News and Features
The arrest in France of James Kopp, the accused assassin of Buffalo obstetrician Barnett Slepian, could not have come at a more awkward time for the Bush Administration. Bush inaugurates himself by blocking aid to international family planning agencies and by nominating antiabortion fanatics to run the Justice Department. Then fugitive Kopp surfaces to remind the American public of where
these bottom-line commitments lead.
In 1994 Bill Clinton's Justice Department initiated a grand jury inquiry into
abortion-clinic violence. But FBI agents grumbled that Justice was
wasting their time, and the grand jury folded its tent in January of
1996 after finding no evidence of a national conspiracy. Five years
later, it's clear that Kopp--accused in three nonfatal shootings in
Canada and the United States in addition to the murder of Dr.
Slepian--had a lot of help, the kind of help for which "conspiracy"
is the operative legal term.
So far, investigators have
arrested two antiabortion felons in Brooklyn--Dennis Malvasi,
convicted of a 1987 clinic bombing in Manhattan, and Loretta Marra,
who blockaded clinics with Kopp. They sent Kopp money and stayed in
touch with him through a Yahoo drop box. The circle is almost
certainly wider--and transnational. For the past year Kopp lived in
Ireland, bunking in hostels and mingling with the fundamentalist
breakaway Catholic sect founded by excommunicated Archbishop Marcel
Lefebvre. Kopp managed to acquire at least two separate Irish
identities and passports for himself and a blank Irish passport and
birth certificates for his New York friends, and someone in Ireland
vouched for his references for an employment agency--all of which
makes it obvious that his was not a solo act. Ireland's right-to-life
leaders deny any connection to the assassin, and it's entirely
possible that his support network was American. In the last
half-decade US antiabortion campaigners have moved on Ireland in a
big way, introducing a militancy previously unknown
Speculation necessarily swirls around the followers
of the Rev. Patrick Mahoney of the Washington-based Christian Defense
Coalition. In March 1999 Mahoney led a brigade of forty Americans to
Dublin, where they occupied the offices of the Irish Family Planning
Association and taught their Irish counterparts all-American
blockade-and-intimidation techniques. Indeed, only a day before
Kopp's arrest, Mahoney was slapped with an Irish court injunction
prohibiting him from further harassing the IFPA. Mahoney had tolerant
words in 1997 after Slepian's shooting, and responded to Kopp's
arrest by warning the Bush Administration not to "harass and
intimidate the pro-life movement."
It can't escape notice
that the Kopp conspiracy began to unravel just as the Court of
Appeals for the Ninth Circuit overturned a jury verdict and
injunction on the Nuremberg Files website, which displays
photos of abortion providers and a list with a strike through the
names of assassinated physicians. On March 28 the Ninth Circuit
unanimously found, in the words of presiding Judge Alex Kozinski,
that if the website's rhetoric "merely encouraged unrelated
terrorists," it is protected by the First Amendment.
Michelman of NARAL called the ruling "a major setback for a woman's
right to choice," and along with Planned Parenthood vowed to pursue
the case to the Supreme Court. To me, Kopp's overdue arrest suggests
a different conclusion. There can be no doubt that the Nuremberg
Files website contributed to a climate of fear--that the website
is the theory and James Kopp's rifle is the practice. Yet the
emerging facts of Kopp's flight make it clear that keeping The
Nuremberg Files off the Internet would not have saved Dr. Slepian
or brought the shooter to justice. The important thing is to
investigate real antichoice gangsterism, real shootings, real escape
routes. The important thing is to insist on the continuity between
Kopp and the "respectable" antiabortion agenda of the White House.
Bush and Ashcroft have been assiduously working to accomplish by
executive order what Kopp attempted with a gun: diminishing the
availability of abortion and thus undermining a civil right. This,
and the climate of fear generated by clinic violence, must be fought
with politics, not censorship. And the recent rise of police
surveillance aimed at antiglobalization protesters only makes more
clear the danger of prosecuting an inflammatory publication as if it
were the hand that smashed the windowpane or pulled the
Kopp's arrest is full of ironies. The most
antichoice Attorney General in US history is now stuck prosecuting an
antichoice assassin; an Administration wild about the death penalty
must forgo capital punishment to secure Kopp's extradition because
France opposes it. It would be a final, and tragic, irony if
prochoice advocates permit antiabortion thugs like Mahoney to play
the martyr--drawing attention away from the very violence they have
The election this March of an openly gay Mayor of Paris--the Socialist Bertrand Delanoë--would have been unthinkable just a few years ago. That's one reason the American edition of Frédéric Martel's The Pink and the Black (it appeared in France five years ago) is so pertinent: It's the first attempt at a history of the modern French gay movement, without whose achievements the victory of Delanoë would not have been possible. It all began on March 10, 1971. Radio star Ménie Grégoire was moderating her enormously popular chat show before a live audience in Paris's famous Salle Playel. The broadcast's theme that day: "That Painful Problem, Homosexuality," with experts from law, medicine and the Catholic Church. Suddenly interrupting some priestly condescensions, a group of homosexual women rose from the audience, yelling, "It's not true, we're not suffering! Down with the heterocops!" The lesbians stormed the stage, and the control room cut off the microphones and switched to recorded music. The militants' message: "Homosexuals are sick of being a painful problem." The Front Homosexuel d'Action Révolutionnaire (FHAR), and with it the modern French gay movement, had been born.
The youthful activists who formed the FHAR had their political coming-of-age in the turbulent student-left rebellion of May 1968 that turned into a nationwide general strike in all walks of life, a gigantic outpouring of social protest against the suffocating atmosphere of de Gaulle's France. And while the young far-left soixante-huitards ('68ers) were initially hostile to "supposedly bourgeois homosexuality," as Martel writes, the May rebellion "contained, in embryo, all the ingredients of sexual liberation, for which it was a dress rehearsal." While the FHAR was initiated by women, it quickly admitted men as "objective allies."
One of the first men to join the FHAR was Guy Hocquenghem, who rapidly became the nascent movement's undisputed star. Hocquenghem's political itinerary was fairly typical of the soixante-huitards. After an "apprenticeship" in the Union of Communist Students when he was a brilliant philosophy student at the prestigious École Normale Supérieure in Paris, he was a leader of the National Union of French Students and--rejecting the heavy-handed Stalinism of the French Communist Party--became by turns a Trotskyist and then a Maoist. By the time of the FHAR's founding he was a prominent member of Vive la Révolution (VLR), a libertarian split-off from the orthodox Maoists that was led by Roland Castro (later a prominent architect and adviser to French President François Mitterrand on urbanism).
After joining the FHAR, Hocquenghem proposed that it put together a special issue of Tout!, the VLR's newspaper, which he coordinated. In the issue, 50,000 copies of which were published in April 1971, were articles titled "Our Bodies Do Belong to Us," "The Right to Homosexuality and Every Sort of Sexuality," "The Right of Minors to Freedom of Desire and Its Satisfactions" and, most important, "Let's Stop Cowering in the Corner." Martel records that "thus the theme of coming out appeared for the first time in France.... The FHAR, 'a saw for cutting up reality in a different way,' in Hocquenghem's expression, had found its slogan."
All this became a public scandal when the Interior Minister had Jean-Paul Sartre, who had lent his name to Tout! as editorial director, indicted for "public indecency" and "pornography"; police seized 10,000 copies of Tout! and the vice squad raided its offices. In the end Sartre, and the gay liberationists, won in court, a stunning victory against the justice system.
