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The history which bears and determines us has the form of a war rather than that of a language: relations of power, not relations of meaning.
--Michel Foucault, Power/Knowledge
Michel Foucault would have been fascinated by late-twentieth-century presidential campaigns.
--Lynne Cheney, Telling the Truth
Since the late 1980s, when they discovered with horror certain French-derived theories of social science and literary analysis that long before then had taken root among left-leaning academics in the United States--essentially replacing Marxist dialectics as weapons of intellectual struggle, in reaction against the failure of radical politics in the 1960s--American conservative intellectuals have held these particular theories under siege. In such books as Tenured Radicals (1990) by New Criterion managing editor Roger Kimball, Illiberal Education (1991) by ex-Reagan White House domestic policy adviser (and former Dartmouth Review editor) Dinesh D'Souza and Telling the Truth (1995) by ex-National Endowment for the Humanities chairwoman and future Vice Presidential spouse Lynne Cheney, and in innumerable interviews, stump speeches and talk-radio tirades, representatives of the American conservative movement have denounced the exponents of these theories for attempting to lure students away from traditional cherished academic ideals like objectivity and truth toward a cynical, despairing view of history, politics, literature and law.
So we can assume that participants in this decade-long conservative jeremiad did not foresee that at the end of that decade their colleagues in the Republican Party would wage a campaign to win a close presidential election in ways that would seem to confirm, in virtually every respect, the validity of the theories they had been railing against--and moreover, that as part of that campaign, their allies would espouse and promote to the public the very essence of these same reviled theories. However, if we look closely at the theories in question and at the facts of Republican behavior in Florida, we will see that this is exactly what happened.
The theories in question are those derived from the works of French philosophers Michel Foucault and Jacques Derrida. Their conservative critics tend to conflate the ideas of the two men, and then to muddle things further by presenting both as synonymous with postmodernism; in fact, though they worked in distinct fields and did not even like each other (Foucault once called Derrida "the kind of philosopher who gives bullshit a bad name"), their theories do have analogous aspects that make it not difficult to confuse them.
Foucault was a philosopher of history who posited, basically, the impossibility of achieving an objective and neutral interpretation of a historical event or phenomenon. Derrida is a philosopher of literature, founder of the notorious school of deconstruction, who suggested the impossibility of achieving a stable and coherent interpretation of a literary text, or any text. In both cases, the (putative) fact of the indeterminacy of the interpretive act leads to the conclusion (or has the assumption) that whatever interpretation comes to be accepted--the official interpretation--must have been imposed by the exercise of political power (though in deconstructionism this latter point has been elaborated and emphasized much more by Derrida's American disciple Stanley Fish than by Derrida himself). It is this shared assumption that any official interpretation, whether of human behavior or the written word, has been arrived at through a process of power competition and not through the application of objective, neutral and independent analysis (because there is no such thing) that has so agitated conservative intellectuals.
In her book Telling the Truth, the wife of the man who was to become Vice President of the United States following Republican Party political and legal maneuvers in Florida uses a book that Foucault edited called I, Pierre Rivière as the starting point for a critical examination of the philosopher's ideas. Pierre Rivière was a Norman peasant boy who in 1835 brutally murdered his mother, a sister and one of his brothers with a pruning hook. Foucault and a group of his students at the Collège de France compiled a collection of documents relating to the case. What the documents revealed to Foucault was not an overarching thesis that illuminated the cause and meaning of Rivière's shocking act--not, in other words, the unifying concept or constellation of concepts that academic analysts typically grope for in their research and thinking--but, on the contrary, a welter of conflicting and irreconcilable interpretations put forth by competing, equally self-interested parties, including doctors, lawyers, judges, Rivière's remaining family members and fellow villagers, and Rivière (who wrote a memoir) himself.
In other words, as Cheney puts it, the documents were important to Foucault "not for what they tell of the murders, but for what they show about the struggle to control the interpretation of the event." Or, as she quotes Foucault as saying, the documents form "a strange contest, a confrontation, a power relation, a battle among discourses and through discourses." The reason he decided to publish the documents, Foucault said, was "to rediscover the interaction of those discourses as weapons of attack and defense in the relations of power and knowledge."
"Thus," Cheney concludes, "I, Pierre Rivière is a case study showing how different groups construct different realities, different 'regimes of truth,' in order to legitimize and protect their interests."
The Foucauldian mode of analysis does not meet with any approbation or sympathy from the Vice President's wife. In fact, she goes on to say that Foucault's ideas "were nothing less than an assault on Western Civilization. In rejecting an independent reality, an externally verifiable truth, and even reason itself, he was rejecting the foundational principles of the West." Therefore it seems a pretty good joke on her that it turns out to be the perfect mode for analyzing how Republican Party strategy in Florida was developed and implemented.
In fact, I might suggest that if Michel Foucault had not confected them already, his concepts of "discourses" and "a battle among discourses" ultimately to be decided by power would have to be invented before this signal event of American political history could be properly understood.
When former Secretary of State James Baker arrived in Florida on November 10, 2000, three days after the election, dispatched there by Lynne Cheney's husband to take charge of the Bush campaign's effort to secure the state's Electoral College slate and thereby the Oval Office, George W. Bush's initial lead of 1,784 had already been reduced by an automatic machine recount to 327, and the Gore campaign had requested manual recounts in four Democratic-leaning counties: Miami-Dade, Broward, Palm Beach and Volusia. It appeared self-evident, from the tales both of the Palm Beach butterfly ballot and of the difficulties encountered by minority voters in getting to the polls and attempting to cast their ballots, that by the intention of Florida voters who had gone to the polls, if not by the actual counted results, Gore had won the state (which, of course, is why the media had awarded it to him early on election night in the first place), and it seemed a lot more likely than not that manual recounts in counties favoring Gore, or even a full statewide manual recount, would alter the actual results in Gore's favor, despite the fact that the absentee ballots, which usually favor Republican candidates, were yet to be counted. On top of all that, Gore was leading in the national popular vote, and it came as news to many Americans that a presidential candidate could win the popular vote and lose the election. (Prior to Election Day, Bush campaign strategists, believing it likely that George Bush would win the popular vote but lose in the Electoral College, had developed a strategy to try to discredit the Electoral College, and thus perhaps gain support from Democratic electors.)
Clearly, what Secretary Baker had to do in order to insure Bush's election to the presidency was to stop the requested manual recounts, or any manual recounts, from taking place. Since Florida election law explicitly permits manual recounts, and there is a long history of them being conducted in the state for elections to offices at various levels (though not previously the presidency), including one race of Republican Senator Connie Mack, and given the situation just described above, what Baker encountered first of all in Florida was a severe public relations problem. In advance of Republican lawyers making a legal case in various courts against the manual recount process, Baker had to make a case to the American public as to why a perfectly legitimate process that had been employed many times before in Florida and elsewhere across the United States to decide close electoral contests, should not be used to resolve the closest Electoral College contest in 114 years. He needed to participate in what in Foucault's word is a discourse, by presenting an alternative to and challenging the Gore campaign and Democratic Party stance that the Florida vote was so close and so rife with proven and potential irregularities that only careful manual recounting could decide it fairly, as well as what we might call the underlying and perhaps more threatening Democratic contention that Gore had actually won the election and required only the additional step of targeted manual recounting to prove it.
The discourse (in the looser sense of a narrative) widely presented by Secretary Baker at his first press conference, on November 10, had several parts. He immediately tried to convey the sense that George W. Bush had already effectively won the election. "The American people voted on November 7. Governor George W. Bush won thirty-one states with a total of 271 electoral votes. The vote here in Florida was very close, but when it was counted, Governor Bush was the winner. Now, three days later, the vote in Florida has been recounted. Governor Bush is still the winner," he began. Wielding that assumption as his predicate, he attacked the Gore campaign for attempting to "unduly prolong the country's national presidential election," introducing the phrases "endless challenges" and "unending legal wrangling" when the election dispute was all of three days old. Then he attacked the process of recounting itself, particularly manual recounting, saying that "the more often ballots are recounted, especially by hand, the more likely it is that human errors, like lost ballots and other risks, will be introduced. This frustrates the very reason why we have moved from hand counting to machine counting." He stressed the importance of getting "some finality" to the election and accused the Gore campaign of "efforts to keep recounting, over and over, until it happens to like the result." Finally, he argued that a continued struggle over the presidential election would jeopardize America's standing in the world. By November 14, he was tying it as well to the stability of American financial markets.
Former Secretary of State Warren Christopher, Baker's equivalent in the Gore camp and someone no doubt unfamiliar with the writings of Foucault (and therefore not having the term discourse at his disposal), referred to Baker's argument about America's standing in the world as a "self-serving myth," and Baker did not raise this canard again. Neither did he again raise the matter of endangering US financial markets.
The next day, November 11, at a press conference announcing that the Bush campaign had filed suit in the US District Court for the Southern District of Florida to block the manual recounts requested by the Gore campaign, thus becoming the first of the two campaigns to initiate "legal wrangling" (a number of private lawsuits related to the election had already been filed but none yet by the Gore campaign itself, something Baker took pains to submerge), Baker dramatically escalated his attack on manual recounting. For a number of reasons, it is worth quoting the central paragraph of his formal statement in full:
The manual vote count sought by the Gore campaign would not be more accurate than an automated count. Indeed, it would be less fair and less accurate. Human error, individual subjectivity and decisions to "determine the voter's intent" would replace precision machinery in tabulating millions of small marks and fragile hole punches. There would be countless opportunities for the ballots to be subject to a whole host of risks. The potential for mischief would exist to a far greater degree than in the automated count and recount that these very ballots have already been subjected to. It is precisely...for these reasons that our democracy over the years has moved increasingly from hand counting of votes to machine counting. Machines are neither Republicans nor Democrats--and therefore can be neither consciously nor unconsciously biased. [Emphasis added.]
