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September 11 is being used as a reason to build up police intelligence
Now that the Enron culprits have been caught red-handed, might not the media inquire of the President whether he takes any responsibility for nearly bankrupting California by refusing to come to
California GOP gubernatorial candidate Bill Simon Jr. has portrayed
himself as a savvy businessman who can deal successfully with the
state's financial woes. But Simon's ties to Enron, the bankrupt energy
company that has been charged with manipulating the electricity market
in California and is under federal investigation, raise questions about
his business acumen and his fitness for the state's top post.
Former business associates of Simon say that he personally persuaded
Enron to invest in Hanover Compressor, a Houston company he founded in
1990 and on whose board he sat between 1992 and 1998. Hanover makes
pumps that move natural gas and oil through pipelines and from wells.
According to several people at Enron and Hanover involved in the
transaction, the Enron investment was made in 1995 through an Enron
partnership called Joint Energy Development Investments, or JEDI, which
is now at the center of the federal investigation into Enron's collapse.
Simon held a 1.4 percent stake in Hanover, which after the JEDI
investment was worth tens of millions of dollars. His father, William
Simon, the former energy czar and Treasury Secretary under Richard
Nixon, ran a private investment firm, William E. Simon & Sons,
which owns more than 4 percent of Hanover. The younger Simon declined
requests for an interview. He has previously dodged questions about his
relationship with Enron.
JEDI was at one time Hanover's second-largest shareholder, with an $84
million stake in the company, according to a Securities and Exchange
Commission filing. Last June, JEDI shifted most of its shares to another
off-balance-sheet Enron partnership. JEDI's stake in Hanover allowed the
Enron executives who managed JEDI to attend Hanover board meetings.
Hanover executives said Simon and Enron came up with several
Simon was also involved in Hanover in matters separate from the Enron
deals that could raise legal concerns. Hanover said in February that it
would have to restate its financial results beginning in January 2000
because of improper accounting for a partnership that--as with
Enron--made the company appear more profitable than it was. Over several
years during this time, according to the Wall Street Journal,
Hanover officers sold millions of shares of stock--again much like
Enron, where officers who were allegedly aware of the company's
accounting practices were encouraging employees and others to buy shares
even as they were selling their own. Hanover is now the target of at
least four class-action lawsuits by shareholders who have alleged the
company misled investors; and it is also under investigation by the SEC.
Simon wasn't a member of Hanover's board at the time of the improper
accounting, but a week before Hanover made the announcement, the company
reported that every annual report it has issued since going public in
1997 contained errors. Simon, as a member of Hanover's audit committee,
was responsible for approving the company's annual reports. The audit
committee, according to Hanover's investor relations department, was
held responsible by Hanover for the error.
Simon helped Hanover set up a partnership in the Cayman Islands, Hanover
Cayman Limited, as a tax shelter. In addition, he assisted Hanover in
setting up a joint venture with Enron and JEDI to construct a
natural-gas compression project in Venezuela.
Jamie Fisfis, Simon's campaign spokesman, said Simon has been
forthcoming about his business dealings with Hanover and Enron. But when
asked about JEDI's investment in Hanover and what role Simon played,
Fisfis said he did not know and would only confirm that Simon was a
member of the Hanover board at the time. Moreover, he could not offer an
explanation when asked about the other joint ventures with Enron that
Simon's former business associates said he had a hand in creating. Simon
has told reporters on the campaign trail that he was barely involved in
Hanover's business activities, but Hanover executives say Simon was
intimately involved during his six years on the board. When Simon left
the board in 1998, he sold most of his 430,000 shares in the company.
However, he still has more than $1 million invested in Hanover,
according to the Associated Press.
Sherry Bebitch Jeffe, senior scholar of the University of Southern
California's School of Policy, Planning and Development, said Simon has
to start answering questions about his dealings with Enron, "whether it
be good or bad," or risk alienating voters. "The symbol that Enron has
become is negative, cheating and ruthless."
Roger Salazar, a spokesman for Governor Gray Davis, who currently trails
Simon according to the latest polls, said Simon's close ties with Enron
pose questions about his track record: "For a man who touts himself as a
business manager, these types of activities raise questions whether
Campbell McGrath's entertaining and frustrating fifth book of poems--every single one of them devoted to some aspect of Florida--raises two large questions. One has to do with representations of that state; the other, with precision, personality and populism in poetry, and the relative value of each.