The FHAR's general meetings, held in the amphitheater of the École des Beaux Arts, grew rapidly from fifty people to a hundred, to a thousand, and they "marked a momentous time in the history of the evolution of mores in France. They got homosexuals talking," Martel writes. In this heady atmosphere, its air perfumed by hashish smoke, the "militants put revolution into practice: they invented cruising relieved of its furtiveness, and, moving through [the school's] hallways...or on the upper floors and in the attic, they experimented with Fourier's 36,000 forms of love."
In January 1972 Hocquenghem, by then teaching philosophy at the University of Vincennes and already moving away from VLR, published a historic and much-discussed article--"The Revolution of Homosexuals"--an autobiography-cum-manifesto in Le Nouvel Observateur, the influential mass-circulation left-wing weekly; and by the end of the year he'd produced Homosexual Desire, the first theoretical work by an avowed homosexual in France. The book influenced a whole generation of gay liberationists in Europe (and when brought out in the United States two years later by Schocken Books, many American gay intellectuals as well). The FHAR, which had strong anarchist tendencies, imploded by the end of that year, as its meetings were overwhelmed by those who came only for sex, not debate. But Hocquenghem--with his "angelic beauty," his assured platform performances and his gifted pen--had become, as Martel puts it, "a hero," "for many...the one who had 'liberated homosexuals'" and "the emblem of homosexuality in France."
The FHAR was not the first organization of French queers. Arcadie was an austere "homophile" review founded in 1954 by an ex-seminarian, André Baudry; as it gained subscribers, it gradually became a discreet movement, a kind of secretive homo Freemasonry dominated by ultramontane Catholics. Baudry preached "sublimating one's sexual and emotional orientation into asceticism," and he opened Arcadie's parties and dinners with sermons attacking homosexuals who cruised parks and toilets. It was supported by the likes of Jean Cocteau and the right-wing novelist and diplomat Roger Peyrefitte; its members included lawyers, magistrates, military men and government officials--all deeply closeted. But it did conduct the first dialogue with mainstream politicians on behalf of same-sexers and was not without influence. Martel's chapter on Arcadie, "Down with Daddy's Homosexuality" (a FHAR slogan), is fine gay historiography.
One of the few prominent leftists to join Arcadie was Jean-Louis Bory. A member of the French Resistance who fought in the Orléans forest in World War II, in 1945 Bory won the Prix Goncourt for his first novel at the age of 26. A socialist, Bory signed the famous appeal of the 121 writers and intellectuals calling for resistance to France's repressive war in Algeria in the 1950s. Over the years he published a series of novels in which "the latent homosexuality of his characters became increasingly clear," and in 1973 he wrote an unambiguous confessional autobiography. A year before the FHAR's founding Bory had "participated in the first mass-audience radio broadcast" on homosexuality, on which "he rejected any idea of a 'homosexual movement' but defended the fight for freedom, declaring that he was obviously a homosexual and a 'model citizen,' and that the two were necessarily linked in his mind." Bory mistrusted the radical aggressive visibility championed by Hocquenghem, but as a fixture on radio and TV in the 1970s he championed the homosexuals' "right to indifference." In 1977 Bory and Hocquenghem jointly published a book in which they outlined their differing views, later summed up by the philosopher René Schérer, Hocquenghem's friend and mentor: "[Bory] was living within the logic of Arcadie and was fighting for integration and tolerance, whereas Guy always insisted on marginality: he wanted integration with exceptionality, integration within marginality."
Exhausted by his role as the "responsible left's" gay spokesman, Bory committed suicide in 1979. Hocquenghem left organized politics altogether and became well known as a journalist, essayist, novelist and broadcaster, teaching all the while. Since Martel makes him such a central figure throughout the book, it's unfortunate there is no more than a cursory and often reductionist presentation of his thought (for an overview in English, see Bill Marshall's Guy Hocquenghem: Beyond Gay Identity, from Duke University Press).
I have emphasized the early years of French gay politics because they are so little known here, but there's much more in Martel's book, which--dare I say it?--doesn't miss a trick. There are chapters on the changing loci of gay male cruising and gay nightlife; a rich chapter detailing the history of lesbians, whose struggle for identity was primarily within the women's movement, not the gay movement; on the ultimately successful effort to repeal the various laws criminalizing homosexuality, of which France was free from the French Revolution (as of 1793) until Vichy; on the rise and fall of the weekly Gai Pied and other organs of the political gay press; on the contribution gays made to the victory of François Mitterrand and the Socialists in 1981--and their subsequent disillusionment; on the retreat from militancy in the 1980s, the triumph of gay commercialism, the gay ghetto.
But the most impassioned chapters in the book are devoted to AIDS. Martel writes that in the early '80s, gay intellectuals, militants, organizations and the gay press were largely in denial about the threat of AIDS. Even the association of gay doctors was in denial. After Michel Foucault died of the disease in 1984, his partner of twenty-three years, Daniel Defert, and a group of friends launched the association Aides, with two goals: prevention education and care for the sick. The heroic loneliness of Defert and his colleagues as they battled the epidemic is as moving as the refusals they met with in the gay world are appalling. Why was organized gay life in France virtually last in Western Europe to respond effectively to AIDS? The sociologist Michel Setbon has argued that "AIDS as a problem specific to homosexuals placed [gay] organizations on the horns of a dilemma that was painful, if not impossible, to address," given the state of medical knowledge at the time: "Either adopt the epidemiological definition of AIDS as a 'gay cancer' and risk being stigmatized, or deny its reality and avoid homophobia."
The analytical theses at the end of Martel's book, which were widely criticized in the French gay press, may remind American readers of the attacks on the gay movement emanating from the Independent Gay Forum, the network of conservative gay intellectuals founded by the likes of The New Republic's Andrew Sullivan and the National Journal's Jonathan Rauch. Moreover, a condescending bitterness creeps into Martel's tone when writing about liberationist militants, which his assimilationist and reformist politics do not fully explain. When I raised this with Martel, he told me that one of those to whom he dedicates the book, at the time his 18-year-old lover, had been "infected with HIV by a militant." Pity he didn't tell his readers.
I lived in France for much of the '80s and knew a number of the people in this book--Hocquenghem was a valued friend--and find serious factual errors in Martel's work. He writes that Hocquenghem "refused to be tested" for AIDS and "reportedly learned he was HIV-positive only after he was already ill. He supposedly even refused...to be monitored medically." These unsourced statements are entirely false, as Guy's lover and literary executor, the journalist Roland Surzur (who took the test with him), confirmed to me. Martel attacks Hocquenghem for blindly writing as late as September 1985, "How can we believe in a medical establishment that discourages us, that announces nothing but contagion, that marches only to the tune of fear and despair?" These words appear shocking--unless one knows they were written two months after Hocquenghem tested positive, which gives them an entirely different meaning. The first group to emerge from the gay community to fight the epidemic was not Aides, as Martel writes, but Vaincre le Sida, founded by an ex-FHAR activist, Dr. Patrice Meyer. I've discovered other errors and inexactitudes too numerous to list here. Many of those Martel attacks are no longer here to defend themselves; Hocquenghem died of AIDS in 1988.
I think Setbon's view is the right one: Fear of homophobia was the principal cause of AIDS denial in France. But Martel believes the fault lies elsewhere: with "identity politics." He doubts "the advisability of building a political community of homosexuals" and calls for an abandonment of "communitarianism." Yet he was hired as a counselor on gay issues by two Socialist governments precisely because the community, and the gay vote, had become important. And in a democracy, all electoral politics is, to one degree or another, based on the politics of identity.
