houses, even beautiful places where things don't change much. Just deepen.
To be alive in these places one would become a reader of codes and elsewhere seek one's own undoing. That "undoing" being passion, which is the subject of this book. Passion being, I hate to say, so poetically, the most necessary flag. Lines slap us in the face, almost jumping out of the poems that hold them: "Nothing heals/like that hand," she utters in "Resonance," which I think is the finest poem in Darling. The moment of the line is followed by a sort of rejection: "We don't have a life/together," she says, "face toward/the child, window, the child running...." It's a heartbreaking reply, yet the power of the moment remains with the narrator. It resounds with a very female frankness that cuts across class in terms of knowing what one has made, has done.
Perhaps he's right about the cup.
You dig the clay or purchase it.
You cover it, keep it wet. One day
The clay calls you to model the cup
And what you've lived, every cup
To your lips, moves through your hands.
As a reader these new books make me feel that so much good is already on its way to us. Like Lisa Robertson says: First of all belief is paradise. The right to assemble a moment of presence--a poem, this flickering banner of passion is ours.
BRIDEFARE OF FRANKENSTEIN
Katha Pollitt ["$hotgun Weddings," Feb. 4] makes many very excellent points about the horrors of "bridefare," but she does not address a major tragedy of the benefits-for-wedlock policies--i.e., the oppressively heterosexist and homophobic assumptions and ideology that undergird such programs.
Though one might never know it from pop-culture representations of gay, lesbian, bisexual and transgender people, a recent report from the National Gay and Lesbian Task Force, analyzing the impact of welfare reform on GLBT people, estimates that there are 900,000 to 2.5 million low-income GLBT people in the United States, many of whom have children to support. This excellent report (see www.ngltf.org) details many other ways current and proposed welfare policies and practices are detrimental to GLBT people and their children. For example, in addition to the potential for discrimination and mistreatment associated with coming out to their caseworkers, current policies that privilege marriage often serve to coerce lesbian and bisexual women who apply for public assistance to establish the paternity of potentially violent former male partners. These policies can also force GLBT minors to return to homophobic parents--the same parents who may have kicked them out of the house for being queer--in order to receive benefits.
Not surprisingly, many of the same right-wing ideologues who promote bridefare are also pushing, among other things, a constitutional amendment (nicknamed "super-DOMA") that would bar same-sex unions, as well as legal bans on adoptions by GLBT people. Those on the right are not interested in aiding this type of "family formation"--they would much rather punish GLBT people in need of public assistance and use antipoverty policy as another way to further their campaigns of stigma and hate.
DARA Z. STROLOVITCH
LORDS OF THE RING
New York City
Jack Newfield felt called upon to denigrate several other athletes--all of them black--while exalting Muhammad Ali ["The Meaning of Muhammad," Feb. 4] as America's "Dalai Lama, who personifies peace and harmony." Jackie Robinson was criticized for becoming a Republican and Michael Jordan was faulted for being unwilling to do anything controversial.
In his race-conscious comparisons, Newfield was grossly unfair to two black former heavyweight fighters. Jack Johnson, the first black champion, low-rated by Newfield as an "apolitical hedonist," was in fact a proud man whose defiance of the lynch-law standards of his time aroused a frenzied national search for a "White Hope" to dethrone him.
Joe Louis, whom Newfield scorns for being "modest" and a "patriot," was assertive enough in the ring to be "the greatest" with his fists (if not in self-praise) during the twelve years of his championship. If Louis is charged with being a "patriot" because of his readiness to serve in World War II, it may be noted that there were 11 million of us, black and white, who shared his view that the war against Hitler was a just war.
Appearing with Paul Robeson at a tribute to black war veterans, Joe Louis expressed warm support for that redbaited artist and activist. The champion hailed Robeson as "my friend and a great fighter for the Negro people," and said, "There are some people who don't like the way Paul Robeson fights for my people. Well, I say that Paul is fighting for what all of us want, and that's freedom to be a man."
LLOYD L. BROWN
NON CAMPUS MENTIS
Thank you so much for your coverage of the campus unrest of our times ["War on Campus," Dec. 3]. Professor Berthold is not the only one under attack at the University of New Mexico. Students, faculty and those from the campus community who question, demonstrate or educate about "the war on terrorism" are scorned by a local politician and the shrill campus Republicans. My English 102 students struggled hard to understand the events of September 11 and beyond, and they deserve the respect of those who claim to stand for our foundational freedoms. One freedom that is often overlooked is the right of intellectually curious students to have access to information so as to formulate their own educated opinions. Letters to the campus newspaper demonstrate a variety of positions on our current war. They also show Professor Berthold to be a very popular teacher, even when students disagree with the positions he takes.
