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About a year ago, Amit Chaudhuri published in the Times Literary Supplement a panoramic survey of the past century or so of Indian writing and its reception in the West. He observed there that the postcolonial Indian novel tends to be celebrated as a hybrid form in the West, with Salman Rushdie's Midnight's Children eclipsing all previous Indian writing. Unhappily, critics seem to believe that the postcolonial totality of India can only be articulated by Indian novelists writing in English. Yet the novella, Chaudhuri argued, is an equally important form in the vernaculars (there are around twenty major languages and countless dialects with their individual literary traditions in India), as is the short story, and ellipsis is often more effective than all-inclusiveness in attempting to describe India. The tendency to forget that vernacular Indian literatures existed long before Salman Rushdie's brilliant experiment with magical realism--or Vikram Seth's presentation of India as a mosaic of epic proportions in A Suitable Boy--sets a problematic yardstick for judging Indian writing in English. It leads one to think that the Indian narrative is essentially "lush and overblown," whereas the literary traditions of India are actually much more delicately nuanced. Chaudhuri also suggested that hybridization of language is not the only tool for conveying the otherness of perception: Even the correct English of writers like V.S. Naipaul has otherness implicit in it.
To Chaudhuri, who is Bengali, this otherness takes the form of returning to older regional traditions of India. His literary forebears include the Bengali writers of what is known as the kallol jug--which was roughly around the second quarter of the twentieth century in Bengal--rather than contemporaries like Rushdie or Seth. As such, his novels have strong affinities to a specific movement in Bengali literature that attempted to capture the humdrum and the quotidian, though his audience is more the yuppie Indian who constantly juggles English and the vernacular than the educated Bengali middle-class bhadralok. Even the code-switching between Bengali and English--and the occasional Hindi--in Chaudhuri's novels seems to be an attempt to tell the story of the Westernized but ordinary Bengali, rather than hybridization or what Rushdie calls the pickling of language. It is also the story of polyglot India, where most of the population speaks, and habitually switches among, several languages. And mellifluous as Chaudhuri is at times, no one can accuse him of writing overblown prose.
In writing his fourth novel, A New World, Chaudhuri seems to have remained true to his critical principles: The result is not quite likely to make readers in Calcutta swoon but a novel that is as much an attempt to capture the macrocosm of India in a microcosm as it is an attempt to carry on a particular vernacular tradition in English. And to those who have never been to Calcutta, it offers a refreshingly low-key and intimate insight into the heart of the city.
In A New World, a quest for solace brings the protagonist to Calcutta to seek the comforts of the familiar rituals of his parents' home. Jayojit Chatterjee, a not-so-young professor of economics at a Midwestern US college, is back for the summer with his son in tow. Normally, his parents would have been overjoyed. But neither Jayojit nor his parents can get over the fact that the family is now broken, that Jayojit's wife has divorced him. Jayojit has recently won partial custody of his young son, Bonny, and the visit to Calcutta promises to become an annual summer retreat, an escape from his adopted country to the land of his birth.
Divorce has familiarized Jayojit with a new world of frozen pizzas and TV dinners. It also seems to have made him acutely attuned to the harmonies and dissonances of lives around him. One of the clichés about storytelling is that plots are essentially of two kinds--either someone undertakes a journey, or a stranger comes to town. In such a schema, this novel would appear to fall into both categories. Jayojit may not be a stranger visiting Calcutta, but he has certainly moved far from the roots to which he has temporarily returned. He stays with his parents, runs across his neighbors, moves around the city and muses on his married life and the attempt at a second, arranged marriage that he had made on his last visit home a year previously. Daily life in Calcutta is familiar, yet no longer quite familiar. Family photos still clutter the drawing-room table, only now there is a gaping hole in this tapestry of faces--all the pictures of Jayojit's ex-wife Amala have been removed. Her absence haunts the family perhaps more than her presence would have. Nothing sensational happens in Calcutta, not even another attempt at arranging a marriage. Jayojit's visit affects no one but his parents--but the details of a humdrum holiday are meticulously captured.
There is something very familiar about this stillness to anyone who has spent any time in Calcutta. I remember this torpor from countless summer holidays spent in the city, so it is no surprise that Jayojit neglects the book he is planning to write. I also remember vendors selling Kwality ice cream--a brief respite from the oppressive heat, which Bonny yearns for--from pushcarts.