In the late 1970s, the legendary Socialist Gaston Defferre--mayor of Marseilles for decades and his party's onetime presidential candidate--took a number of real and symbolic steps in favor of same-sexers. Asked to explain this, the leader of the city's organized gays later said, "Defferre's success came from the fact that he always had his Armenians, his Greeks.... When there got to be queers, he had his queers." To get so big they try to co-opt you is half the battle; the other half, harder, is to resist.
I have long embraced the proposition that homosexuals are different from everyone else except in bed--it is oppression and fear that makes them so. Martel insists that "we must do our best to make 'homosexuality' a meaningless term, a word with no relation to reality. Only ever-changing individuals must remain." A noble sentiment--but I'm afraid I think that day is further away, much further away, than he does.
A woman two months pregnant goes to see her Ob-Gyn for prenatal care. As required by law, her doctor informs her that her condition places her at greater risk for a wide range of medical problems: hypertension and diabetes if she is overweight; complications of surgery if, like one in four women, she has a Caesarean section; permanent weight gain with its attendant problems, including heart disease; urinary tract infections and prolapsed uterus if she has had multiple pregnancies; postpartum depression or psychosis, leading in rare cases to suicide or infanticide; not to mention excruciating childbirth pain, stretch marks and death. There are ominous social possibilities, too, the doctor continues, reading from his state-supplied script: increased vulnerability to domestic violence; being or becoming a single mother, with all the struggles and poverty that entails; job and housing discrimination; the curtailment of education and professional training; and lowered income for life.
No state legislature would compel doctors to confront patients with the statistical risks of childbearing, serious though they are; a doctor who did so on his own would strike many as intrusive, offensive and out of his mind. Should a woman seek abortion, however, anti-choicers are pushing state laws requiring that she be informed of a risk most experts do not believe exists: a link between abortion and breast cancer. Like the supposedly widespread psychological trauma of abortion, which even anti-choice Surgeon General Dr. C. Everett Koop was unable to find evidence of, the abortion-breast cancer connection is being aggressively promoted by the anti-choice movement. (Even Mother Jones, always quick to take feminists down a peg, leapt on this bandwagon, with an April/May 1995 piece entitled "Abortion's Risk.")
"It's yet another example of efforts to encumber this legal choice and make it more difficult and painful for women," says Dr. Wendy Chavkin, professor of public health and clinical obstetrics and gynecology at New York's Columbia Presbyterian Hospital, and editor in chief of the Journal of the American Medical Women's Association. It's also an attempt by anti-choicers to reframe their opposition to abortion as concern for women's health, something not usually high on their list. These are, after all, the same people who fight health exceptions to "partial birth" abortion bans and who have successfully prevented poor women from receiving medically necessary abortions with Medicaid funds.
Nonetheless, such is the power of the anti-choice movement that laws have been passed in Montana and Mississippi, and bills are pending in fifteen other states, mandating a breast cancer warning (and in some cases, a waiting period for it to sink in). Along with laws come lawsuits: In Fargo, North Dakota, the Red River Women's Clinic is being sued for failing to give such a warning; a 19-year-old Pennsylvania woman is suing a New Jersey clinic for her abortion two years ago, which left her, she claims, with an overwhelming fear of contracting breast cancer. In ferociously anti-choice Louisiana, a new law permits women to sue for damages--including damages to the fetus!--up to ten years after their abortion. Given today's high rates of breast cancer, a deluge of litigation is in the making.
Does abortion cause breast cancer? Some studies have appeared to suggest a connection: Dr. Janet Daling, for example, an epidemiologist who says she is pro-choice, compared the abortion histories of 1,800 women with and without breast cancer and found that, among those who had been pregnant at least once, the risk of breast cancer was 50 percent higher for those who had abortions--but her cancer-free sample was obtained through telephone interviews with women chosen at random from the phone book. Not everyone has a phone, of course, which raises questions about the comparability of the samples, and besides, how many women would volunteer information about their abortion history to a voice on the phone? Like other studies showing a link, this one was marred by "recall bias": Cancer patients are more likely to volunteer negative information about themselves than healthy people. They are looking for an explanation for a disease--and one many feel must somehow be their fault. Demographic studies, which are free from recall bias, produce different results: Lindefors Harris, analyzing the national medical database of Swedish women in 1989, found that women did deny their abortions, that breast cancer patients were less likely to do so--and that women who had had abortions were less likely to get breast cancer. The largest study to date, of 1.5 million Danish women, found no correlation.
"The supposed link between breast cancer and abortion is motivated by politics, not medicine," says Dr. David Grimes, clinical professor of obstetrics and gynecology at the University of North Carolina. "The weight of the evidence at this time indicates no association. To force this on women is just cruel." Indeed, the National Cancer Institute, the American Cancer Society and the World Health Organization, none of which have an ax to grind, reject the notion. The standard medical textbook, Diseases of the Breast, concurs. The main figure advocating the link is Dr. Joel Brind, professor of biology and endocrinology at Baruch College, who has done no original research on this issue but is a tireless anti-choice propagandist--plug "abortion breast cancer" into a search engine and the top half dozen sites are his.
Abortion is just about the only medical procedure in which doctors and patients are hemmed about by lawmakers. No other operation has legally mandated waiting periods, although many are dangerous, life-altering and irreversible; with no other operation are doctors legally required to give specific information--certainly not information that the vast preponderance of medical opinion believes to be false or at best unproven. Good medical practice calls for discussion of the pros and cons of particular courses of treatment, not burdening the patient's choice with unsubstantiated fears. Will we ever see a law requiring doctors to tell pregnant patients that abortion is statistically safer than carrying to term--which it is? Sure, the day state lawmakers put a waiting period on Viagra prescriptions, to let male patients really consider whether an erection is worth a heart attack.
Will Paris become the first large city in France (indeed, the first major city or national capital anywhere in the world) to elect an openly gay candidate as mayor--the Socialist Bertrand Delanoë? Beyond that question, highly symbolic for same-sexers everywhere, the two-stage Paris elections, which take place on March 11 and 18, will have far-reaching consequences. If the left succeeds in winning the City of Light for the first time ever, that could presage a national victory in France's presidential and legislative elections, to be held in May 2002.
The right has maintained hegemony in Paris since the first municipal elections in 1977, when Jacques Chirac--then president of the neo-Gaullist RPR--led the right to victory. He remained mayor of Paris until his election as President in 1995, when he dictated the selection of his successor--the current mayor, Jean Tiberi, Chirac's first deputy mayor for nearly two decades.
But the unbroken succession in this city, dominated for the past twenty-four years by la droite chiraquienne (the Chirac conservative majority), has suddenly and dramatically deteriorated following an avalanche of financial and electoral scandals. Mayor Tiberi is at the center of accusations concerning, among other things, the secret financing of political parties through a highly organized system of corrupt rakeoffs and kickbacks on contracts, filling the electoral rolls with phantom voters, illegally allocating low-rent apartments in city-owned housing (reserved for the economically disadvantaged) to political cronies and the families of elected officials and giving hundreds of no-show municipal jobs to full-time workers for the RPR and its campaigns. These scandals now threaten to undo Chirac himself, a danger underscored by the recent arrest of Chirac's former municipal chief of staff.
Aside from the scandals, the right's management of the city has also been sharply criticized. Paris is in danger of becoming a city-museum: Rents have skyrocketed, and the lack of subsidized housing for low- and middle-income families has forced many of them to move to less costly suburban developments with onerous commutes. While tourism continues to increase, Paris has serious air pollution and has not modernized or improved its public transportation or its noncommercial recreation facilities (especially for the young, hardest hit by unemployment).