Elizabeth Bishop, who lived in Key West for some years, called Florida "the state with the prettiest name," "the state full of long S-shaped birds, blue and white"; Wallace Stevens saw in Florida's "venereal soil" an escape from intellection--though he came to find its fertility unnerving. Among living poets, William Logan, Tony Harrison and Michael Hofmann have all taught in Gainesville and written about it. Donald Justice described the Florida of his youth in such poems as "A Winter Ode to the Old Men of Lummus Park, Miami, Florida." Dionisio D. Martínez evoked the state's lightning-prone flats in Bad Alchemy, while Karen Volkman skewered Miami in her much-anthologized "Infernal."
McGrath aims to capture in verse a Florida as disturbing as any of those, and far more comprehensive. His narrative, didactic, essayistic and lyric poems together try to depict the whole troubled state, a state that (in McGrath's view) cries out either for political action to set it on a new course or for an apocalypse to wash it all away. As in his celebrated Spring Comes to Chicago (1996), McGrath's models here include the Ginsberg of Howl; the Whitman of big catalogue poems like "A Song for Occupations"; crowd-pleasing comic poets like Billy Collins; and writers of the modern left--from Carl Sandburg to Martín Espada--who wish to tie locally oriented description to socioeconomic protest. McGrath offers, first, a ten-part narrative poem (based on Aristophanes' Birds) called "A City in the Clouds"; next, a group of short poems on subjects Floridian; last, a long verse-essay called "The Florida Poem." Though they share attitudes, topics and techniques, each section has to be judged on its own.
McGrath's narrative shows the rise, success and eventual fall of an airborne city built above Florida--one that bears remarkable resemblances to it. Readers of Aristophanes, or of the headlines, will know quickly what fate McGrath's cloud-folks face (or refuse to face): Seeking a carefree New World, the cloud-dwellers end up dependent on complex irrigation, McDonald's sandwiches, tourism, real estate speculation, overbuilt prisons and exploited noncitizen "laborers [who] were needed...to man the pumps for the earthward flow of water upon which their entire economy depended." Menaced by aerial alligators, then by failing machinery, the cloud-folks finally let the city collapse. The poem's most original moments are those closest to (prose) science fiction: In one, the cloud-dwellers haul up "whatever could be gathered at the ever-shifting terminal point where the wind-flexed elevator shaft met the ground."
Despite such descriptive energies, McGrath's cloud-poem lacks the verbal reliability we expect from most modern verse: His long lines can forsake semantic control. Here, for example, the citizens view their new home:
Times the clouds were like riven badlands, foils and arroyos and alluvial fans, rough country best traversed with safety ropes as if crossing polar seas over plates of tilting ice.
Times the clouds were gongs and temples, a rapture in pewter, grand passions, coffers of incense and precious woods.
Rapture and passions. Badlands and alluvial fans, and ice. Often McGrath seems to operate by the rule "Never use one word when three will do": The cloud-dwellers "missed things, various places and objects, old friends or distant cousins, specific sounds, familiar certainties" (as against unfamiliar ones). Later we see "luxurious waterfalls rooted in the barest mist or veil of vapor." Nor is such excess confined to the narrative poem. In the short poem "The Miami Beach Holocaust Memorial" McGrath summons "the vestigial memory of some as yet undreamed/category of violent distinction and hatred," a phrase almost any prose editor would blue-pencil.
McGrath's vivid description and his social critiques carry over into his short poems. So, alas, does his insistence on spelling things out. In a villanelle about the Florida State Fair,
...we're stamping and hooting all over the place
while the Texas swing band plays "Rocky Top, Tennessee"
and Haitian kids dip kettle candy beneath a live oak tree
in historic Cracker Country, apt and ironic misnomer for the place,
because this is Florida, after all, not Texas or Tennessee.