Clearly, Baker and the Bush camp had decided to place a demonization of hand counting at the core of their electoral discourse. That this was a purely calculated discourse, and one in no way sincerely embraced, is child's play to demonstrate.
Manual recounting is the method used by the United Nations for settling disputed elections around the globe, and it is also countenanced by the United States when our representatives get involved in observing the resolution of electoral conflicts in other nations. A majority of American states either mandate or permit manual recounting when the differential between the machine vote totals for opposing candidates is within a certain margin. Candidate Bush, while governor, had signed just such a bill in Texas that established the same "intent of the voter" standard set by Florida. Until this particular situation in Florida arose, requiring this particular discourse, no Republican politician I am aware of had ever risen to denounce manual recounting (on the contrary, any number of Republican politicians had taken successful advantage of manual recount provisions), nor have I found any literature on the subject that appeared in the conservative journals. Moreover, the Bush camp gladly accepted the results of manual recounts in Florida when those went in their favor, as the results did in Seminole County, and they had considered plans to contest machine results in Iowa, Wisconsin, New Mexico and Oregon if things did not go their way in Florida. Manufacturers of the punch-card voting machinery used in Florida were also on record as saying that hand counting was a more accurate method of gauging votes than using their machines.
Conservative writers like Cheney, D'Souza and Kimball, who have attacked Foucault, Derrida and their allies, have done so in the first place because of these thinkers' extreme skepticism about the possibility of objectivity in human affairs. Cheney complains in Telling the Truth about "how discredited ideas like truth and objectivity have become," and accuses her ideological adversaries of aiming at "discrediting the objectivity and rationality at the heart of the scientific enterprise." (Ironically, she goes on soon after that to take Al Gore to task for criticizing, in Earth in the Balance, the cold-blooded scientism of British philosopher Francis Bacon.) D'Souza, referring to the predominantly deconstructionist English department that had been assembled by Stanley Fish at Duke University, wrote that "the radical skepticism cultivated at Duke and elsewhere is based on the rejection of the possibility of human beings rising above their circumstances" (he recounts that Fish, in an interview D'Souza conducted with him, denounced Cheney for "the error of objectivism").
The Republican campaign to demonize the hand counting of votes in Florida was nothing less than an all-out assault on this cherished ideal of the conservative movement, however, an assault as withering and uncompromising as any ever waged by Foucault or the deconstructionist movement. For what was Baker saying, in essence? That it is impossible for human beings to hand count votes accurately and honestly, citing as reasons the inevitability of "human error" (machine error is obviously to be preferred), the danger posed by "individual subjectivity," the "potential for mischief" (read, deliberate cheating by Democratic canvassing boards) and even the possibility of people being not only consciously but "unconsciously biased"; at the same time he exalted the superiority of "precise" machines over humans--even machines as grievously and laughably flawed as those that produced the "dimpled," "pregnant" and "hanging" chads.
Machines--even the worst, most malfunctioning of them--are capable of being objective, but people are not, in other words. People are incapable of "rising above their circumstances." Did Foucault ever put the case better himself? Has Stanley Fish? Has anyone?
It is safe to say that James Baker probably did not realize that he was challenging, and perhaps fatally undermining, core conservative doctrine when he advanced these arguments in his no-holds-barred effort to secure Florida's electoral votes for George W. Bush. And, for the conservative intellectual cause, there was worse to come. Soon Baker and his allies would take a further broad step down this road. They would begin impugning the fundamental American ideal of objective, neutral and fair-minded jurisprudence.
The Republican Florida discourse can be summarized even more simply and more baldly than it has been above. It was, or became: Manual recounting is untrustworthy and subject to manipulation; therefore, in attempting to force hand counting, the Democrats are trying to steal the election. (The Democratic Florida discourse was the obverse of this: Careful manual recounting is more reliable than machine counting; therefore, in attempting to stop manual recounting, the Republicans are trying to steal the election.) Such was Jim Baker and the Bush camp's basic pitch to the American public, and it became more and more explicit and fervid (or perfervid) as time went on.
Let us recall that in Foucauldian theory it is power, the possession and wielding thereof, that determines what discourse prevails in any given contest, or confrontation, or battle of discourses--and not the relative merit or cleverness of the argument. Conservative thinkers detest this part of the theory with equal or greater vehemence, because it is customarily deployed against institutions and systems they revere and are closely allied with--for instance, corporations and corporate capitalism. Cheney, struggling to explicate Foucault, complains about "the idea that reality is nothing more than a social construct, a tool that allows dominant groups to exercise power."
So, following Foucault, it would not be enough for James Baker simply to promulgate the argument that the Gore camp was trying to steal an election that neutral, precise voting machines had already indicated they had lost. To prevail, under Foucauldian theory, the GOP discourse--competing as it was with one that on the evidence and on experience was more plausible--would have to be imposed by an exertion of institutional power. And in fact an examination of the tactics used in the Republican War for Florida reveals that Republicans used, or were prepared to use, every conceivable lever of power--administrative, legislative, judicial (and not excluding extra-institutional mob rule)--in order to prevail; and that they prevailed because every single one of the controlling levers of power, from the Florida Governor's and Secretary of State's offices to the US Congress, from the Florida legislature to the US Supreme Court, was controlled by them, and was used ruthlessly.
Florida Secretary of State Katherine Harris, co-chair of the Bush campaign in Florida, was the point person in the Republican effort to delay and forestall completely, they hoped, any manual recounting. There are, remember, conflicting statutes regarding the deadline for manual recounting, one of which stipulates that any manual recounts not finished and submitted to the Secretary of State's office by the statutory deadline for certification, November 14, "shall be ignored," and another (chronologically more recent) indicating that they "may be ignored." And there is also an obvious conflict between this statutory deadline and the provision allowing requests for manual recounts to be made up to seventy-two hours after Election Day, since the amount of time then remaining before the deadline (three to four days, including a weekend) would not be sufficient for many Florida counties to complete such recounts. In interpreting an ambiguous and contradictory corpus of election law, Harris chose in each instance to follow a course redounding to the benefit of George W. Bush and the disadvantage of Al Gore. She refused to extend the deadline to allow time for the manual recounts requested by the Gore campaign, refused requests by Broward and Palm Beach counties to have their manual recount results included in the statewide certification after the deadline, issued a ruling questioning the legality of such recounts that temporarily delayed them from proceeding, and refused to grant an extra two hours to Palm Beach County to meet the extended deadline of November 26 mandated by the Florida Supreme Court, or to include any of the recount results the Palm Beach canvassing board had achieved so far.
After the Florida Supreme Court ruled on November 21 that hand counts must be included in the Secretary of State's certification, and extended the deadline, the Republican War for Florida shifted "to the ground," that is, to the places where actual hand counting was being done, or contemplated, by the canvassing boards. Republican tactics were summarized thus by the Los Angeles Times:
The Republicans were on the defensive, so their style was more confrontational: Challenge every disputed ballot and, if necessary, challenge the boards themselves. Build a record of inconsistent standards for court. If that leads to delays, so much the better. [Emphasis added.]
The New Republic described a Republican "ground operation" that involved, besides "now-infamous faux grassroots protests," visits to recount centers by "GOP luminaries," and that emphasized the blatant hypocrisy of the operation: It recounted Michigan Governor John Engler falling asleep during his service as an observer, and then going outside to "blast" the process, and New Jersey Governor Christine Todd Whitman getting along "swimmingly" with the canvassing board, even complimenting them on how well they were running things, then leveling "the obligatory attacks into the microphones."
The New Republic noted a crucial difference between the Gore and Bush camps: The Gore campaign chose anonymous lawyers specializing in arcane voting law to act as their observers, whereas the Bush campaign let loose a "rotating cast of big name pols." This was because the Bush campaign was less interested in trying to insure the fairness of the recounting process than in undermining it by propagandizing their discourse about its alleged inherent unfairness.
It could be said that the Gore effort in Florida foundered in a number of ways and places, two of which were certainly Palm Beach County and Miami-Dade County. In Palm Beach County, in the words of the Los Angeles Times, "Republicans crushed the Democrats." There was more than one reason that the Palm Beach canvassing board missed the new November 26 certification deadline (when Katherine Harris certified Bush as having won by 537 votes), but here is how the Los Angeles Times summarized what happened: "Endless delays, false starts and court challenges by Republicans meant the full recount didn't begin until Friday, November 17."
In Miami-Dade, the county with the largest voting population in the state of Florida (and the largest black vote), Republicans succeeded in preventing manual recounting from taking place at all. (The Miami Herald recently reported that by its own assessment of the undercounted votes in the county, Gore would have netted another forty-nine.) Members of the Miami-Dade canvassing board, and particularly its chairman, David Leahy, had been ambivalent about doing a recount from the start. The board first decided against doing one, then reversed course. The recount started on November 20; but the very next day, the Florida Supreme Court issued a ruling setting the new certification deadline at November 26. Believing that the board did not now have the time to conduct a full recount, Leahy persuaded the other board members that they should count only the 10,750 "undervotes" (ballots cast on which the punch-card tally machines had not detected any vote for President). The board then moved upstairs to a smaller room, where there were machines that could separate out the undervotes from the rest.