All this means the left has an excellent chance of winning the municipal elections. Its leading candidate, Dominique Strauss-Kahn (number two in Prime Minister Lionel Jospin's government and the man in charge of the French economy), was forced to withdraw and lost his ministry after being tainted by yet another money scandal. After much internecine maneuvering, Jospin's Socialist Party finally settled on Delanoë. A little-known senator at the time of his designation, with a reputation as an unimaginative apparatchik and Jospin loyalist, Delanoë chose to make his homosexuality public during a 1998 television appearance. His matter-of-fact manner in coming out made few waves at the time, but since then he has enjoyed the media's favor, and--thanks to the Ubuesque situation in which Paris's right finds itself--his popularity has steadily increased in the opinion polls. And he has secured the endorsement of all the smaller parties in Jospin's "plural left" coalition, including the Communists (except for the Greens, who are nonetheless expected to support Delanoë in the second round of municipal voting). Within the city's sizable gay population, Delanoë has broad support, all the more so because, in contrast to his right-wing opponents, he has been a supporter of the pact of civil solidarity (PACS) for unmarried couples. Passed by the left-controlled National Assembly in 1999, the PACS recognizes and gives a large number of social and fiscal rights to domestic partnerships, whether homo- or heterosexual.
The conservative RPR, recognizing that Tiberi was politically bankrupt, dropped him as its mayoral candidate in favor of Philippe Séguin, a former party president and minister under Chirac. But even though Séguin is an RPR heavyweight with a reputation for intellectual honesty, his rigidity and independence (in the past he's feuded with Chirac) render him unsuited for the kinds of concessions necessary to unify the fractious Paris right. Meanwhile Mayor Tiberi, despite being disavowed by the RPR, has maintained his candidacy for re-election as an independent and is running a slate of candidates for City Council. In addition, the two extreme-right parties are running their own slates.
Delanoë's ambitious campaign proposals include making Paris "a model of democracy" (through the creation of neighborhood and youth councils and an official forum for civic organizations, the institution of referendums by petition and, above all, a guarantee of "real financial transparency" in government); building 5,000 new low-income and student housing units a year; ending the policy of "autos first" by building a new tramway to encircle Paris, creating 300 kilometers of new bus lanes, more car-free zones for pedestrians, cyclists and roller skaters, and improved river transport on the Seine; providing more daycare centers and facilities for the aged and handicapped; and doubling the city's cultural budget. He also promises halfway houses for gay kids rejected by their parents, giving gay organizations equal access to the subsidies the city already provides to civic groups, creating a new gay archive/research center and waging aggressive city-sponsored campaigns against antigay discrimination and AIDS.
However, even if Delanoë wins, as now seems probable, giving Paris back its former demographic mixture and improving its quality of life--especially for those of modest means--won't be easy, given a city budget that has been fiscally unsound for many years. Moreover, Delanoë's personal shortcomings continue to raise doubts, including on the left: Can a party workhorse with no management experience, nominated almost by default for his mayoral post, innovatively lead the first city of France?
Still, changing the political control of Paris--and ending what Le Nouvel Observateur has dubbed "the corrupt Chirac-Tiberi system"--is a top priority, one that could lead to the right's (and Chirac's) defeat next year. And if this permits one of the world's greatest cities to elect a mayor who is openly gay, why not gamble on his success? Frédéric Martel
Does The Marshall Mathers LP--in which great white hip-hop hope Eminem fantasizes about killing his wife, raping his mother, forcing rival rappers to suck his dick and holding at knife-point faggots who keep "eggin' [him] on"--deserve Album-of-the-Year honors? This is the question before members of the National Academy of Recording Arts and Sciences (NARAS), who have, since nominating Eminem for four Grammy awards, received unsolicited advice from a bizarre constellation of celebrities, journalists and activists ranging from Charles Murray to British pop singer (and Eminem collaborator) Dido.
Bob Herbert of the New York Times took the opportunity to deplore not just Eminem's lyrics but the entire genre of rap music for "infantile rhymes" and "gibberish." In a more nuanced report, Teen magazine asked, Eminem: angel or devil? and discovered that 74 percent of teenage girls surveyed would date him if they could. The Ontario attorney general even attempted to bar Eminem from entering the country for violating the "hate propaganda" section of the Canadian Criminal Code.
But the most vociferous and persistent criticism of Eminem has come from an odd combination of activists: gay rights groups like the Gay and Lesbian Alliance Against Defamation (GLAAD) and family-values right-wingers like James Dobson's Focus on the Family. They all argue that Eminem's album threatens not only the objects of his violent lyrical outbursts but also, in GLAAD's words, the "artist's fan base of easily influenced adolescents who emulate Eminem's dress, mannerisms, words and beliefs."
In the face of all this attention to Eminem's "hate speech," even the usually taciturn NARAS is doing some public soul-searching. The academy's president, Michael Greene, recently said, "There's no question about the repugnancy of many of his songs. They're nauseating in terms of how we as a culture like to view human progress. But it's a remarkable recording, and the dialogue that it's already started is a good one."
As I have been forced to sit through all this Eminem-inspired hand-wringing over the physical and psychological well-being of faggots like myself, I've wondered just how good that dialogue really is. For one thing, so much of what has been said and written about Eminem has been political grandstanding. For example, Lynne Cheney, not usually known as a feminist, singled out Eminem as a "violent misogynist" at a Senate committee hearing on violence and entertainment. Eminem's lyrics, she argued, pose a danger to children, "the intelligent fish swimming in a deep ocean," where the media are "waves that penetrate through the water and through our children...again and again from this direction and that." Pretty sick stuff. Maybe it comes from listening to Marshall Mathers, but maybe it's the real Lynne Cheney, of lesbian pulp-fiction fame, finally standing up.
GLAAD, for its part, argues that Eminem encourages anti-gay violence, and it has used the controversy over Eminem's lyrics to fuel a campaign for hate-crimes legislation. While GLAAD and Cheney have different motives, both spout arguments that collapse the distance between speech and action--a strategy CatharineMacKinnon pioneered in her war against pornography. Right-wingers like Cheney and antiporn feminists like MacKinnon have long maintained such an unholy alliance, but you would think gay activists would be more cautious about making such facile claims. After all, if a hip-hop album can be held responsible for anti-gay violence, what criminal activities might the gay-friendly children's book Daddy's Roommate inspire? Because the lines between critique and censorship, dissent and criminality, are so porous and unpredictable, attacking Eminem for promoting "antisocial" activity is a tricky game.
Thankfully, GLAAD stops short of advocating censorship; instead it asks the entertainment industry to exercise "responsibility." GLAAD launched its anti-Eminem crusade by protesting MTV's heavy promotion of Marshall Mathers, which included six Video Music Award nominations and a whole weekend of programming called "Em-TV." After meeting with GLAAD representatives in June, MTV's head of programming, Brian Graden, piously confessed, "I would be lying to you if I didn't say it was something we struggled with." Liberal guilt aside, MTV nonetheless crowned Eminem with Video of the Year honors and then, in an attempt to atone for its sins, ran almost a full day of programming devoted to hate crimes, starting with a mawkish after-school special on the murder of Matthew Shepard, called Anatomy of a Hate Crime, and concluding with a seventeen-hour, commercial-free scrolling catalogue of the kind of horrific and yet somehow humdrum homophobic, misogynous and racist incidents that usually don't make it into the local news.