McGrath has to tell us what he finds "ironic"; otherwise we might not know. Elsewhere it can be hard to tell if he's kidding: "Trouble with Miami," one poem opines, "is...a dearth of cultural infrastructure so profound//that the only local institution worth its salt is the ocean," where "watching the beautiful women on the beach/...may be our best shot at real enlightenment." Is this a persona we're meant to dislike? Apparently not: "Florida," McGrath explains later, "is bereft of mythic infrastructure,/symbolically impoverished." It's an odd complaint in a book full of (highly symbolic) conquistadors, Seminoles, mangroves, alligators, mouseketeers and scarily iconic restaurants (of which more below). If that's "symbolically impoverished," what to call Delaware?
McGrath seems to mean not that Florida lacks symbols, but that its symbols end up either sinister or ridiculous, or both. The poems he finds he can make out of them are comic, and the comedy moves him to complain. When McGrath instead describes his private life, he can be more careful, and far more likable: "The Zebra Longwing" (named after a butterfly) ends as follows:
have borne them awayWings
have borne them away
from the silk
of the past as surely
as some merciful wind
has delivered us
to an anchorage of such
Elizabeth. All my life
I have searched, without knowing it,
for this moment.
McGrath has transported James Wright's famous poem "A Blessing" to a warmer climate and a happy marriage. He's done it so carefully that the transposition works.
McGrath rarely gets that calm, though; normally he wants for his own work the prophetic enthusiasms of Whitman or Ginsberg, who also combined sometimes-radical politics with long personal digressions. Yet Ginsberg and Whitman at their best were fascinated by the individuals who made it into their poems, whether for half a book (Carl Solomon in Howl) or for a couple of lines (Whitman's soldiers, prostitutes, firefighters). McGrath almost always considers people other than himself in fairly large groups--cloud-dwellers, exploited workers, the Calusa, the old folks, the tourists. He does better with "Maizel at Shorty's in Kendall":
All shift them sugar donuts
been singing to me,
calling to me something crazy in a voice
Dolly Parton'd be proud of--Maizel, honey,
eat us up!
Notice the alphabetical acrostic (lines begin a, b, c--), a form McGrath uses three times. It suits him, since it allows for long free-verse lists. "What I loved most," he declared in Spring Comes to Chicago, "was the depth and rationality of the catalogue"; here one acrostic ("Seashells, Manasota Key") comprises nothing but catalogue, from "Abras, augers, arks and angel wings" to Zirfaea crispata.
These lists take their place among other manifestations of McGrath's exuberance: He loves to say what he sees, and he finds most of it either very attractive or ugly indeed. Poetry, Yeats said, came not from our quarrels with others, but from our quarrels with ourselves. If there's such a quarrel here, it sets McGrath's impulse to celebrate absolutely everything--cars, lightning, alligators, America--against his understandable sense that Florida, and the other forty-nine states, are resource guzzlers headed for a fall. Usually, though, these poems enact McGrath's excited quarrels with others. Of "Disney's realm of immortal/simulacra," McGrath says that it makes too easy a target "when there are nastier vermin to contest," vermin like "Orlando itself," where "the anthem of our freedom is sung by Chuck E. Cheese." There follows a three-page attack on that fast-food chain and its iconic mouse, "the monstrous embodiment of a nightmare," designed "to entice the youngest among us/to invest their lives in a cycle of competitive consumption." This lengthy philippic against a pizzeria moves beyond predictability, beyond comedy and beyond politics into a vituperation as excessive as it is entertaining: What did Chuck E. Cheese ever do to McGrath?
In poems like that one ("Benediction for the Savior of Orlando"), McGrath is at bottom a dazzling performer, as much so as the cartoon figures he says he hates, though with an admirable politics his corporate nemeses obviously lack. The standard critique of, say, TV ads (they reduce us to passive receivers) might hold just as true for McGrath's verse, which leaves us little to figure out for ourselves. "The Florida Anasazi" attacks "the alligator-headed figure known to us as The Developer who works his trickery upon the people of the tribe, pilfering communal goods, claiming to produce that which he despoils." Pound called poetry news that stays news. Is this news? Does it tell us anything unexpected, either about how to understand evil developers or about how to resist what they try to do?
The long poem titled "The Florida Poem" is a different, and happier, matter. In it McGrath returns to a form that can showcase his talents and neutralize most of his faults. The form is the long, research-filled essay-cum-rant, with roots (McGrath's note suggests) in Pablo Neruda's Canto General--and in McGrath's own bigger, better, earlier, funnier "Bob Hope Poem" (from Spring). Neruda in one way, and "Bob Hope" in another, tried to give the history of a continent; here McGrath contents himself with one state in the union, about which his form allows him to say, and to enjoy saying, anything at all, from the whimsical to the sarcastic to the mock-classical ode:
Sing through me, o native goddess, o sacred orange
blossom nymph, o Weeki Wachee naiad...