There, members of the board confronted what Time called a "mob scene" and "GOP melee." A group of several dozen or more Republican protesters, most of them apparently from out of state, many of them paid Capitol Hill staffers recruited by House majority whip Tom DeLay for the Florida effort (this being one of the Republicans' faux grassroots protests), directed from a Republican electronic command center in a Winnebago outside the building and by leaders on the scene with bullhorns, engaged in "screaming...pounding on doors and...alleged physical assault on Democrats," according to Time. When Miami-Dade Democratic chairman Joe Geller emerged from the room carrying a sample ballot, he was pushed and shoved by many protesters screaming, "I'm gonna take you down!" Simultaneously, longtime GOP operative Roger Stone was overseeing phone banks urging Republicans to storm downtown Miami, and Radio Mambi, a right-wing Cuban-American radio station, was inciting the Miami community into the streets. Outside the room where the canvassing board was meeting, members of the rampaging crowd were threatening that as many as 1,000 reinforcements, including a large contingent of angry Cubans, were on the way to join them. As Time put it, "just two hours after a near riot outside the counting room, the Miami-Dade canvassing board voted to shut down the count."
Leahy later denied that the board had been intimidated into inaction by the rioters, but his claim that their bullying and threats of violence had no effect at all on the board's reversal of its previous decision hardly seems credible. In any case, saturation propaganda and near-mob rule were only two of the weapons that Republican strategists had rolled out onto the field of battle in their War for Florida. (I won't even get into the report of a mysterious state police roadblock that intimidated some on their way to the polls on Election Day.) They also had under way a lawsuit seeking to have a federal court invalidate the manual recounts on the grounds that they violated Article II, Section I of the US Constitution, which gives to the state legislatures the power to regulate presidential elections; this lawsuit and others, including arguments which would end up being decided by a 5-4 majority of the US Supreme Court, were being handled by Theodore Olson, a party lawyer who had been active in efforts to discredit President Clinton while he was in office; Olson is a past president of the Federalist Society, a conservative Republican legal organization that normally seeks to severely limit the intrusion of federal power into state matters. And just in case the Republican cause lost in both the Florida and the federal courts, the Republican-controlled legislature in Florida was prepared to intervene and certify its own competing slate of electors. In fact, on December 12, just before the US Supreme Court issued its decision and made the action moot, the Florida House of Representatives did just that. A few days before, Baker, in an interview, had refused to stipulate that the Bush camp would heed a US Supreme Court ruling that went against them rather than turn to the legislature; and on other occasions Baker had appeared to invite its intervention. Beyond that, if the matter went to Congress for final arbitration, the Republicans were more than prepared to flex their majority muscle there. Tom DeLay had circulated a memo on Capitol Hill that a Republican Congressional aide characterized as saying: "Congress can prevent Al Gore from becoming President no matter what."
A final Foucauldian note. Foucauldian theory holds that the way of the rich and powerful will prevail, the less powerful or powerless will lose out (which is partly why the theory has been embraced by the left as a successor or adjunct to Marxism, and is so abhorred by the right). Punch-card voting machines are far less effective in recording votes correctly than optical scan machines. A dimpled or pregnant chad is created when insufficient force is used on the punch tool or when plastic T-strips used in balloting are too worn or rigid to allow chads to pass through; if the ballot is improperly aligned, and only one side of the chad is punched loose, that results in a hanging chad. These problems don't exist with optically scanned ballots, and as an obvious result, only about three out of every 1,000 optically scanned ballots in the Florida election recorded no presidential vote, compared to some fifteen out of 1,000 punch-card ballots, The New York Times reported.
Optical-scan voting machines tend to be more prevalent in the wealthier, and Republican-leaning, precincts and counties of Florida, the Los Angeles Times observed, and punch-card machines more prevalent in the less wealthy and more Democratic areas, simply because the wealthier counties can better afford the more expensive optical machines (the punch-card machines are not only less effective to begin with, but many of them are also old and worn out). Looked at one way, the manual recounting efforts were an attempt to correct a discriminatory imbalance in access to electoral power between rich and poor (and black and white) in Florida; and Republican forces were determined, in every possible way, to thwart this attempt.
American conservative thinkers, as discussed, have also directed considerable intellectual ire at the deconstructionist movement. In dissecting Paul de Man, the Belgian émigré who founded American deconstructionism at Yale in the 1970s, Roger Kimball pejoratively ascribes to him "the thought that language is always so compromised by metaphor and ulterior motives that a text never means what it appears to mean." D'Souza, confronting Derrida and de Man, says that they labored "to discover ingenious, and sometimes bizarre, contradictions which render the work 'radically incoherent.'" Lumping deconstructionists together with "postmodernists, structuralists, poststructuralists, reader-response theorists," D'Souza says that "they are embarked on a shared enterprise: exposing what they say is the facade of objectivity and critical detachment in such fields as law, history, and literature."
Lynne Cheney finds the apparent migration of deconstructionist methods of textual analysis and thinking to the field of law extraordinarily disturbing. In Telling the Truth, she traces the origins (to her own satisfaction, anyway) of critical legal studies, feminist legal theory and critical race theory--academic movements that hold that the law is not in any way neutral but is crafted to favor the interests of a dominant (white, male) elite--to deconstructionism. She claims, for instance, that "one of the primary purposes of CLS [critical legal studies] is to destroy any illusions that might exist about stability and objectivity in the law by deconstructing its arguments," and goes on to assert: "The heirs of CLS, such as those in the critical race theory movement, take a giant step further. As feminists have done, critical race theorists not only attack the notion that the law is disinterested, they advocate using the law to promote their own interests." [Emphasis added.] In other words, Cheney sees the notion that legal texts have no stable, permanent, inherent meaning (a deconstructionist notion) and will therefore be interpreted according to the practical interests of those doing the interpreting, and not other criteria (a leftist political notion), as dangerously subversive of our legal system.
If the objectivity and disinterestedness of the law, however, are bedrock conservative doctrine, then James Baker, and his associates and conservative columnist sympathizers like William Safire, once again challenged and compromised that doctrine in the Florida presidential election imbroglio. The idea that law is (on the whole) neutral, objective and disinterested necessarily implies that the judges who interpret it are (on the whole) neutral, objective and disinterested; there is no conceivable syllogism whose conclusion is that our legal system is (more or less) objective and fair that can have as a premise that our judges are not and are not capable of being so. Yet this was the blatant premise of Republican commentary as an assortment of legal cases relating to the election wound their way through the Florida court system. Just as Republican operatives and commentators trashed the integrity of the county canvassing boards simply because they were under Democratic control, they also used the fact of their being Democratic appointees to attempt to discredit--often in advance--the decisions of various Florida judges, from the circuit level up to the state's Supreme Court. The clear implication was that Democratic judges would necessarily, either reflexively or by calculation, rule in favor of the Democratic candidate. They could not be trusted to be disinterested and objective.
In addition to being a monumental betrayal of the conservative movement's stated intellectual principles, this line of argument creates another problem for its Republican promoters: It tends to discredit in advance the decisions of Republican as well as Democratic judges. For if Democratic judges cannot be trusted to be evenhanded and judicious, what logic can be called forth to argue that Republican judges can be? They are also human. They are also partisan. They also owe something to the people who selected them. The theory unavoidably predicts that judges appointed by Republicans will rule, in a biased and partisan manner, against Democratic candidates and causes when occasions to do so arise.
It is doubly ironic, therefore--and doubly troublesome, one would think, for the integrity of the conservative cause--that this is exactly what happened when the case called Bush v. Gore reached the highest court in the land. On Friday, December 8, the Florida Supreme Court, in a split 4-3 decision overruling a decision by lower court judge N. Sanders Sauls, ordered an immediate manual recount of all presidential undervotes throughout the state. The next day, a 5-4 majority of the US Supreme Court (all the members of this majority conservative appointees of either Richard Nixon, Ronald Reagan or George Bush) ordered the manual recount halted. This action was widely perceived at the time, by people on both sides of the battle, as a body blow to Al Gore's remaining chances of garnering Florida's electoral votes. It would inevitably push the recounting process, were it to resume, up against the December 12 "safe harbor" date (the time by which electors needed to be chosen in order to remain immune to Congressional challenge) and possibly even make it impossible to finish by December 18, the date on which the Electoral College was to cast its vote. Regarding this majority decision, issued by five judges who have pontificated widely in their writings and speeches about the virtues of "judicial restraint," Justice John Paul Stevens wrote in his dissent: "To stop the counting of legal votes, the majority today departs from...venerable rules of judicial restraint that have guided the Court throughout its history."
The Court did not, as we know, allow the recounting process to resume. The following Tuesday, December 12, the same 5-4 majority ruled that manual recounting under circumstances then prevailing in Florida would be unconstitutional. In an unsigned per curiam opinion (the judges said to be the primary authors of this opinion, Anthony Kennedy and Sandra Day O'Connor, clearly did not want their names on it), the majority (whose members in the past have been indifferent to, if not outright scornful of, equal protection claims)--relied principally on an equal protection argument, that it would be unfair to count ballots in different counties according to different standards (e.g., to count only hanging chads in one, but also dimpled chads in another). The argument speciously ignored the fact that the Florida ballots, prior to any recount, were already counted differently, and that the very purpose of recounting was to correct for this discrepancy. It also skirted the fact that ballots are counted differently all across the United States, and that a logically consistent application of the Court's principle would invalidate the entire presidential election.