Perhaps understandably, Eminem's detractors still weren't satisfied, but given the fact that Eminem is one of the bestselling hip-hop artist of all time, what exactly did they expect from MTV and the Grammys but hypocrisy and faithless apology? And what do they really expect from Eminem--a recantation? Does anyone remember the homophobic statements that Sebastian Bach of Skid Row and Marky Mark made a decade ago? Point of fact: Marky Mark revamped his career by becoming that seminal gay icon, the Calvin Klein underwear model, and Bach, long blond locks still in place, recently starred in the Broadway musical Jekyll and Hyde. All of which just goes to show, if hunky (and profitable) enough, you can always bite the limp-wristed hand that feeds you.
Meanwhile, the dialogue among Eminem's fans has been equally confusing. Some, like gay diva Elton John (who's scheduled to perform a duet with Eminem at the Grammys) and hip-hop star Missy Elliot, praise Eminem's album as hard-hitting reportage from the white working-class front. They argue that his lyrics are not only excusable but laudable, because they reflect the artist's lived experiences. This is, as London Guardian columnist Joan Smith pointed out, a "specious defence." Should we excuse Eminem because he is, after all, sincere? Should we ignore his own genuinely violent acts--like pistol-whipping a man he allegedly caught kissing his wife? Others, like Spin magazine, have defended him as a brilliant provocateur. Far from being about realness, they argue, Marshall Mathers is parody, a horror show of self-loathing and other-loathing theater, a sick joke that Eminem's fans are in on. They point to how he peppers his rants with hyperbole, denials and reversals, calling into question not only the sincerity of his words but also their efficacy. For example, he raps about how he "hates fags" and then claims he's just kidding and that we should relax--he "likes gay men."
I don't know if Eminem really likes gay men, although I'd sure like to find out. What is clear from listening to Marshall Mathers is that he needs gay men. When asked by MTV's Kurt Loder about his use of the word "faggot," Eminem said, "The lowest degrading thing that you can say to a man when you're battling him is to call him a faggot and try to take away his manhood. Call him a sissy, call him a punk. 'Faggot' to me doesn't necessarily mean gay people. 'Faggot' to me just means taking away your manhood." Of course, using the word "faggot" has this effect only through its association with homosexuality and effeminacy, but there, really, you have it. Homosexuality is so crucial to Eminem's series of self-constructions (he mentions it in thirteen of eighteen tracks) that it's hard to imagine what he would rap about if he didn't have us faggots.
Eminem is, in his own words, "poor white trash." He comes from a broken home; he used to "get beat up, peed on, be on free lunch and change school every 3 months." So who does he diss in order to establish his cred as a white, male rapper? The only people lower on the adolescent totem pole than he is--faggots. This strategy of securing masculinity by obsessively disavowing homosexuality is hardly Eminem's invention, nor is it unique to male working-class culture or hip-hop music. Indeed, Eminem's lyrics may be more banal than exceptional in the way they invoke homophobic violence.
Marshall Mathers reworks the classic Western literary trope of homosexuality, which manifests itself as at once hysterical homophobia and barely submerged homoeroticism. It reflects the kind of locker-room antics that his white, male, suburban audience is well acquainted with. So too were Matthew Shepard's killers, Aaron McKinney and Russell Henderson, and the perpetrators of the hate crimes MTV listed (who were, not so incidentally, almost all white men), and, for that matter, the Supreme Court, which recently held in the Boy Scouts' case that homophobic speech is so essential to boyhood that it's constitutionally protected. Herein may lie the real brilliance of Eminem as an artist and as a businessman. In a political culture dominated by vacuous claims to a fictive social unity--tolerance, compassionate conservatism, reconciliation--he recognizes that pain and negativity, of the white male variety in particular, still sell.
So does Marshall Mathers deserve Album of the Year? Well, I probably wouldn't vote for it, but if it does win, that would be perfectly in keeping with Grammy's tradition of rewarding commercial success. And where might a really good dialogue on homophobia, violence and entertainment begin? It might look at why The Marshall Mathers LP proved to be so pleasurable for so many, not despite but rather because of its violent themes. It might start by seeing Eminem not as an exception but as the rule--one upheld not just by commercial entertainment values but by our courts, schools, family structures and arrangements of public space. As Eminem says, "Guess there's a Slim Shady in all of us. Fuck it, let's all stand up."
We have many male authors known for loving women, fewer known for loving men. Love that is not overtly homoerotic--resolutely heterosexual, in fact--can take on an intimacy and purity untroubled by sex, even if still troubling for its intensity, its incoherence and frequent confusion, violence or aggression, its exclusionary quality. And so it is no surprise to find it so often in novels of war, or the military. In the last half-century American practitioners of this form have included Heller and Mailer, Ward Just, Tim O'Brien and, perhaps most overlooked, James Salter, who is interested in more than the camaraderie among men in uniform but also its inverse as well, the case of the solitary, perhaps a newcomer breaking in. Here is his description of the fighter pilot Robert Cassada from his new novel of that name:
It was his beauty, of course, a beauty that no one saw--they were blind to such a thing.... By beauty, nothing obvious is meant. It was an aspect of the unquenchable, of the martyr, but this quality had its physical accompaniment. His shoulders were luminous, his body male but not hard, his hair disobedient. Few of them had seen him naked, not that he concealed himself or was modest but like some animal come to drink he was solitary and unboisterous. He was intelligent but not cerebral and could be worshipful, as in the case of airplanes.
"They" and "them" are his colleagues, the men of a fighter squadron stationed in Germany in the 1950s. The men--Dunning, Isbell, Wickenden, Godchaux, Phipps, Dumfries, Ferguson, Harlan, Grace--lead restless, incurious, exalted lives, flying every day in the skies above Western Europe, waiting for the conflict that never comes. So conflict comes from within and among the men, who are arrogant, competitive, bored, cussedly suspicious yet trusting, too. They are not alike. Major Dunning is a Southerner and former college football star; Harlan is a rustic, an overgrown farm boy. Wickenden, or "Wick the prick," Cassada's nemesis, was "born in the wrong century. The cavalry was what he was made for, riding in the dust of the Mexican border with cracked lips and a line edged into his hair from the strap of a campaign hat." Cassada is from Puerto Rico, which leads Harlan to wonder what he's doing in the US Air Force. "Puerto Rico's part of the United States," replies Godchaux.
"I don't know. A long time."
"I must of missed hearing about it."
The banter may not recall Catch-22--while sharp, it is seldom witty--but Salter's particular genius is for the inexpressive man. He saves his tenderest regard for Cassada, about whom there is "an elegance...a superiority. You did not find it often." It is perhaps his gravest mistake, for to a reader with less invested in the project, Cassada is the least present, most flattened out, of all the men, the one who never steps out of the page despite being so beautiful or unforgettable as all that. Cassada, which is a revision of an early, out-of-print novel, The Arm of Flesh, should instead be titled Isbell.
In interviews Salter has dismissed The Arm of Flesh as a "failed book," and he says the same in his preface to Cassada. Admitting that the new venture might be "a mistake," he cites "the appeal of the period, the 1950s, barely a decade after the war; the place, the fighter bases of Europe; and the life itself." Cassada, then--in words that I have seen repeated in every notice--is "the book the other might have been."
I think in fact it is the same book, although better turned out for some crucial changes. The Arm of Flesh is a novel in alternating voices--seventeen altogether--some of which are hard to figure out, others appearing only briefly, even once. Several could be cut entirely, as their narrative distracts from the general thread, which is about the ordeal of two pilots (one whose radio is out) trying to make it home in terrible weather, while interspersed are episodes from lazy days on base and elsewhere. Cassada is told in the third person, but the structure is much the same--if the two books are laid side by side, one sees in Cassada a succession of loose little chapters that more or less correspond to an individual voice's narrative in The Arm of Flesh. Major Clyde is now Dunning. Lieutenant Sisse from the earlier book does not appear at all in the second. In The Arm of Flesh Cassada never speaks with his own voice. In both works his words are reported to us through the perspective of others; and so he is always at least once, often twice, removed from a reader.