Florida: it's here!
Florida: it's here and it's for sale!
Florida: it's neat, in a weird way!
Florida: Fuckin' Fantastic!
This would be my official suggestion for a new state motto...
Much of the poem returns to familiar targets, "marketers/and technocrats and mouseketeer apparatchiks" and so on. Yet the real subject of "The Florida Poem" is not the damage such folks have done but instead McGrath's feelings about the state they have produced, with its eye-popping sights and consumerist excess, its real fun and its false Fountains of Youth:
been enticed to sw...I myself have more than once
been enticed to swim in the icy oasis of DeLeon Springs,
and have eaten at the remarkable restaurant
reputedly housed in an old Spanish mill
where they grind still the wheat
to mix the batter you pool and flip on a griddle
in the middle of your very own table.
Pancakes and alligators and paddleboats and ruins
of vanished conquerors vanquished
in their turn. It's one of my favorite places in the state,
not merely for the flapjacks and historical ironies
but for the chaste fact of its beauty.
In this kind of writing, compression, obliquity, even precision, may be sacrificed for the sake of a voice. For this reason alone "The Florida Poem" is by far the best in the book. Its size lets it encompass both the obvious judgments McGrath thinks we need to hear (conquistadors bad, manatees good, "Indians...easily romanticized" yet "human, familiar with power and avarice") and the details that make those judgments entertaining even at their most predictable. (Floridian readers--especially if they speak Spanish--may call to mind aspects of their state McGrath leaves out.) Above all, "The Florida Poem" gives us the sound of a person talking: It has not only the faults but some of the virtues of what's now called "performance poetry" (a movement to which McGrath has not been linked):
...Andrew Jackson bought the whole place
for five million dollars and a solemn promise
to relinquish all future American
claims to Texas.
It's because McGrath--ordinarily--can't slow down for more than a couple of syllables that he gets comic effects from that one-line nonword. Elsewhere his rant reminds me of Williams's splendid and splenetic "Impromptu":
What the governor meant was
come and get it,
down, rip it up,
mill it for lumber, boil it for turpentine,
orchard it for oranges or pit-mine it for phosphates,
shoot it for hides or skins or quills
"It" comes to mean at once particular natural resources, the exploited population and the whole state: It's a neat rhetorical effect, one McGrath can only achieve in a long poem, and one that makes this long poem worth a try. As it spreads back into the prehuman past, and then into a misty future, McGrath applies these effects of capacious verve not just to the parts of the state he hates but to scenes within the state he loves:
of an element so...visceral
of an element so clear each grain of sand
sings forth, each bordering leaf of oak or heliconia,
each minnow or sunfish in the mineral wicker-work,
one jump, one plunge
toward the crevice of rifted limestone
wherefrom the earth pours forth
its liquid gift...
Now that's a Florida worth going to see.
Tuesday, March 5, midnight
Race riot victims still wait for promised reparations.
On October 31 Governor Jane Swift of Massachusetts pardoned five women who had been convicted and executed in the Salem witch trials in 1692. Well, better late than never--what's a few centuries one way or another? Once you're dead you have all the time in the world. It's the living for whom justice delayed is justice denied, and on that score Governor Swift is not doing so well. On February 20 she rejected the recommendation of the state parole board, known for its sternness and strictness, and refused to commute the thirty-to-forty-year sentence of Gerald Amirault, who was convicted in the 1986 Fells Acre Day School child sex abuse case and who has already served sixteen years in prison. Violet Amirault and Cheryl Amirault LeFave, his mother and sister, who were convicted with him, served eight years before being released.