Like New York's pushcart hot dogs and Bangkok's curbside satays, Calcutta also has its distinctive street fare--the rolls, jhaalmuri, phuchka and bhelpuri sold by vendors--whose taste simply cannot be replicated elsewhere. Jayojit's brief interaction with a bhelpuri seller brings back to this reviewer many memories of the tangy snack, flavored with spiced tamarind water, sold by a particular vendor near Sunny Park in the city. A New World speaks to the expatriate reader of little, intimate, everyday things in Calcutta, reminiscent of the way that Amitav Ghosh's Shadow Lines, a novel set partly in that city, did a few years ago.
Chaudhuri's book almost self-consciously tries to be different from the usual Indian writing in English. To put things in perspective, consider Raj Kamal Jha's The Blue Bedspread, the other novel set in Calcutta that has recently been published in America. An interesting foil to A New World, it is nothing if not sensational in plot and incidents. Its narrator is another not-quite-young man, but one who has a secret to reveal--and has just one night to write it all down. In the bedroom a newborn child lies on a blue bedspread; in the adjacent room, the narrator struggles to give voice to a mosaic of stories from his and his sister's past that can be pieced together to reveal the truth, insofar as truth may be known. The idea is clever but the secret obvious from page five onward. Of course, the ingenious aspect of Jha's plot is the frame that the story needs to be written in a matter of hours--which means that any rough edges and disjunctions in the text are automatically to be excused, the way amateurish camera work was in, say, The Blair Witch Project. This accounts for inconsistencies in the story line, and the series of deliberately unreliable narrative perspectives only helps further the cause. Judging by its reception in the West, however, he pitched his story to the right audience: the Western critic who, by all appearances, has little idea of what Calcutta is like, is willing to give Jha credit for having done for Calcutta what Joyce did for Dublin (as a reviewer wrote in the New York Times). Critics also laud Jha for letting the incestuous cat out of the bag of a repressive India. That particular cat, however, has always roamed at large in Vedic creation myths and vernacular writings. In fact, over a decade ago, Safdar Hashmi, one of India's foremost theater personalities, was assassinated by Hindu fundamentalists for staging one of the earliest mentions of incest in Indian literature: a little-known version of the epic Ramayana in which the hero Rama's queen is also his sister. Jha certainly explores the eternally sensitive issue of incest in contemporary society as his narrator tells overlapping pieces of the story, and he even throws in a bit of sodomy and pederasty for good measure; but his method is a tabloid-ish piling of sensation upon sensation that might, at best, be an unfortunate outcome of his training as a journalist.
Unlike Chaudhuri, who tries to produce a miniaturist's portrait of Calcutta by adding brush stroke upon brush stroke of minutely observed detail, Jha sets out to write the novel that will lay bare the heart of Calcutta but loses his way in the quagmire of sensational revelations. This is a pity, as the novel has its occasional and redeeming moments of brilliance:
Just outside the oil mill, a couple of feet to the right of its entrance, were the birds. In a large cage, more like a coop, the kind you see at the Alipore Zoo, slightly smaller, the size of an average storeroom in an average house...people stopped by to look at these dozen birds in the cage.
Flying round and round, grey and white, grey and white. On certain rainy days, when the sky was dark, it seemed tiny clouds had slipped into the cage each dragging with it just a little bit of the sky. And then one afternoon in 1977, the oil mill closed down. Just like that, all of a sudden.
Too bad the novel does not contain more quiet gems like this passage. On the other hand, India has long been imagined as the land of elephants and tigers, jungles and sadhus, snake-charmers and the vanishing-rope trick, so why blame the author for catering to popular fantasies?
If The Blue Bedspread is a psychological study, then A New World is probably best described as an anthropological exercise. It undoubtedly offers one of the more lyrical descriptions of Bengali life that exists in English fiction. Jayojit's mother is the quintessential Bengali homemaker of a particular generation: She welcomes him home with a fond "You've put on weight, have you" but also reverses herself to "Where--I don't think you've put on weight" when he protests against eating too much. His father, a retired rear admiral and patriot who had sided with the Nationalists against the British, is nonetheless a holdover from the colonial days and eats, brown sahib style, with a fork and spoon. He is the detached head of the family, who still maintains an "inconsequential tyrannical hold over this household, in which usually only he and his wife lived, with part-time servants coming and going each day." Neither parent can quite accept their son's divorce: "they seemed to feel the incompleteness of their family, and that it would not be now complete. Someone was missing. Both mother and father were too hurt to speak of it. In a strange way, they felt abandoned." This feeling of bereftness is perhaps only to be expected. Divorce is still a relatively rare occurrence in India. Not surprisingly, when the parents try to arrange the second marriage for their son, it is to a fellow divorcée. The family doctor gets involved as an intermediary, a situation not unusual in the delicate rituals of matchmaking. She, unlike Jayojit, is childless, a crucial consideration for the still-patriarchal Calcutta society.