"Something was usually beginning before the last thing ended." This is Isbell, and the words seem to me to be the key to the book. Cassada is a new arrival at the wing in Giebelstadt, but the rivalries, the ennui, the excitements of a life in the air, at speed, have been going on as long as men have been assembled to fight. Salter, who was a pilot himself in Korea--with the advantage, unlike many of the pilots in Cassada, of actually having seen combat--has written of this elsewhere, in his first novel, The Hunters, and in his memoir Burning the Days. A pilot, it seems, becomes obsessed with doing something remarkable, with being remembered and spoken about even after he's gone. "In the end there is a kind of illness," Salter writes in his memoir. "A feeling of inconsequence, even lightness, takes hold. It is, in a way, like the earliest days, the sense of being an outsider. Others are taking one's place, nameless others who can never know how it was." Cassada is driven relentlessly to prove himself; his immediate commander, Wickenden, thinks he has a death wish. Isbell, who grows to love Cassada, acknowledges his own part in stirring him up. "It was true [he] had sometimes opposed him. It had been essential to. It was part of the unfolding." Earlier we have learned of Isbell's mysticism, his sense of his role among the men as "biblical." "It was the task of Moses--he would take them to within sight of what was promised, but no further. To the friezes of heaven, which nobody knew were there."
In this kind of outfit, Cassada never stands a chance. It is he who is one of the pilots in trouble as they try to reach home. The other is Isbell. The bond between the two is the strangest in the book, yet critical to its success. I don't think Salter has convinced us that it is true. Isbell is decent, perceives Cassada's isolation; pencils himself in to fly with him once, on an early morning training mission over Germany. It is a matchless day, the kind fliers dream of. They hardly speak.
The earth lay immense and small beneath them, the occasional airfields white as scars. Down across the Rhine. The strings of barges, smaller than stitches. The banks of poplar. Then a city, glistening, struck by the first sun. Stuttgart. The thready streets, the spires, the world laid bare.
Afterward Isbell's body is "empty," his mind "washed clean." Cassada asks about a city they flew over, Ingolstadt. "It's not as great as it was this morning," Isbell replies.
"You could say that about everyplace," he commented.
It was true, Isbell thought, exactly. He felt a desire to reply in kind. It was not often you found anyone who could say things.
It is worth reprinting Salter's original language from The Arm of Flesh. The speaker is Isbell:
"The whole world's like that," he said.
A chance remark that entered my heart. I didn't know what to say. Suddenly he was not what he seemed--as wise as a schoolboy who knows sex--he was entirely different. Yes, I thought. The whole world is. And early we rise to discover the earth. I felt a sudden desire to bequeath him my dreams, to offer them up. All of the searching is only for someone who can understand them.
This seems to me rather better, nearly perfect, in fact. While terseness can suggest all the things that must remain unspoken in life, a writer striking at the essence of character must occasionally open himself up, like a pilot his engines. Earlier in the same passage, in The Arm of Flesh, we have the measure of Isbell that is stripped from its revision in Cassada--excitable, aroused, ready for risk: the risk of loving a fellow flier: "We stealthy two. Streaming like princes. Breathing like steers," he thinks while aloft. Over Stuttgart:
Watch out, Stuttgart. Watch out. We're at God's empty window. We can see everything. The thready streets. The spires. It's all apparent. We can stare through the roofs. Right into the first cups of coffee. Your warm secrets, Stuttgart. Your rumpled beds.
None of this is in Cassada. None of it says much about Cassada, but it says everything about Isbell. The end of the chapter is the same in both books, except for the following sentences from The Arm of Flesh: "He could have told me what he was going to be. I might have believed him." And later on, when the two men's mission has met its tragic end, a lengthy Isbell monologue is sharply cut, in which his obsession with Cassada again comes to the fore: "There is so much I almost told him. I can't understand why I didn't. I was waiting for something, a word that would fall, an unguarded act." Of course, there are no unguarded acts from the embattled Cassada, but more surprising is the sense--retained in Cassada--that the young pilot actually had something to say. Both versions ascribe uniqueness to him, the phrase "the sum of our destinies." Yet Cassada doesn't even pretend to understand Isbell in those moments when their communion is said to be greatest: "You amaze me, Captain.... We're talking about two different things. I don't know. I just don't understand, I guess."
In Burning the Days--the eponymous chapter of which, thirty pages long, is a true anticipation of the story told in The Arm of Flesh and Cassada--Salter invokes briefly a pilot named Cortada: "He was from Puerto Rico, small, excitable, and supremely confident. Not everyone shared his opinion of his ability--his flight commander was certain he would kill himself."
And that's it for Cortada. Another cipher, with too much in common with Cassada to be a coincidence. Salter has kept the story of both men to himself, which is why a reader turns more attentively to the lonely and appealing Captain Isbell, standing between the men and Major Dunning. It is no surprise, of course. Failing to attach ourselves to the protagonist for whom the book is named, we look elsewhere, and find our longing met in the author's substitute.
The end of Cassada is beautiful. It is only four pages. Isbell and his family are leaving Germany; they are on a train along the Rhine, his daughters rambunctious, his wife solicitous, Isbell alone with his thoughts, which include Cassada. For the first time he senses himself as the romantic figure readers have seen all along, joining the ranks of the eternals, "the failed brother, the brilliant alcoholic friend, the rejected lover, the solitary boy who scorned the dance." Isbell is Salter; and one turns to Burning the Days, where the author takes his own solitary farewell to the flying life:
When I returned to domestic life I kept something to myself, a deep attachment--deeper than anything I had known--to all that had happened. I had come very close to achieving the self that is based on the risking of everything, going where others would not go, giving what they would not give. Later I felt I had not done enough, had been too reliant, too unskilled. I had not done what I set out to do and might have done. I felt contempt for myself, not at first but as time passed, and I ceased talking about those days, as if I had never known them. But it had been a great voyage, the voyage, probably, of my life.
"I would have given anything, I remember that," Salter adds, remembering the pilot's terror ("none of it mattered"), including separation from his leader. Isbell mouths nearly those words in remembering a Cassada who "stands before him, fair-haired, his small mouth and teeth, young, unbeholden." In Burning the Days Salter recalls a beloved figure from West Point who fell in the war: "He had fallen and in that act been preserved, made untarnishable. He had not married. He had left no one...he represented the flawless and was the first of that category to disappear."
Reading Salter's memoir, or recollection, as he prefers to call it, one senses that much of his life has been a mourning. The list of the dead is long and unfolds over pages and pages--many are pilots, men Salter flew with--and it becomes easy to see what he hopes is evident from his preface to Cassada: "the fact that it was sometimes the best along with the worst pilots who got killed." All of Salter's novels--including The Hunters, A Sport and a Pastime and Light Years--are beautiful elegies in which a survivor tries to go on, somehow make sense of it all, knowing the task is futile but that perhaps peace can be achieved. Why should his memoir be any different? Cassada will take a few hours to read, in which time there is exquisite suspense, some lovely sentences, a tender portrait of a hero--Isbell, I still believe, not Cassada--and a lot of shoptalk about flying. But the flying talk is better, more exactly described and sustained, more rapturous--"exalted," to use a favorite Salter word--in Burning the Days, and the memoir has the advantage of tracking the two held-apart strands of Salter's emotional life--the chaste love of men, the unsatiable desire for women--more closely than is possible for a book about fighter pilots. The following sentence sounds like Isbell recalling Cassada, but in fact it's Salter standing in the wreckage of all who have died: "You are surviving, more than surviving: their days have been inscribed on yours."