Justices David Souter and Stephen Breyer had tried, in oral argument and behind the scenes, to work out a compromise position whereby the Justices would send the case back to the Florida Supreme Court and ask it to set a uniform standard for the manual recounts. But according to the per curiam majority, it was too late for this, because there would then not be enough time to meet the "safe harbor" deadline of December 12. This argument ignored the fact that it is the very essence of a "safe harbor" clause that it allows but does not require a certain self-protective action; the Electoral Count Act of 1887 stipulates that states that send electors by then chosen according to rules in place Election Day cannot have those electors rejected by Congress, but it does not mandate that the states behave that way. The argument also glided past the fact that there is nothing in Florida election law explicitly requiring that the state abide by that date, either; the majority opinion in this regard relied entirely on a virtual aside in the first Florida Supreme Court decision, to the effect that it thought the legislature intended the state to meet the deadline; the majority could not cite any actual, germane Florida statutory law--because there isn't any.
Thus did a Republican Party strategy to delay the manual recounting of votes in Florida as long as possible finally achieve its goal by furnishing the rationale for a conservative Republican Supreme Court majority to stop the recount process there for good. Thus did a Supreme Court majority that had been pursuing an aggressive states' rights jurisprudence prior to this decision intervene in a matter of state law in a heavy-handed and unprecedented way; in a category of dispute, furthermore, whose ultimate resolution the US Constitution unambiguously gives to Congress; and in a situation, finally, that even a modicum of "judicial restraint" would have called for it to avoid. Thus did a group of conservative Republican judges--unelected judges, to use a well-worn Republican refrain--choose the Republican candidate for President over the Democratic one, rather than the voters of Florida or the American people. Thus was James Baker's discourse--his "regime of truth"--finally imposed.
A further irony here is that the behavior of the Democratic judges who were involved in the Florida presidential election struggle overwhelmingly refuted Republican predictions of reflexive ideological bias. County Circuit Court Judge Terry Lewis, a Democrat, twice ruled in favor of Republican Secretary of State Katherine Harris, the first time upholding her enforcement of the certification deadline of November 14, the second time upholding her decision to declare a winner without including any hand recounts. Circuit Judge Nikki Clark, who handled the lawsuit involving the question of whether to throw out some 15,000 absentee ballots in Seminole County because of technical violations of the law by Republican canvassing board officials and operatives, had been particularly impugned by Republican commentators. She was black, she was a former legal aid attorney, she was not only a registered Democrat but had been an aide to the state's former Democratic Governor Lawton Chiles, and she had recently been passed over for a promotion by Governor Jeb Bush. But in the event she ruled decisively against throwing the ballots out, as did her fellow Democratic judge who handled a similar case concerning absentee ballots in Martin County. The November 16 decision of the Florida Supreme Court, all Democrats except one independent, to allow manual recounts in Palm Beach County (and tacitly allow the effort already under way in Broward County to continue), was unanimous; but the December 8 decision ordering manual recounts of all the undervotes in the state was a 4-3 split, and the court unanimously upheld virtually all the lower court decisions that went against Democratic interests, with the single exception of the finding by Circuit Court Judge Sauls rejecting the Gore campaign's contest. (Sauls, advertised as a Democrat, is actually a Republican appointee who switched registration from Democratic to Republican, and has run as a "nonpartisan" candidate for re-election in Democratic Leon County.)
"What must underlie petitioners' entire federal assault on the Florida election procedures is an unstated lack of confidence in the impartiality and capacity of the state judges who would make the critical decisions if the vote count were to proceed," Justice Stevens wrote in his dissent in Bush v. Gore. "Otherwise, their position is wholly without merit. The endorsement of that position by the majority of this Court can only lend credence to the most cynical appraisal of the work of judges throughout the land." [Emphasis added.] According to a January 22 article in USA Today detailing the lingering bitterness between the two opposing factions within the Supreme Court over the Bush v. Gore decision, at an election night party on November 7, Justice Sandra Day O'Connor became "visibly upset" when network anchors first awarded the state of Florida to Al Gore. The story went that her husband was heard explaining the couple wanted to retire and that his wife preferred that a GOP President appoint her successor. The paper said that people close to the Justices had confirmed the essence of the story (which was also reported in the Wall Street Journal and Newsweek). Justice O'Connor, it would seem, experienced difficulty rising above her circumstances.
I am not an adherent or admirer of the theories of Michel Foucault, Jacques Derrida, Paul de Man, Stanley Fish or their associated movements. On the contrary. I received my education before these theories came into vogue, at a time when it was still commonly if not universally assumed on campus that the purpose of academic study was to acquire useful and verifiable knowledge in a variety of fields, not excluding literature and politics (my two fields of study). I personally believe that literary texts, while they can (and will, if they are any good) have subtleties and profundities and even contradictions that will stubbornly resist one-dimensional analysis, do have meaning--and that the better the writer, the clearer that meaning is. I believe that while the world and human nature are infinitely complex, there is, within limits, such a thing as objective truth. Since first hearing of the ideas of deconstruction and Foucault, I have counted myself among their skeptics and detractors.
So I did not undertake to write this essay to demonstrate, as it might seem, that the Republican War for Florida in all its aspects--in its ideology, in its concrete actions and, perhaps above all, in its success--lends credibility to these theories, though it has been most interesting to discover the extent to which it does. No, I am far less interested in the remarkable symmetry between what happened in Florida and the theories of Foucault and Derrida about how history and the social construction of reality work, than I am in the stunning asymmetry between Republican Party statements and actions there and the professed ideological principles of American conservatism.
In Florida, to win the presidency, the Republican Party betrayed what its intellectual spokespeople allege are among conservatism's highest ideals. To discredit the manual recounting process that they feared would result in the election of Al Gore, Republican representatives like Jim Baker propagated, in effect, the doctrine that human beings are incapable of being fair and objective in their interpretations of reality. To discredit judicial decisions that went (or simply might go) against their interests, they propagated, in effect, the doctrine that law does not have even a dimension of neutrality or disinterestedness but is from beginning to end an exercise of raw political power in disguise. Both of these are doctrines that their intellectual spokespeople like Lynne Cheney claim to oppose and despise--doctrines that according to her, are nothing less than "an assault on Western Civilization." And, to compound the moral dilemma they were creating for themselves and their movement, these representatives proceeded to conduct themselves in ways that lent support to the validity of these same cynical, anticonservative doctrines. A party that for a long time has professed adherence to principles of states' rights and judicial restraint played federal judicial intervention as its trump card to insure the election of its candidate. Will it ever be possible, in our generation anyway, to take its intellectual pronouncements seriously again?
As a proximate result of its relentless War for Florida, America's conservative party has taken control of the presidency and all the powers attendant on that office. We shall see what comes of that. But as another, perhaps longer-lasting result of that implacable war, the intellectual and moral pretensions of contemporary American conservatism lie in tatters, like so many discarded chads on the floor of a county canvassing board meeting room.
If a critic's clout can be measured by the ability to make an artist's name, the most important art critic in America today is clearly Rudolph Giuliani. Just over a year ago he excoriated the Brooklyn Museum of Art for including in its "Sensation" show Chris Ofili's Holy Virgin Mary--the elephant-dung-decorated painting of an African BVM, which the mayor found "anti-Catholic," blasphemous and disgusting--and turned Ofili himself into a sensation overnight: One collector, I heard, complained that the media attention had driven Ofili's prices so high he couldn't afford him anymore. If I were Jake & Dinos Chapman, represented by a perverse sculpture of deformed and weirdly sexualized children, I would have been seriously peeved, and if I had been Richard Patterson, whose Blue Minotaur, a profound meditation on postmodernity and the heroic tradition, got no attention at all, I would have wept.
You'd think the mayor would have learned to stay his theocritical thunderbolts, but once again he has gone after the Brooklyn Museum for including an "anti-Catholic" work--Renee Cox's Yo Mama's Last Supper--in the new show of contemporary black photographers, "Committed to the Image." He's even suggested that what New York needs is a "decency commission," which got big laughs all around, since the mayor, a married man, is openly carrying on with his mistress, upon whom he has bestowed police protection worth some $200,000 annually at taxpayers' expense. As the whole world now knows, Yo Mama is a five-panel picture in which Cox appears naked, as Jesus, surrounded by male disciples--ten black, one white--at the Last Supper. As an artwork it's negligible, glossily produced but awkwardly composed and, to my eye, rather silly. Cox is thin and beautiful; the men, in robes and caftans, are handsome and buff--apparently the first Christians spent a lot of time in the gym and at the hair salon, getting elaborate dreadlocked coiffures. Unlike the figures in Leonardo's Last Supper, which are highly individualized and dramatically connected, the figures here are generic and stiff. My eye kept going to the limited food on offer: bowls of wax-looking fruit (did they have bananas in Old Jerusalem?), rolls, pita bread. Was the Last Supper a diet Seder?