On the lighter side, Bengali idiosyncrasies like the obsession with traveling are gleefully dwelt upon. The Admiral's ire against Bangladesh Biman remains unclear till he sardonically observes, "Every week tens of middle-class Bengalis who've been saving up all their lives queue up in the airport to travel by Bangladesh Biman--to visit their son or daughter in England, or to travel: you know the Bengali weakness for 'bhraman'?" referring to the well-known Bengali obsession with globetrotting. His own projected trip to visit Jayojit had been derailed by his son's divorce. The thankless but socially necessary habit of keeping track of obscure relationships gets some ribbing--"Jayojit's mother's late brother-in-law's niece had a husband whose sister had married Bijon, who himself had no children." And Dr. Sen, the neighbor and friend of the Chatterjees, chuckles over how Bengalis "only come out during the Pujas. Then you'll see them--heh, heh--bowing before Ma Durga!" No believer dares run the risk of offending the goddess who once saved the very gods from calamity.
Chaudhuri's nuanced ear for language is likewise directed at readers familiar with Bengali. Jayojit's mother greets her grandson with a "Esho shona.... Come to thamma." Bonny, who speaks little Bengali, cannot pronounce the hard th. "All right, tamma," he says. Unfortunately, not every attempt to transliterate words is equally happy. The phrase "How much" might have been better transcribed as "koto" than "kato," which suggests the Bengali imperative "cut"; and the "Hay" in "Hay bhelpuri" sounds more like the lofty address "O" than "yes." What jars more is Chaudhuri's tendency to italicize words in an attempt to convey Bengali speech rhythms--it becomes wearisome. (Unlike English, word stress in Bengali is not predetermined but changes with the speaker.)
While this novel remains a bold attempt to transfer to Indian writing in English some of the characteristics of vernacular literatures, it is not without other, deeper problems. One can, after all, read of beads of moisture condensing on the outside of glasses of cold water and heads of dead fish only so many times before wondering where such aestheticized details lead. Also, given that Dhaka is a half-hour ahead of Calcutta, it's a pity that Chaudhuri's chronological error in claiming that "although they'd [Jayojit and Bonny] left Calcutta at half-past seven, it was still seven-thirty in Bangladesh" was not rectified in the editorial process. On a lesser note, one would also like to quibble over Chaudhuri's referring to phuchkas as golgappas, a term that is common in Bombay, where Chaudhuri grew up, but which many Calcuttans might not recognize.
Good translations of vernacular Indian writing are scarce in English, but there are several collections of Rabindranath Tagore's fiction available here, the best of which perhaps are those by William Radice and Ketaki Kushari Dyson; Imaginary Maps: Three Stories by Mahasweta Devi (translated by Gayatri Chakravorty Spivak) offers three tales about tribal women--the most marginalized among the marginal--of a significantly different flavor; and the two-volume Women Writing in India: 600 B.C. to the Present, edited by K. Lalita and Susie J. Tharu, is a good anthology for a historical overview, albeit with a gender bias. Nitpicking aside, A New World is definitely worth reading. Nowhere close to the best writing available in India's regional languages, it is still a creditable endeavor and should be appreciated as such.
Chaplinesque Rapscallion New Leader of Germany's National Socialist Party
"I have nothing to say about Hitler." With this line Karl Kraus, turn-of-the-century Vienna's most famous journalist, began his 300-page anti-Hitler invective, The Third Walpurgis Night. Kraus's fate has been shared widely. Hitler tickles and tortures the authorial imagination like no other twentieth-century figure. At first as a hero, for the most part, then as a villain, also for the most part, Hitler has been a fantastically popular subject among all kinds of writers since his postputsch courtroom antics transformed him into something much larger than a right-wing rabblerouser. Indeed, between 1923 and 1995, more than 120,000 essays and monographs on Hitler were published. Attenuation seems unlikely. For if it has changed at all, our fascination with Hitler appears to have grown even stronger in the past five years.
And so we should not be surprised by the fact that a lot of books about Hitler have been published recently. Yet there is a twist here; it has to do with quality rather than quantity. We expected more books about Hitler. What we did not expect is that the most prominent of them would be so good. This remark is less cynical than it sounds. Over the years able scholars have produced a very substantial body of excellent research on Hitler. Of course, it would be absurd to regard as unexpected everything that adds to it.