Since the l980s, when a wave of now notorious prosecutions of alleged ritual child sex abuse swept the country, many of the techniques used to elicit children's stories of abuse have been discredited: leading and coercive questions, multiple reinterviews, promises of rewards, suggestive use of anatomical dolls. It's no longer iron-clad doctrine that certain behaviors, like bed-wetting, masturbation and sexualized play, reliably indicate sex abuse. The slogan of the prosecution and the media was "believe the children"--but what that really meant was don't believe the children if they insist that nothing happened, if they like going to daycare and readily hug their alleged abusers; only believe the children when, after relentless questioning by interviewers, therapists and parents, they agree that something terrible happened and eventually come to believe it, as the Fells Acre children, now young adults, still do. As Dan Finneran, the Amiraults' lawyer until 2000, puts it, the case represents "a closed system of thought: denials, recantations and failure to remember are categorized as manifestations of repression and fear and thus stand as confirmations of actual abuse." If no means yes, and yes means yes, how do you say no?
All these issues featured in the Amirault case. The result was that a respected working-class family who had run a popular daycare center in Malden for twenty years--a place that parents were constantly popping in and out of--were convicted of a total of twenty-six counts of child abuse involving nine children in trials that included accusations of extravagant and flamboyant sadistic behavior: children being anally raped with butcher knives (which left no wounds), tied to trees on the front lawn while other teachers watched, forced to drink urine, thrown about by robots, tortured in a magic room by an evil clown. One child claimed sixteen children had been killed at the center. Obvious questions went unasked: How come no kids who went to Fells Acre in previous years had these alarming experiences? Why was an expert witness permitted to testify about a child-pornography ring when no pornographic photos of the Fells Acre kids were ever found?
Governor Swift made a big show of looking seriously and long at Gerald Amirault's case, but she failed to consider the central question, that of whether he was guilty of any crime. Indeed, Swift made Gerald's refusal to admit guilt and get treatment as a dangerous sexual predator a centerpiece of her decision--but why should an innocent man have to say he's guilty to get out of jail? Gerald has been a model prisoner: He's taken college courses, he has worked, he has a flawless record. He has the total support of his wife and children and a job lined up in anticipation of his release.
Swift claims that her main consideration was whether Amirault's sentence was in line with those of others convicted of similar crimes. She cited the case of Christopher Reardon, a lay Catholic church worker who pled guilty to seventy-five criminal counts of abusing twenty-nine boys last summer and received a forty-to-fifty-year sentence. But the case against Reardon was open and shut; he took photos and videos, and even kept spreadsheets detailing his crimes. The real cases to compare with Amirault's are those of his mother and sister, who were convicted of the same crimes, although slightly fewer of them. Cheryl Amirault LeFave and Violet Amirault received sentences half as long and were released after serving half as many years as Gerald. Does Gerald's being a man have something to do with these disparate outcomes? Absolutely. The women benefited from the leniency still--if fitfully--bestowed by the justice system on women. Moreover, as the case against the Amiraults came to look more and more troubling with hindsight, the original scenario, in which the three were equally involved in molesting children, was replaced by a theory, never put forward during the trials, that Gerald was the ringleader and the women his dupes. How could this be? The evidence against the three was the same.
At her press conference, Governor Swift refused to discuss the case against Gerald and three times declined to respond when asked how he had failed to demonstrate good behavior in prison. The clear implication is that her motives were political: With Massachusetts in an uproar over the ongoing scandal of pedophile priests, to commute Gerald Amirault's sentence would have made her vulnerable in November when, as a not very popular or experienced Republican appointee, she faces an uphill struggle for election. What an irony--the Catholic Church protects genuine child molesters for decades and thereby creates a political situation in which an innocent man is trapped in jail. But Swift's calculation is backfiring. The Boston Globe, the Boston Herald, the Boston-based Christian Science Monitor, the Berkshire Eagle in Swift's home county have all editorialized against her decision; polls show wide support for Amirault's release.
Massachusetts--liberal, modern, technocratic Massachusetts--is the only state in which people convicted in the 1980s wave of ritual child abuse cases are still in prison. Bernard Baran, whose case shares many features with that of the Amiraults, with the added strike against him of being homosexual, has been incarcerated for almost half his life. Meanwhile, Scott Harshbarger, the DA who originally prosecuted the Amirault case, is now head of Common Cause. Will it take another 300 years for the state to acknowledge that Salem was not its last miscarriage of justice?
Barbara Coe is not your typical sixty-something silver-haired-senior-in-polyester.
Enron, maker of big promises and big donations, stands revealed as a four-flusher.
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