If you want to see visually haunting work at "Committed to the Image," there's Gordon Parks, Albert Chong, Imari, Nathaniel Burkins and many others. LeRoy W. Henderson's black ballet student, dressed in white and standing in front of a damaged classical frieze, interrogates the Western tradition much more deeply than Yo Mama does. Mfon's self-portraits of her mastectomized torso, a meditation on beauty, heroism and tragedy expressed through the female body, lay bare the high-fashion hokiness of Cox's costume drama. For fan and foe alike, the interest of Yo Mama appears to be political. Cox describes her art in ideological terms ("my images demand enlightenment through an equitable realignment of our race and gender politics"), and she has been quite pungent in defending it. As with The Holy Virgin Mary, the mayor hasn't actually seen it, nor had the numerous people who sent me frothing e-mails after I defended government support for the arts on The O'Reilly Factor.
Even the New York Observer's famously conservative art critic, Hilton Kramer, who usually delights in withering descriptions of pictures he hates, apparently felt that depicting Christ as a naked black woman was so obviously, outrageously anti-Catholic he need say no more about the photo before embarking on his usual rampage. It would be interesting to know where the offense lies: Is it that Cox as Christ is naked, black or female? All three? Two out of three? If one thinks of Catholics, the people, there's nothing bigoted about any of this. (Like Ofili, Cox is Catholic--as are most perpetrators of "anti-Catholic" works.) There is no ethnic stereotyping of the sort on view, for instance, on St. Patrick's Day, when the proverbial drunkenness of the Irish is the butt of endless rude humor, especially from the Irish themselves. While we're on the subject of ethnic stereotyping, it's worth noting that in a great deal of Christian art, Jesus and the disciples are portrayed as Northern Europeans, while Judas is given the hooked nose and scraggly features of a cartoon Jew.
But if what is meant by anti-Catholic is anti-Catholic Church, why can't an artist protest its doctrines and policies? The Church is not a monastery in a wilderness, it's a powerful earthly institution that uses all the tools of modern politics to make social policy conform to its theology--and not just for Catholics, for everyone. It has to expect to take its knocks in the public arena. A church that has a 2,000-year tradition of disdain for women's bodies--documented most recently by Garry Wills (a Catholic) in his splendid polemic Papal Sin--and that still bars women from the priesthood because Jesus was a man can't really be surprised if a twenty-first-century woman wonders what would be different if Jesus had been female, and flaunts that female body. And a church with a long history of racism--no worse than other mainstream American religions but certainly no better--can't expect the topic to be banned from discussion forever.
At the Brooklyn Museum, Yo Mama's Last Supper is in a separate room with its own security guard. On Sunday afternoon, it attracted blacks, whites, Asians, parents with small children, older women in groups, dating couples, students taking notes--le tout Brooklyn, which is turning out in large numbers for the show. I asked one black woman, who described herself as a Christian, what the picture meant to her. "It shows Life as a woman," she said. "It's beautiful." Her friend, who said he was a Muslim, liked the picture too.
If only I could get the Mayor to review my book!
* * *
Show George W. Bush you support RU-486. Make a donation in W.'s name to the Concord Feminist Health Center (38 South Main Street, Concord, NH 03301) and help it buy the ultrasound machine this method requires. The center will send the President a card to let him know you were thinking of him when you wrote your check.
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."
They distort. They decide.
industry has been celebrating the supposed defeat of Napster. The
Court of Appeals for the Ninth Circuit has affirmed the grant of a
preliminary injunction that may well have the effect of closing the
service down completely and ending the commercial existence of
Napster's parent (that is, unless the record companies agree to an
implausible deal Napster has proposed). But despite appearances, what
has happened, far from being a victory, is the beginning of the
industry's end. Even for those who have no particular stake in the
sharing of music on the web, there's value in understanding why the
"victory"over Napster is actually a profound and irreversible
calamity for the record companies. What is now happening to music
will soon be happening to many other forms of "content" in the
information society. The Napster case has much to teach us about the
collapse of publishers generally, and about the liberative
possibilities of the decay of the cultural oligopolies that dominated
the second half of the twentieth century.
The shuttering of
Napster will not achieve the music industry's goals because the
technology of music-sharing no longer requires the centralized
registry of music offered for sharing among the network's listeners
that Napster provided. Freely available software called OpenNap
allows any computer in the world to perform the task of facilitating
sharing; it is already widely used. Napster itself--as it kept
pointing out to increasingly unsympathetic courts--maintained no
inventory of music: It simply allowed listeners to find out what
other listeners were offering to share. Almost all the various
sharing programs in existence can switch from official Napster to
other sharing facilitators with a single click. And when they move,
the music moves with them. Now, in the publicity barrage surrounding
the decision, 60 million Napster users will find out about OpenNap,
which cannot be sued or prohibited because, as free software, no one
controls its distribution and any lawsuits would have to be brought
against all its users worldwide. Suddenly, instead of a problem posed
by one commercial entity that can be closed down or acquired, the
industry will be facing the same technical threat, with no one to sue
but its own customers. No business can survive by suing or harassing
its own market.
The music industry (by which we mean the
five companies that supply about 90 percent of the world's popular
music) is dying not because of Napster but because of an underlying
economic truth. In the world of digital products that can be copied
and moved at no cost, traditional distribution structures, which
depend on the ownership of the content or of the right to distribute,
are fatally inefficient. As John Guare's famous play has drummed into
all our minds, everyone in society is divided from everyone else by
six degrees of separation. The most efficient distribution system in
the world is to let everyone give music to whoever they know would
like it. When music has passed through six hands under the current
distribution system, it hasn't even reached the store. When it has
passed through six hands in a system that doesn't require the
distributor to buy the right to pass it along, it has already reached
several million listeners.
This increase in efficiency
means that composers, songwriters and performers have everything to
gain from making use of the system of unowned or anarchistic
distribution, provided that each listener at the end of the chain
still knows how to pay the artist and feels under some obligation to
do so, or will buy something else--a concert ticket, a T-shirt, a
poster--as a result of having received the music for free. Hundreds
of potential "business models" remain to be explored once the
proprietary distributor has disappeared, no one of which will be
perfect for all artistic producers but all of which will be the
subject of experiment in decades to come, once the dinosaurs are
No doubt there will be some immediate pain that will
be felt by artists rather than the shareholders of music
conglomerates. The greatest of celebrity musicians will do fine under
any system, while those who are currently waiting on tables or
driving a cab to support themselves have nothing to lose. For the
signed recording artists just barely making it, on the other hand,
the changes are of legitimate concern. But musicians as a whole stand
to gain far more than they lose. Their wholesale defection from the
existing distribution system is about to begin, leaving the music
industry--like manuscript illuminators, piano-roll manufacturers and
letterpress printers--a quaint and diminutive relic of a passé
The industry's giants won't disappear overnight,
or perhaps at all. But because their role as owner-distributors makes
no economic sense, they will have to become suppliers of services in
the production and promotion of music. Advertising agencies,
production services consultants, packagers--they will be anything but
owners of the music they market to the world.
What is most
important about this phenomenon is that it applies to everything that
can be distributed as a stream of digital bits by the simple human
mechanism of passing it along. The result will be more music, poetry,
photography and journalism available to a far wider audience. Artists
will see a whole new world of readers, listeners and viewers; though
each audience member will be paying less, the artist won't have to
take the small end of a split determined by the distribution
oligarchs who have cheated and swindled them ever since Edison. For
those who worry about the cultural, economic and political power of
the global media companies, the dreamed-of revolution is at hand. The
industry may right now be making a joyful noise unto the Lord, but it
is we, not they, who are about to enter the promised land.
Imagine Madison Square Garden brimming over with 18,000 laughing and ebullient women of every size, shape, age and color, along with their male friends, ditto. Imagine that in that immense space, usually packed with hooting sports fans, these women are watching Oprah, Queen Latifah, Claire Danes, Swoosie Kurtz, Kathleen Chalfant, Julie Kavner (voice of Marge Simpson), Rosie Perez, Donna Hanover (soon-to-be-ex-wife of New York's bigamous mayor) and sixty-odd other A-list divas put on a gala production of The Vagina Monologues, Eve Ensler's theater piece about women and their mimis, totos, split knishes, Gladys Siegelmans, pussycats, poonanis and twats. Imagine that this extravaganza is part of a huge $2 million fundraising effort for V-Day, the antiviolence project that grew out of the show and that gives money to groups fighting violence against women around the world. That was what happened on February 10, with more donations and more performances to come as the play is produced by students at some 250 colleges around the country, from Adelphi on Long Island--where it was completely sold out and where, sources assure me, the v-word retains every bit of its shock value--to Yale.
And they keep saying feminism is dead.
The Vagina Monologues, in fact, was singled out in Time's 1998 cover story "Is Feminism Dead?" as proof that the movement had degenerated into self-indulgent sex chat. (This was a new departure for the press, which usually dismisses the movement as humorless, frumpish and puritanical.) In her Village Voice report on the gala, Sharon Lerner, a terrific feminist journalist, is unhappy that the actresses featured at the Garden event prefer the v-word to the f-word. ("Violence against women is a feminist issue?" participant Isabella Rossellini asks her. "I don't think it is." This from the creator of a new perfume called "Manifesto"!) Women's rights aren't what one associates with postfeminist icons like Glenn Close, whose most indelible screen role was as the bunny-boiling man-stalker in Fatal Attraction, or Calista Flockhart, television's dithery microskirted lawyerette Ally McBeal. Still, aren't we glad that Jane Fonda, who performed the childbirth monologue, has given up exercise mania and husband-worship and is donating $1 million to V-Day? Better late than never, I say.