Young women, who've never lacked abortion rights, are tough to mobilize.
With over 100,000 members in college and university chapters, Students for a Democratic Society (SDS) was the largest and most significant of the 1960s New Left organizations in the United States. While its history has been told before in a few well-known titles--Kirkpatrick Sale's SDS, James Miller's "Democracy Is in the Streets," Todd Gitlin's The Sixties and Thomas Powers's Diana among them--SDS is finally getting visual treatment as well with Helen Garvy's intriguing film Rebels With a Cause.
Garvy, a former assistant national secretary of SDS, reveals an insider's history of the organization with her film, built around the voices of twenty-eight of its leading activists, including Tom Hayden, Carl Oglesby, Casey Hayden and Bernardine Dohrn. And despite a sparse use of visual images, narration and music, Garvy has created an affecting picture. She avoids the "talking heads" danger inherent in documentary technique through tight editing--one interviewee picks up right where another leaves off. The effect is that of a seamless and compelling narration to the unfolding history and issues.
While other films about the '60s capture the energy and excitement of student rebellion with footage of protests and confrontation, this one captures the thought that went into the activism. It is the best film record we have of the intellectual motivations of the New Left in the United States.
The SDS story as Garvy tells it begins with its founding in 1960 as an organization concerned with racism, poverty, democratization of American society, the cold war and the danger of nuclear confrontation. SDS sought to identify itself with the left but avoid the traditional leftist pitfalls of sectarianism and dogmatism. The Port Huron Statement, drafted two years later by Tom Hayden, began with an expression of the generational anxieties to which SDS was responding: "We are people of this generation, bred in at least modest comfort, housed now in universities, looking uncomfortably to the world we inherit."
Despite the great concerns and ambitions of its founders, SDS was at first nothing more than a loose network of activist friends on a few college campuses (Michigan and Swarthmore, in particular) and in New York City. Then the contacts began to expand; I first heard about SDS in 1963 as a freshman at the University of Oklahoma, where we were concerned with ending both segregation in the surrounding community and compulsory ROTC on campus.
The most important initial organizing thrust of SDS was to serve as a Northern student adjunct to the Southern civil rights movement. But it quickly moved from supporting the Southern struggle to attempting to spark parallel struggles in the North. Through its Economic Research and Action Project (ERAP) the organization embarked on a series of ambitious community organizing campaigns in nine Northern cities with the avowed aim of creating an interracial movement of the poor. "We were very serious organizers," Sharon Jeffrey says in the film. "We intended to change the world." Within a couple of years, though, the escalating Vietnam War began to divert the energies of SDS away from its domestic community-organizing agenda. The ERAP began to wither, as did a number of civil rights projects in the South.
Nineteen sixty-five was a critical year in this transition. On April 17 SDS held the first March on Washington to protest US intervention in Vietnam. Exceeding all expectations, 25,000 people participated. Then more than 100,000 took part in the October 15 International Days of Protest and the November 27 second March on Washington sponsored by SDS and a range of other organizations. The number of SDS chapters on campuses multiplied from a few dozen to well over a hundred. Thousands of new members joined up. National and international media descended upon the Chicago national office, where I was working at the time, thinking that they had located the epicenter of the antiwar movement. In reality, by this time, SDS was just one of many organizations responding to a groundswell of opposition to the war.
The war was the new reality. At this time, SDS was actively struggling against America's foreign policy as well as its racial and economic policies at home. Then, in December 1965, Casey Hayden and Mary King, both highly regarded organizers and informal leaders from the civil rights movement, opened up yet another front. They circulated a letter, titled "Sex and Caste," that called upon women in SDS (and the movement in general) to initiate dialogues over "the problems between men and women." This call added gender to the inequalities of race and class that the organization sought to redress. It also marked the beginning of women's activism in the movement.
For the next four years, SDS played a prominent role in the growth of a freewheeling and militant new radicalism. But the movement defied any kind of central control, and a succession of national SDS leaders struggled to establish a clear role for the organization.
An initially small faction dominated by the Progressive Labor Party (PL), a pro-China splinter from the Communist Party, made inroads into SDS year by year, and its opponents among the national leadership grew increasingly rattled as they sought to fashion nonsectarian alternatives to PL's brand of Marxism-Leninism. The 1969 SDS convention in Chicago broke into warring factions--one controlled by PL, another by the emergent Weather Underground and others, including the Revolutionary Youth Movement. The Weather faction controlled the national SDS office until early 1970, then closed it down before going underground. That marked the formal end of the organization.
In many ways SDS succumbed to the very sectarianism that it had sought to avoid. "There was a process of one-upmanship on rhetoric," Bob Ross says, "that eventually one-upped us right out of touch with either students or the mass of the people."
Most of the tendencies of the radical politics of the seventies, including clandestine guerrilla organizations and the attempts to build Marxist-Leninist parties, can be traced from the breakup of SDS. Some members, however, came out of SDS committed to electoral politics and moving the Democratic Party to the left. A significant number also continued to pursue grassroots organizing strategies.
Although the SDS name continued to be employed by PL for several years, it was not the same organization and has never been recognized as such by original SDS activists. Consequently, Garvy does not include the PL "SDS" in her treatment. However, she does describe the Weather Underground experience, since its leading activists had roots in SDS. A number of these, including Bernardine Dohrn, Bill Ayers and Cathy Wilkerson, speak in the film.
Garvy treads cautiously in this part of Rebels. Since the Weather campaign of terrorism continues to be an issue of sore dispute among SDS veterans, Garvy tells two sides of this story. She includes both a point-blank denunciation of the Weathermen as unrepresentative of the movement by former SDS president Todd Gitlin and a sympathetic interpretation--that the Weather tactics grew out of frustration with the failure of large-scale marches and other nonviolent tactics to stop the war. "In some ways," Jane Adams says, "I felt that they were my agent despite the fact that I didn't agree with them. I could fully understand the frustration out of which their rage came."
But not all of SDS's long-term survival problems were due to its internal dynamics. Documents released through the Freedom of Information Act confirm what was widely suspected then: The FBI and other government agencies kept close tabs on SDS and disrupted its activities through the FBI counterintelligence program (COINTELPRO). The full extent to which government agencies contributed to destroying the organization's effectiveness remains unknown. There are still-unreleased files, and, as is typical, much of the content of the released material is blacked out.
Garvy situates SDS as a phenomenon of homegrown radicalism in the great tradition of American grassroots democratic movements. What she chooses not to show is that SDS was also a phenomenon of the American left.
SDS was as much an outgrowth of, and entangled in, the left-wing political tradition as it was a spontaneous response to issues of the time. A number of its original activists came from left-wing, including Communist, families. The organization began as the student affiliate of the cold war social-democratic League for Industrial Democracy (LID), which had a long history of intraleft warfare against Communism.
The LID parentage proved increasingly problematic as SDS got older, especially as the Vietnam War became a major issue. (Leading members of LID supported the war.) The final straw that broke the relationship came at the 1965 national convention when SDS voted to remove a clause in its constitution that barred Communists from membership. SDS's "anti-anti-Communist" stance could not be tolerated by the profoundly anti-Communist LID, and a formal separation was negotiated a couple of months later.