Furthermore, we had reason to hope for significant new contributions. Ideology does not play quite the same role in Hitler studies that it did fifteen years ago. Historians in East Germany tended to treat Hitler as an effect of capitalism, while historians in the West often viewed him in narrowly personal terms, as a deranged, gigantic individual crushing a fragile democratic experiment. But scholars in the West, and especially in West Germany, were not exactly of one opinion with regard both to Hitler's causes and his effects. In the mid-1980s, a new revisionist conservatism led to a new contentiousness. At issue was a series of incendiary questions--even the question of whether it was appropriate to ask them: Was Hitler a revolutionary? Which of his policies were rational? Ernst Nolte, who had been drifting steadily away from the trenchant analysis of Nazism he advanced in the early 1960s, went so far as to call Hitler's worldview an understandable reaction to a perceived Bolshevik threat. Just a few months ago, Nolte received one of Germany's most prestigious awards for cultural achievement, which simply confirms what we already knew: Hitler remains an intensely politicized field of inquiry. However, in general, the intellectual atmosphere in this area has improved. It is more open, as are archives in Moscow. And material discovered there--for example, Hitler's skull and a complete copy of Goebbels's diary--has helped to answer old questions.
But discovering new sources will only get you so far. It certainly will not explain a phenomenon as complex as Hitler. Nor will sheer intellectual openness. The great majority of the thousands of open-minded books about Hitler have little interpretive value. In fact, until recently there were only two truly formidable biographies of him: Alan Bullock's Hitler: A Study in Tyranny (1952, revised 1962) and Joachim Fest's Hitler: A Biography (1973). We now have a third major biography of Hitler, Ian Kershaw's two-volume masterpiece Hitler 1889-1936: Hubris (1998) and Hitler 1936-1945: Nemesis (2000). It is the best of the three, by far.
Improvements in biographical research do not always imply a general shift in the significance of the subject. Yet that is likely to be the case here. For, again, the publication of Kershaw's biography was accompanied by a procession of incisive and well-researched books: The Hitler of History (1997), John Lukacs's useful survey of, and critical engagement with, historical scholarship on Hitler; Hitler: Diagnosis of a Destructive Prophet (1999), Fritz Redlich's illuminating "psychography" of Hitler (this should not be confused with "psychohistory": Redlich, who is a psychiatrist, works carefully with relevant sources and examines Hitler's mental condition at every stage of his life, minutely charting the changes, and he does not seek to "solve" the enigma of Hitler's psychopathic behavior by focusing on childhood trauma or a particular psychic disturbance); Explaining Hitler: The Search for the Origins of His Evil (1998), Ron Rosenbaum's extensive collection of interviews with scholars, intellectuals and artists who, in some form or other, have tried to "explain Hitler"; and Hitler's Vienna: A Dictator's Apprenticeship (1999, German original 1996), Brigitte Hamann's scrupulously researched and intelligently argued account of Hitler's early years in Vienna (1906-13) and of their influence on his later development.
Every one of these books represents an attempt at sustained, comprehensive critical reckoning with Hitler. In the past, the most compelling works on him were often of a very different character. (Consider Eberhard Jäckel's and Sebastian Haffner's shorter, much more synthetic books on Hitler's Weltanschauung, which were published in 1969 and 1978.) But if there has been a structural change, what has caused it? Kershaw himself offers an insightful answer. "Reflecting" on Hitler's historical significance in the preface to Hitler 1889-1936: Hubris, he writes: "Hitler's dictatorship has the quality of a paradigm for the twentieth century." Kershaw also claims that "Hitler's mark on the century" has been "deeper" than anyone's. The implication is clear. Taking leave of the twentieth century means trying to settle our accounts with Hitler, its paradigmatic problem, which, in turn, means engaging in sustained, comprehensive critical analysis. Certainly something close to this seems to be at stake in Rosenbaum's work, and in Hamann's. She suggestively tracks the full extent of Hitler's debt to "twentieth-century culture" by examining his encounter with one of its paradigms: fin de siècle Vienna. Kershaw has given us a twenty-first-century biography of Hitler that could have been written only at the end of the twentieth century.
Kershaw's biography is a true "social biography," to use a phrase the great film theorist Siegfried Kracauer coined, in exile, as he wrote about the culture that Hitler's Germany had begun to annihilate. Without a trace of moralism, and without losing himself in quotidian minutiae and psychological speculation, Kershaw nonetheless shadows Hitler the way a conscience might have. He examines Hitler's daily life, as well as his emotional and political development, in vivid detail. At the same time, he situates Hitler's personal narrative within its social context, charting their reciprocal influence and pointing out how Hitler's experiences and attitudes were emblematic of large social trends. And he does so with impressive erudition. The result is a kind of interpretive balance, which is very difficult to bring off in Hitler's case. With him, moving back and forth between the microlevel of personal narrative and the macrolevel of social context entails entering into not so much a hermeneutic circle as a dizzying spiral. For, at a certain point, Hitler's narrative begins to reshape--as few, if any, personal narratives have--the social context that shaped it, only, of course, to be shaped again itself by the context it reshaped.