At the risk of sounding rather giddy myself--I'm writing this on Valentine's Day--I'd argue that the implied contradiction between serious business (daycare, abortion, equal pay) and sex is way overdrawn. Sexual self-expression--that's self-indulgent sex chat to all you old Bolsheviks out there--was a crucial theme of the modern women's movement from the start. Naturally so: How can you see yourself as an active subject, the heroine of your own life, if you think you're an inferior being housed in a shameful, smelly body that might give pleasure to others, but not to you? The personal is political, remember that?
The Vagina Monologues may not be great literature--on the page it's a bit thin, and the different voices tend to run together into EveEnslerspeak about seashells and flowers and other lovely bits of nature. But as a performance piece it's fantastic: a cabaret floor show by turns hilarious, brassy, lyrical, poignant, charming, romantic, tragic, vulgar, sentimental, raunchy and exhilarating. In "The Flood," an old woman says she thinks of her "down there" as a cellar full of dead animals, and tells of the story of her one passionate kiss and her dream of Burt Reynolds swimming in her embarrassing "flood" of sexual wetness. A prim, wryly clever woman in "The Vagina Workshop" learns how to give herself orgasms at one of Betty Dodson's famous masturbation classes. At the Garden, Ensler led the cast in a chorus of orgasmic moans, and Close got the braver members of the audience to chant "Cunt! Cunt! Cunt!" at the climax of a poetic monologue meant to redeem and reclaim the dirtiest of all dirty words.
How anyone could find The Vagina Monologues antimale or pornographic is beyond me--it's a veritable ode to warm, quirky, affectionate, friendly, passionate sex. The only enemies are misogyny, sexual shame and sexual violence, and violence is construed fairly literally: A poor black child is raped by her father's drunken friend; a Bosnian girl is sexually tortured by Serbian paramilitaries. None of your ambiguous was-it-rape? scenarios here. Oprah performed a new monologue, "Under the Burqa," about the horrors of life for Afghan women under Taliban rule, followed by Zoya--a young representative of the Revolutionary Association of the Women of Afghanistan (RAWA)--who gave a heartbreaking, defiant speech. Three African women spoke against female genital mutilation and described ongoing efforts to replace cutting with new coming-of-age rituals, "circumcision by words."
I hadn't particularly wanted to see The Vagina Monologues. I assumed that it would be earnest and didactic--or maybe silly, or exploitative, or crude, a sort of Oh! Calcutta! for women. But I was elated by it. Besides being a wonderful night at the theater, it reminded me that after all the feminist debates (and splits), and all the books and the Theory and the theories, in the real world there are still such people as women, who share a common biology and much else besides. And the power of feminism, whether or not it goes by that name, still resides in its capacity to transform women's consciousness at the deepest possible level: That's why Betty Friedan called her collection of letters from women not It Got Me a Raise (or a daycare center, or an abortion) but It Changed My Life. Sisterhood-is-powerful feminism may feel out of date to the professoriat, but there's a lot of new music still to be played on those old bones.
Besides, if feminists don't talk about sex in a fun, accessible, inspiring, nonpuritanical way, who will?
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Subject to Debate: Sense and Dissents on Women, Politics and Culture, a collection of columns originally published in this space, is just out from Modern Library as a paperback original. It has a very pretty cover and a never-before-published introductory essay, and contains most of the columns I still agree with, and one or two about which I have my doubts.
Another book on the Vietnam War? Yes, and one well worth our attention. Enough time has now passed that A.J. Langguth's Our Vietnam: The War 1954-1975 serves not only as a wonderful addition to the rich and diverse literature on the war but as a good vehicle for revisiting and better understanding a tragedy of profound dimension. It is also an excellent one-volume introduction to the subject for those to whom this two-decade national experience is mainly a historical episode--and a useful lens through which to view the new Administration of George W. Bush as it begins to deal with military and national security issues.
Langguth is not a professional historian who approaches the Vietnam War merely through archives and secondary sources; he is a seasoned journalist who was on the ground in Vietnam for the New York Times when US combat troops began fighting in large numbers. Initially as a reporter and then as the paper's Saigon bureau chief, Langguth covered the war during this transformative period of 1964-65. He returned to Vietnam in 1968 to report on the aftermath of the Tet offensive, and then in 1970 to report on the US invasion of Cambodia. In preparing Our Vietnam he made five trips to Hanoi and Ho Chi Minh City, wherehe writes he was "warmly received by Vietcong officers and lifelong Communist politicians."
Langguth's firsthand experiences in Vietnam help infuse this anecdotally rich chronological narrative with a vividness and immediacy that propel the reader through nearly 700 pages of history. It is disappointing that he did not write a concluding chapter or two in which to reflect on the longer-term meanings and consequences of the war. But, to his credit, he does cover the war not only from the American perspective but also from the vantage points of the South Vietnamese, the North Vietnamese and the Vietcong. Langguth stays out of the way of his story--as he states, "My goal was simply a straightforward narrative that would let readers draw their own conclusions"--but makes his own point of view quite clear in the book's final paragraph: "North Vietnam's leaders had deserved to win. South Vietnam's leaders had deserved to lose. And America's leaders, for thirty years, had failed the people of the North, the people of the South, and the people of the United States."
Our Vietnam compares favorably with other books on Vietnam written by journalists that attracted wide public acclaim when published and retain distinguished and important places within the literature on the war. David Halberstam began The Best and the Brightest on the heels of covering the domestic turbulence created by the war during the 1968 campaign, in which he "had seen the Johnson Administration and its legatee defeated largely because of the one issue." When his book was published in 1971, US soldiers were still fighting in Vietnam and Richard Nixon was President. Thus, although Halberstam's study of how and why American leaders made decision after decision leading up to and sustaining the war remains a touchstone, he wrote of an event he was living through and for which he had limited sources.
Stanley Karnow's Vietnam: A History is an exceptional single-volume history of the American war in Vietnam, which Langguth almost seems to have used as a guide for his own effort. Although Karnow gives his thoroughly engaging, magisterial history a broad perspective, Langguth had access to more information because he was writing later, and his narrative provides a richer Vietnamese perspective on events. Neil Sheehan's A Bright Shining Lie: John Paul Vann and America in Vietnam is a remarkable, at times staggering, historical account of the war. But because Sheehan uses the story of Vann's life to tell the tale--even ending with the observation that "John Vann...died believing he had won his war"--his captivating narrative is more personal than a conventional historical account.
Our Vietnam should help keep the record honest today, too, by constituting an antidote to the published memoirs of those who planned and executed the war, the most prominent being former Secretary of Defense Robert McNamara. In his memoir, In Retrospect, McNamara wrote that his "associates in the Kennedy and Johnson administrations were an exceptional group: young, vigorous, intelligent, well-meaning, patriotic servants of the United States," and he wondered: How "did this group...get it wrong on Vietnam?"The mistakes, he insisted, were "mostly honest mistakes," the errors ones "not of values and intentions but of judgment and capabilities." (Langguth's chronology and evidentiary record contradict that view forcefully.)
Langguth's retelling of America's involvement in Vietnam covers already familiar ground. After the North Vietnamese defeated the French at Dien Bien Phu in 1954, Washington--in keeping with a cold war mentality that gripped much of the nation--promised "free elections" in South Vietnam and dispatched military personnel to train South Vietnam's army. But Vietnam was not on President Eisenhower's radar screen. When he met with President-elect John Kennedy during the transition, he drew Kennedy's attention to Laos as a potential trouble spot and made no mention of Vietnam. As the new President became focused on Vietnam, Under Secretary of State Chester Bowles--both an oracle and a lone wolf--warned (to no avail) against US military involvement there, because it would put the "prestige and power" of the United States on the line "in a remote area under the most adverse circumstances."
In 1961 McNamara became the Kennedy Administration's "supervisor for Vietnam," which caused many, years later, to refer to the conflict as McNamara's War. In 1962 Kennedy began to increase the number of US personnel in Vietnam. In 1963 Buddhists there were mounting a challenge to the autocratic ways of South Vietnam's Prime Minister Ngo Dinh Diem; indeed, that summer one Buddhist monk, Thich Quang Duc, horrified the world by burning himself to death on a Saigon street. Diem was murdered only weeks before Kennedy was assassinated in November 1963.
On to the Johnson Administration: On August 7, 1964, Congress rubberstamped--the House vote was 416 to 0 and the Senate's was 88 to 2--an Administration-drafted resolution informally called the Tonkin Gulf Resolution (following a trumped-up incident of attack on a US vessel), which authorized the President to take "all necessary measures to repel any armed attacks against" US forces and "to prevent further aggression." A month after eight Americans were killed at the US base in Pleiku in February 1965, the United States commenced Rolling Thunder, the systematic bombing of North Vietnam, which continued (with some pauses) until October 1968. In March 1965 President Johnson committed land troops to South Vietnam, which over the next two and a half years were increased to more than 500,000.
When the United States went to war, most Americans might have said that the goal of the war was to stop the spread of Communism. But it is likely that only a small portion of them gave much thought to the meaning of that slogan as it applied to Vietnam. Moreover, a still smaller percentage probably thought carefully about how this war would actually prevent the spread of Communism, and what important interest the United States really had in doing so in South Vietnam per se. Thus, when the war began for the United States in earnest in 1965, the American public had only a wafer-thin understanding of why the nation was fighting a land war in Southeast Asia, the goals of the conflict, the dangers, whether the aims of the war were realistic and what magnitude of commitment and sacrifice might be required to see it through.