Throughout its history, SDS saw itself as an alternative to the traditional left-wing Trotskyist, Maoist and Soviet-aligned groups, which it dismissed as sectarian and largely irrelevant to the nation's political life. (It was in SDS that I learned the difference between an "-ist" and an "-ite." You used the former for polite descriptions, the latter for ideological enemies.) Nevertheless, it had both to struggle with those groups and to participate with them in coalition activities. Thus, historical events of the left, from the split between communists and social democrats to the Sino-Soviet split (via the PL), contributed to creating the organizational environment in which SDS functioned.
Garvy can be forgiven for leaving out this part of the story in the interest of producing a film for wide consumption--how many ordinary people would want to sit through hearing SDS veterans onscreen reminiscing about their differences with Trotskyism or other leftist tendencies? Still, those differences did make up a part of the nitty-gritty struggles of the day and were a significant part of SDS history.
Rebels With a Cause can best be described as oral history in the form of a film. As such it is a faithful record--without the left-wing context--of that part of the 1960s movement. It is especially valuable as an antidote to the cynical interpretations that dismiss the 1960s activists as either misguided idealists or hedonists consumed with sex, drugs and rock and roll. But beyond establishing an accurate record, the film's contribution is its transmission of historical memory to later generations. It is an especially valuable resource for current activists who wish to link their struggles to those of the recent past.
I was therefore curious to know what this generation of students, who had not been born when the 1960s movement took place, would think of Garvy's film. There had been no overt censorship to prevent transmittal of the memory. But would other mechanisms keep students from knowing this history? Would they consider the events to be too remotely in the past to have any relevance to their lives?
I showed Rebels With a Cause at the university where I teach--Eastern Connecticut State, a working-class campus not at all known for student activism. As one might expect, reactions and interests varied. What I was most struck by was that while all the students had heard of the civil rights movement, many had not heard of the antiwar movement.
The media and schools have enshrined the civil rights movement, as they should, as a good example of a social movement in American history. The antiwar movement is another matter. It is largely ignored by the media and schools because it is still controversial--both in terms of whether citizens should have protested that war and, most important, for the "dangerous" example it set for how citizens might respond to present and future wars engaged in by this country.
In Rebels With a Cause Helen Garvy has given us a resource for keeping alive the radical memory of such dangerous examples and dreams in American history.
The Bush Administration is relying on falsehoods when making its case for opening up Alaska to drilling.
"Yes, nonviolence is a noble ideal, but do you really think it would stop a Hitler?" Or a street thug, a dictator, a death squad?
Pacifists are long accustomed to these questions, mostly thrown up by self-proclaimed realists. And they get the put-down message: Nonviolence is a creed only slightly less trifling than hippies sticking flowers in soldiers' gun barrels.
Readers whose minds are open to another view will be rewarded by A Force More Powerful: A Century of Nonviolent Conflict. It is a comprehensive and lucidly written addition to the literature of peace. Its worthiness puts the authors, Peter Ackerman and Jack DuVall, in the high company of Gene Sharp of the Albert Einstein Institution in Boston, Michael True of Assumption College and Richard Deats of the Fellowship of Reconciliation--all scholars of mettle who bring before the public the many historical examples where the force of organized, nonviolent resistance defeated oppression.
Ackerman and DuVall, deserving of praise for writing nonideologically when they might easily and self-indulgently not have (and thus lost readers looking for hard reporting rather than soft commentary), use fourteen chapters to document and analyze history-altering reforms created by nonviolent strategies. These include the early 1940s Danish resistance to the Nazis; Solidarity's strikes in the 1980s, which eventually took down the Soviet puppet regime in Poland; the 1980s public demands for free elections that removed the Pinochet junta in Chile; the near-bloodless elimination of the Marcos government in the Philippines; the work of the Palestinian-American Mubarak Awad to rally nonviolent civil resistance against Israeli authorities in the occupied territories; and civil rights workers in Nashville in the 1960s.
These are the better-known examples. Ackerman and DuVall also explore the removal of autocratic governments in El Salvador (in 1944), Mongolia and Eastern Europe. Oddly, the authors omit the story of Le Chambon, the French village that was a leading center for hiding Jews in the early 1940s and whose pacifist citizens successfully faced down the Nazis with weapons of the spirit, not weapons of steel. (That story is told by Philip Hallie in Lest Innocent Blood Be Shed.)
Ackerman and DuVall do not portray Awad, King Christian X of Denmark, Gandhi of India, Mkhuseli Jack of South Africa, Reverend James Lawson of Nashville and others as willing martyrs for the cause. Instead, they were hard-thinking political strategists who built bases for citizen support that would not crack when the heat rose and the dogs snarled.
"Nonviolent resistance," the authors write,
becomes a force more powerful than the hand of an oppressor to the extent that it takes away his capacity for control. Embracing nonviolence for its own sake does not produce this force. A strategy for action is needed, and that strategy has to involve attainable goals, movement unity, and robust sanctions that restrict the opponent.... When the regime realizes it can no longer dictate the outcome, the premise and means of its power implode. Then the end is only a matter of time.
Debunking the prevailing image of pacifists as appeasers or well-meaning but addled dreamers who've read one too many biographies of St. Francis, Ackerman and DuVall provide ample details to dispel those errant notions. As portrayed here, organizers of successful collective, nonviolent opposition to oppressors tend to be self-disciplined, practical and dogged--traits commonly held up as military virtues, which is why Gandhi so admired soldiers. The authors write:
Nonviolent action is like violent combat in at least two ways. It does not succeed automatically, and it does not operate mysteriously--it works by identifying an opponent's vulnerabilities and taking away his ability to maintain control. If a regime intends to remain in power indefinitely, it will require extensive, long-term interaction with those it rules--and that creates a dilemma: the broader the regime's system of control, the more vulnerable it is, because it depends on too many actors to ensure that violence against resisters will always work. Once an opposition shows its followers that this weakness exists, it can begin to pry loose the support that the regime requires--its revenue, its foreign investments, or even its military.... Victory is not a function of fate; it is earned.
Tolstoy described pacifists similarly: "For us to struggle, the forces being so unequal, must appear insane. But if we consider our opponent's means of strife and our own, it is not our intention to fight that will seem absurd, but that the thing we mean to fight will still exist. They have millions of money and millions of obedient soldiers; we have only one thing, but that is the most powerful thing in the world--Truth."
Peter Ackerman, formerly a visiting scholar at the International Institute of Strategic Studies, and Jack DuVall, who has worked in television and as a political speechwriter, also collaborated, along with producer Steve York, in a three-hour PBS documentary of the same title that played last September. The film quotes a postwar historian summarizing the Danish resistance to the Nazis by strikes, work slowdowns, hiding or helping Jews and not obeying orders to disperse: "Denmark had not won the war but neither had it been defeated or destroyed. Most Danes had not been brutalized, by the Germans or each other. Nonviolent resistance saved the country and contributed more to the Allied victory than Danish arms ever could have done."
A Chilean leader said of the organized resistance against Pinochet in the 1980s and the successful call for fair elections: "We didn't protest with arms. That gave us more power."
Refreshingly, the authors offer compelling observations--almost as sidenotes--about the ineffectiveness of violence. Lech Walesa and Polish strikers taking on the Jaruzelski regime remembered that except for momentary glee nothing was accomplished by Polish workers in 1970 and 1976 when they burned down Communist Party buildings. "In the 20th century's armed liberation movements," Ackerman and DuVall write, "portraits of gunwielding martyrs--the Che Guevaras of the world--were often flaunted as symbols, but none of those struggles produced freedom."
A Force More Powerful will likely stand as a book more powerful than any guts-and-glory war memoirs by generals or gun-toters, or any extollings of military might by one-note historians.