Neither I nor frontpagemagazine.com have ever called for the firing of anyone from any university for expressing views that are leftist, idiotic, traitorous or otherwise, as David Glenn implies in his article. One of my employees--a young graduate of UNC--did make an emotional statement to this effect, which Glenn quoted, which is fine. But since I myself disagree with the statement, which did not appear in my magazine, I should not be accused of hypocrisy on free speech issues by Glenn or anyone else. My issue with so-called teach-ins was their totalitarian exclusion of opposing views. It ill behooves leftists who have not uttered a word of protest or concern while the conservative viewpoint has been purged from the faculties of virtually every major university in the country--including those that provide subsidies to Nation editors--to pose as defenders of academic freedom.
David Glenn exposes the inevitable result of the "hostile environment" cabal, which is one sad inevitable result of identity politics. When the focus is exclusively on race or sex, what do you expect? That pro-Israeli shills wouldn't see criticism of Israel as anti-Semitism? Such could only happen here in California, where Cal students bum-rushed the Daily Californian for running David Horowitz's stupid anti-reparations ad instead of directing readers to consider the source and let Horowitz hang himself. The left has suffered because of people who have to begin every political statement with the words "as a...(fill in the blank)." Only when it returns to emphasizing how we've all been injured will it help address the real gaps in our lives.
New York City
David Glenn refers to the editors of the pernicious New York Pest saying they were "rethinking their support" for increased CUNY funding because faculty have dared to criticize US policy in Afghanistan. What a joke! Both the malignant New York trash papers, the Pest and the Daily Ooze, have been enemies of City University for years. They have never let mere truth interfere with their endless drumfire of defamation of the university, its faculty and its students. The trustees (busily trying to suppress student and faculty dissent) and the chancellor have never seen fit to respond to these dishonest tabloid attacks. Shamefully, instead of doing their job, which is to defend the university as a free space for the debate of any and all public issues without censorship or interference, they prefer to attack unpopular views on campus and meddle irresponsibly in curricular matters beyond their competence. That is a greater menace to the fundamental moral and intellectual health of our society than crazed terrorists or anthrax-laden mail.
David Horowitz says that he and FrontPage shouldn't be stigmatized for comments made on NPR by one of his junior editors. Fair enough. Let's see what FrontPage itself had to say (www.frontpagemag.com/guestcolumnists/oswell09-21-01.htm). FrontPage describes the September 17 teach-in on terrorism, sponsored by UNC's Progressive Faculty Network, as a "nauseating" "shameful" exercise in "spewing hatred for America." Fine, fine, fine. Far be it from The Nation to discourage vigorous polemic. But then there's an editorial box below the article: "Tell the good folks at UNC-Chapel Hill what you think of their decision to allow anti-American rallies on their state-supported campus. Chancellor James Moeser can be reached at...," followed by phone number and e-mail address. This call was not simply tucked into a corner of the website. According to the Daily Tar Heel, Horowitz's staff aggressively faxed the article to right-wing radio hosts and other media outlets.
Note that the editorial box did not say, "Here are the e-mail addresses of the professors who spoke at the teach-in. Write to them and point out where their logic has gone astray." (Had this been the request, I might have been tempted to join in myself. Personally, I lean toward Christopher Hitchens's view of the war.)
Nor did it say, as Horowitz's letter implies: "Write to Chancellor Moeser and complain about UNC's double standards--the university gives a platform to leftists but suppresses conservative voices." For there is no evidence that UNC has done any such thing. In early October, the College Republicans sponsored a "patriotic rally" with no interference from the university. Moeser, whose office was besieged by angry phone calls instigated by FrontPage, was no more and no less responsible for the Progressive Faculty Network's teach-in than for the College Republicans' rally.
Beneath the coy phrasing, there is really only one meaning to FrontPage's "Tell the good folks...". It's impossible to parse that sentence as anything other than a call for censorship. In his NPR appearance, Horowitz protégé Scott Rubush at least had the courage to make the call in plain language.
'OUTSIDE THE BOX' NO MORE
E.J. Graff's fantastic article on the gender movement makes one important error ["The M/F Boxes," Dec. 17]. Graff says that "all the major lesbian and gay organizations...have added transgendered folks to their mission statements." As a legal assistant at Lambda Legal Defense and Education Fund, the nation's largest lesbian and gay legal group, I and others lobbied for such inclusion, only to be rebuffed by its overly cautious leadership. I'm pleased to report, however, that Lambda's board voted in January to include bisexual and transgendered people in their mission statement, falling in step with national groups like the ACLU.