Once the war began, it dragged on from one season to the next, year after year. The public became restless and the antiwar movement became forceful. In early 1968 the North Vietnamese pulled off the stunning Tet offensive, which left the indelible image of Marines desperately fighting for their lives as they defended the US Embassy in Saigon. Washington tried to assure the American people that Tet was not a Communist victory. But George Aiken, a Republican senator from Vermont, may have expressed the public's mood best when he said sardonically: "If this is a failure, I hope the Vietcong never have a major success." In the end, Tet shredded confidence in Washington, the idea that the war was being won and the suggestion that the South Vietnamese government was anything but a corrupt puppet.
Senator Eugene McCarthy challenged President Johnson for the Democratic Party presidential nomination and stunned the nation by getting 42.2 percent of the vote in the 1968 New Hampshire presidential primary. A few weeks later, the group of so-called Wise Men advised Johnson not to escalate the war further, and days after that Johnson told the nation he would halt much of the bombing and agree to negotiations with the North Vietnamese. He added that he would not be a candidate for re-election. When the Paris Peace Talks were about to begin, the South Vietnamese refused to attend, and the North Vietnamese and US delegations settled into arguing about the shape of the table at which they would sit--and Americans and Vietnamese continued to die.
When Richard Nixon won the general election, he didn't consider an immediate cessation of hostilities. Instead, he inaugurated a policy--eventually termed "Vietnamization"--of gradually withdrawing ground troops. At the same time, the war from the air was enlarged as he ordered the secret bombing of Communist bases in Cambodia. But the war did wind down, if slowly, and the last US combat troops left South Vietnam in March 1973. Rather than face an impeachment trial, Nixon resigned the presidency in 1974, which left Gerald Ford as President when the North Vietnamese smashed through the gates of Independence Palace in Saigon and defeated the South Vietnamese in 1975.
Vietnam was a tragedy of immense proportions, and although it is regrettable that Langguth does not try to distill its causes, his carefully presented evidence makes it plain that the only arguable United States national security interest in Vietnam was the cold war policy of containing Communism to ward off the oft-invoked "domino effect." But even in this regard, Langguth's account indicates that those who planned and executed the war believed that the primary interest of the United States had less to do with containing Communism than it did with some vague idea of national prestige. As the respected John McNaughton, assistant secretary for international security affairs, stated in a 1965 memorandum to McNamara, "70%" of the purpose of US military intervention during the transition was "to avoid a humiliating US defeat (to our reputation as a guarantor)."
Langguth's account also firmly rules out the idea that Vietnam was a quagmire that US leaders stumbled into unaware of the risks. The "quagmire thesis" first made its mark on public consciousness when David Halberstam wrote The Making of a Quagmire in 1964, maintaining that well-intentioned, idealistic American leaders blundered their way in. After that, many were responsible for restating and elaborating the theme, but it was probably Arthur M. Schlesinger Jr., the prominent historian and former Kennedy aide, who gave the thesis one of its most quoted expressions, in The Bitter Heritage: Vietnam and American Democracy, 1941-1966, published in 1967.
When I did my research for The Day the Presses Stopped: A History of the Pentagon Papers Case, it seemed that the Pentagon Papers had smashed the quagmire thesis to smithereens. The Pentagon Papers were a massive, 7,000-page, top-secret military history of America's involvement in Vietnam from the end of World War II to 1968, which McNamara had commissioned in 1967 and which Daniel Ellsberg leaked to the New York Times (and the Washington Post also ran) in 1971. They consisted of government documents embodying key decisions that led up to the war and sustained it, as well as accounts written by so-called Pentagon historians whose task it was to write a narrative of the decisions and events as recorded in the government documents that the study comprised.
But the theme of a morass that had trapped us unwittingly proved resilient. Weeks after the Pentagon Papers became public, none other than Schlesinger stepped forward to defend the quagmire claim against attacks on it by Ellsberg and others. Schlesinger wrote that "the Vietnam adventure was marked much more by ignorance, misjudgment, and muddle than by foresight, awareness, and calculation." He concluded that "I cannot find persuasive evidence that our generals, diplomats, and Presidents were all that sagacious and farsighted that they heard how hopeless things were, agreed with what they heard, and then 'knowingly' defied prescient warnings in order to lurch ahead into what they knew was inevitable disaster."
Even today that view continues to have currency, but Langguth will have none of this. He establishes not only that ranking US officials time and again perceived the dangers but that they were simultaneously unconvinced that the United States had any meaningful national defense or security interests in Vietnam that would have warranted war. Langguth's portrait is one of these same leaders feeling hemmed in by domestic political considerations. They believed that the harm to themselves at home (as well as perhaps to their party) would be too substantial if they were to change the direction of the cold war-inspired policies that were spawned at the end of World War II, and gradually but relentlessly supported the American military involvement in Southeast Asia.
Consider three incidents recounted by Langguth as illustrative of this theme. President Kennedy told his scheduling secretary, Kenny O'Donnell, in 1963 that "withdrawal in 1965 would make him one of the most unpopular presidents in history. He would be damned everywhere as a Communist appeaser. 'But I don't care,' Kennedy said. 'If I tried to pull out completely now from Vietnam we would have another Joe McCarthy red scare on our hands, but I can do it after I'm reelected. So we had better make damned sure that I am reelected.'"
During a 1964 taped telephone conversation between President Johnson and Senator Richard Russell of Georgia, Russell said, "I don't see how we're ever getting out [of Vietnam] without fighting a major war with the Chinese and all of them down there in those rice paddies and jungles. I just don't see it. I just don't know what to do." Johnson answered: "That's the way I've been feeling for six months." When Johnson asked Russell, "How important is it to us?" and Russell answered, "Not important a damned bit," the President did not disagree. Johnson also told Russell that he did not think people knew much about Vietnam and that "they care a hell of a lot less." Toward the end of the conversation, Johnson speculated, "They'd impeach a President that runs out, wouldn't they?"
Langguth also reports a telling incident just before Christmas 1970, when President Nixon told Henry Kissinger, his National Security Adviser, that he "considered making 1971 the last year of America's involvement in Vietnam." Nixon said that he planned to tour South Vietnam in April 1971, reassure South Vietnamese President Nguyen Van Thieu about the consequences of the impending US withdrawal and then come home and "announce that America's role in Vietnam was over." Kissinger protested. He argued that after the withdrawal, the "Communists could start trouble" in 1972, which meant that the "Nixon administration would pay the political price in the 1972 presidential election." Kissinger advised, as Langguth recounts, that "Nixon should promise instead only that he would get American troops out by the end of 1972. That schedule would get him safely past his re-election. Nixon saw the wisdom in Kissinger's argument that guaranteeing his second term would require American soldiers to go on dying."
It would be overreaching to assert that Kennedy, Johnson and Nixon made defense and national security decisions solely in response to their own perceived political fortunes, but the evidence does make it clear that their decisions were greatly influenced by the consideration. And to accept that domestic political concerns played such a pivotal role in the US war in Vietnam, which cost 57,000 American and an estimated 2 million Vietnamese lives, constitutes a profound challenge to the capacity of a democratic order to fashion and implement moral and prudent policies.
As damning as it is to accept the degree to which personal and party interests prompted policies that led to such a protracted war, it would be a mistake to think of the Democrats and Republicans who made those decisions as somehow uniquely flawed. It is unlikely that the qualities of mind, temperament and character of current and future political leaders will be more vital, wise or resourceful than those who occupied high office between 1954 and 1975. One must accept that the United States is not likely to have leaders who have the vision, the ability to communicate and that rare quality of leadership that will allow them to reshape what is politically possible by fundamentally altering (after they have helped formulate it) an entrenched mindset that dominates a nation.
Although Langguth's Our Vietnam does not confront this conundrum, his vivid retelling of the American war there allows us to consider once again the role played by the antiwar movement in bringing the war to an end. In so many ways, the movement was chaotic and ineffective. But can one imagine what would have been the course of the conflict if there had been no movement? Would the US combat forces in Vietnam have risen to a million? Would the United States have used nuclear weapons? Would the United States have supported a war of attrition for another three or four years? The movement was the countervailing force to, in its words, "the system" that made and sustained the war. The movement restrained Johnson's buildup; it put Senator McCarthy in a position to mount a challenge to a sitting President; it pressured Nixon to find a way out of an even longer war. The movement accomplished nothing quickly or easily--it couldn't. It was battling a cold war sensibility implanted in the American mind since the end of World War II. What is so astounding, therefore, is not that the movement did not achieve more, but that it achieved so much.
Just as a people may set constraints on the political process that politicians experience as a prison without walls, the people may also be, as they were during the Vietnam War, the system's last best hope. And if that is true, then the people need to be fully engaged as the inexperienced President Bush confronts an array of defense and national security issues: When and under what circumstances should the United States commit ground forces to a situation comparable to Kuwait or Bosnia? Should the United States deploy a national missile defense system? Is the United States meddling in a civil war in Colombia under the guise of advancing a hapless "war on drugs"? If dangerous weapons of mass destruction are identified with certainty in a nation considered a threat, what is the appropriate response?
Langguth's Our Vietnam reminds us time and again of the importance of skepticism and distrust in assessing defense and national security policies. One anecdote about that engagement makes the point memorably. In August 1964 Johnson was widely praised for ordering airstrikes against North Vietnam in the wake of the Tonkin Gulf incident. The influential New York Times columnist James Reston wrote that "even men who had wondered how Johnson would act under fire 'were saying that they now had a commander-in-chief who was better under pressure than they had ever seen him.'" There were not many dissenting voices, but I.F. Stone was one. Referring to the right-wing Republican presidential candidate, who criticized Johnson's policies toward North Vietnam as insufferably weak, Stone wrote in his weekly: "Who was Johnson trying to impress? Ho Chi Minh? Or Barry Goldwater?" Stone's response in this pivotal event is a vital example of a frame of mind that would serve the nation well if it were widely adopted. Any book that becomes a vessel for meaningful re-examination of a national tragedy is exceptional and demands broad attention. And that is what Langguth's book is, and does.
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.
REBELS WITH A CAUSE
A director, now an old man, alone, sits in his tidy house by the sea, everything in its place, the notebooks piled in their drawer, the letter opener and pen neatly on the desk. He conjures up his dead lover, an attractive actress named Marianne. She settles into the window seat, or sits in a chair opposite him, or, more rarely, strolls briefly around the room as she flashes back through her life with him and without him, by turns caustically, tenderly, revealingly, angrily. Through watery, startled, wounded, even yearning eyes, he stares at her and at himself years earlier. For entr'acte punctuation, he stares out the window toward the rolling sea, and three or four times even walks toward it. That, and a couple of Paris-from-the-rooftops shots, are among the few shifts from this movie's claustrophobic interiors and tight head shots and static camera setups. Welcome to Faithless. Premiered at last fall's New York Film Festival, written by Ingmar Bergman and directed by Liv Ullman, the movie takes 150 minutes, more or less, to relive one extramarital affair and its aftermath.
The setup? Marianne (the beautiful and talented Lena Endre, whose performance is one of the film's best aspects) is married to Markus (Thomas Hanzon), a conductor who's rich, powerful and handsome. They have a daughter, the saucer-eyed preteen Isabelle (Michelle Gylemo). Markus's best friend is David (Krister Henriksson), a pudgy, morose, egocentric, not-quite-unsuccessful director. One night David shows up when Markus is on tour, and asks Marianne to sleep with him. She is startled, then agrees to sleep--and only that--with him. And so she does, but the seed of adultery is planted. She fantasizes about David, approaches him and kisses him on the lips (his characteristic response: "This is serious") and decides to meet him in Paris while Markus is in Detroit at a recording session. They agree to "discover" they'll be in Paris at the same time during Markus's farewell dinner, and the affair begins.
Throughout its twists and turns, angst prevails, as steady and remorseless as the unwavering camera's medium-to-close-up range, through flickering moments of sex and happiness. For the older though not much wiser David has conjured a Marianne less Eurydice than Emma Bovary. She's ironic, introspective, optimistic, yet armed with an existentialist sensibility, although somehow--it's unclear whether this reflects the general human condition or whether Marianne is yet another woman in movie-love who pays the wages of sin--she never quite manages to understand why these things are happening to her. She stays almost willfully blind to probable chains of events even when she's set them in motion herself.
Watch how she persistently teases Markus on the eve of his departure about her being with David in Paris. She nudges him into suspicion without a clue that that's what she's done--until he shows up, months later, to confront her in David's bed. In one of the film's most human and effective scenes, she and David blur between laughter and tears while Markus rages and guilt-trips and swaggers and simply stares.
From there on, things unravel relentlessly. There are Isabelle's emotional traumas; an aborted death pact between Markus and Isabelle; David's calculated outbreaks of violent jealousy (in one scene, he asks Marianne about previous lovers, then throws her around after she tells of Markus's sexual power over her); Marianne's unconvincing analyses of herself and her world (she insists to David that she likes simplicity, where he insists things must always be more complicated than they seem); her abortion of David's child after she's screwed Markus several times in one night as part of a "deal" to get custody of Isabelle (all-powerful Social Services looks askance at her future with David); and the affair's last spasms and final collapse. Like a revenge tragedy, it ends with nearly everyone dead, and the old man once more walking toward the sea, meditating on drowning.
Even compared with Bergman's 1973 TV series Scenes From a Marriage, there's a remarkable amount of talk here, far outweighing action. Characters ponder the links, articulated and not, between sex and death, happiness and pain, and the guilt of the past unredeemed. What, Bergman seems to ask in Faithless, could be more human than to blunder or float from event to event as if this particular chain of them were wrapping its way around somebody else? Maybe nothing, but it's also a bit of a trick question: Bergman is no moral relativist. Time after time he's filmed his brooding sense that moral codes as rigid and predetermined as his camera angles underlie the apparent games of chance operating the universe. It's no mere conceit that Faithless is made from the voices of the dead in an old man's head.
Ullmann (who, in addition to her many deservedly praised starring roles in Bergman films, played the wife, also named Marianne, in Scenes) has praised Bergman's hard-won willingness to face himself in this script, mentioning its autobiographical genesis. Fair enough: The film doesn't spare middle-aged David, but it also makes him the center of Marianne's story. Here it's worth noting that Bergman is very much this movie's auteur, though he hasn't directed a feature film in eighteen years. Perhaps it's unintentional, perhaps it's a larger Bergmanesque irony, but Ullmann directs in Bergman's cinematic language in much the same way Marianne, his "muse," speaks his own thoughts.
In her fourth directorial effort (her previous film, Private Confessions, dutifullyshot another Bergman script, that one based on his parents' marriage and infidelities), Ullmann has clearly internalized her erstwhile friend and lover's deliberate, at times ponderous, pacing and pared-back camerawork, his tight shots, even his masterful flair for subtle signposts to mark a mood shift or plot turn, like changing the light or color of a scene. What is more typically Bergman than interrelations between macrocosm and microcosm?
But honesty? Aside from the nagging sense of loss that middle-aged and old David share, what does this self-described malcontent carry with him from all those grave trips down memory lane? The old man touches Marianne's face, and his own younger face too, in benediction, but it reads more like solipsism than real emotional connection.
For all its biting truths, this is a movie about talk whose talk meanders around self-examination without ever really striking self-awareness. Everyone in Faithless is trapped, by their creator's design, in a self-sealed world. Is this honesty about human reality or a kind of smug, bleak paternalism? That and its quaint take on infidelity explain why Faithless ultimately feels like a soap opera for highbrows. (Who else sits through movies with subtitles?) It lacquers an existentialist veneer onto Big Issues like Life and Love and Relationships and Death. But minus the larger framing issues that resonated through Scenes and that series' far more dramatic vicissitudes, in modern America--if not modern Scandinavia--Bergman's truths too often come off as melodramatic, heavy-handed and trite rather than timeless. We're left, in Faithless, with an almost medieval allegory that ultimately flattens human foibles into archetypal moral categories.
It's as if in his old age Bergman has forgotten his lessons from Ibsen's Hedda Gabler and A Doll's House, where real, if inevitably frail, individuals are dramatically, provocatively shaped and bent by larger forces. Scenes worked best when it followed Ibsen's lead. In Faithless, however, Bergman, like the old David (Erland Josephson, who has played the movie Bergman before), spends a lot of time in front of the mirror. When does merciless self-examination slide imperceptibly into narcissism?
Here's my problem. If there's a line separating the later Bergman's existential dilemmas from daily infusions of TV soapsuds, Scenes From A Marriage helped confuse me about where that line might be. (PBS and BBC costume dramas, movies like The English Patient and My Dinner with André, Barbra Streisand, Tennessee Williams and Op-Ed pieces about media violence have the same effect on me.)
Until then, I knew I was supposed to be in awe of Bergman. I saw The Seventh Seal when I was a teenager, and like a good intellectual wannabe, entranced by Death the chess player, I voyaged through Bergman's oeuvre during high school and college. Scenes From A Marriage left me saying goodbye to all that. I guess I decided it was more fun, less patronizing and (in ways I didn't have to defend to myself anymore) more enlightening, even, to tune in to An American Family, the 1973 PBS foray into reality TV that aired at around the same time. Who remembers the Louds, Santa Barbara's favorite upper-middle-class real-life soap opera, who became inured to cameras following them through a year of their lives? One kid coming out of the closet, sex and drug problems for the others, a disintegrating marriage between the apparently sophisticated adults masquerading as parents and, through the bemusement and horror, some key issues of contemporary American life driving a cast of self-consciously avid talkers who grew remarkably sophisticated (if frequently self-contradictory), somehow conscious and unconscious about cameras and soundbites as their Andy Warhol moments of fame spun on and on and on...
A few years later, I was living in Italy when I saw Woody Allen's Interiors, his first overt homage to Bergman. My Italian was pretty good, but as I sat in the huge cold Roman theater with a smattering of chatting Italians watching the frozen, black-and-white anguish spread like molasses across the patched screen, I kept straining for punch lines that never came, making them up for myself when they didn't, finding ironies in the dubbed Italian voices emitted by actors whose accents I knew only too well. I left feeling as though I understood multiple-personality disorder from the inside--not because of the movie, exactly, but from my time in the dark spent in parallel with it.
The unintentional Brechtian effect that Interiors had on me extinguished whatever was left of my need or desire for Bergman's increasingly circumscribed world of angst and sin and guilt, even if filtered through Liv Ullmann's disciplined lens. That, of course, isn't their fault. But despite some fine moments, Faithless didn't convince me I was wrong.
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