Neither Bullock nor Fest came close to producing a real social biography, as both of their books focus on the personal narrative. They offer well-informed, penetrating answers to one crucial question: Why did Hitler commit the terrible crimes for which he will be remembered? But neither one makes a serious attempt to shed light on Hitler's path to the chancellorship or to understand how he remained in power for twelve years while executing policies of mass destruction and mass self-destruction. They do not tell us how Hitler became Hitler.
Kershaw's book works so well as social biography because his approach proceeds from a transitional concept: charisma. Elaborating on the argument he developed in The "Hitler Myth" (1987), Kershaw invokes charisma as a sociological category. Here charisma is a modern, postliberal structure of authority, one that became possible in Weimar Germany for a number of impersonal reasons. These include the "ignominy of Versailles," the concomitant collective longing for national redemption and the inability of the democratic government to appeal to a strong democratic tradition in Germany.
Charisma is also a psychological category. It can therefore function as a way to mediate between the levels of biographical analysis. And, indeed, Kershaw makes his overriding concern the fateful match between Hitler's personal charisma and Germany's impersonal readiness for charismatic rule. Summing it all up, Kershaw writes, "The Germany which had produced Adolf Hitler had seen its future in his vision, had so readily served him, and had shared in his hubris, had also to share in his nemesis." Germany followed the charismatic leader it "produced" because he envisioned, in just the right way, at just the right time, the Germany it wanted to see.
In Hubris, Kershaw explains how Hitler's idiosyncratic "vision" for a "better" future and Germany's receptiveness to it took shape. In Nemesis, he tracks the bloody business of implementation. We might expect the second volume of a two-volume Hitler biography to begin in 1933. But Kershaw divides Hitler's life into pre- and post-1936 stages, because 1936 marks "the culminating point of the first phase of the dictatorship." Kershaw wants Nemesis to begin with the beginning of the end, with the onset of the "ceaseless radicalization" that persisted until 1945. Both volumes are well written and come equipped with helpful maps and eerie photographs. And because Kershaw keeps his debates with other scholars, as well as his extensive remarks about primary sources, neatly contained in his footnotes, Hubris and Nemesis read smoothly, remarkably so, given their factual girth and cognitive intricacy. Some chapters are structured as accounts of Hitler's life stages, such as his "dropout" years in Vienna, while others are organized around seminal events, for example, Germany's strategic "miscalculation" during the 1939 Poland crisis. Kershaw puts personal narrative into the foreground when it seems to be of decisive importance. And he does the same with social context. Tellingly, all the chapter headings in Nemesis refer to large historical developments, starting, again, with the Nazis' "ceaseless radicalization."
In 1936, according to Kershaw, Hitler was at once more delusional than ever and cannily realistic. His early diplomatic and economic successes had fed his surging megalomania. Both Hitler and the nation that, at the time, overwhelmingly supported him believed that he could achieve whatever he wanted to. Yet Hitler also astutely recognized that his authority could not rest on a foundation of rationally organized domestic prosperity. It would last only as long as he was associated with a "project of national salvation." The pressure to expand, "to radicalize" unremittingly, came from outside as well as from inside his circle.
Kershaw's most original, most provocative claims have to do with the place of Nazi Party leaders in this constellation of causal forces. He insists that even as they used the most cynical images and slogans to manufacture Hitler's charisma, men like Alfred Rosenberg, Heinrich Himmler and especially Joseph Goebbels remained fanatically in Hitler's thrall. As Kershaw puts it, they "combined pure belief and impure propaganda." Working closely with Goebbels's complete diary, which proves to be a key new source (Hitler's bond with Goebbels was the closest thing he had to a friendship), Kershaw draws out the full, chilling extent of this belief. He also shows that well into the war, and until the very end, defeat did nothing to shake it. For in taking huge risks and losing, Hitler remained true to the principles that had won him such loyal disciples.
Perhaps even more chilling is Kershaw's account of how these same party leaders influenced the Final Solution. Here again Goebbels's diary is crucially important. More lucidly than other sources, it reveals that Hitler had to be prodded into instituting not only the policy of mass deportations but even the compulsory-identification measure (the yellow Star of David) for Jews living in Germany. Party leaders had urged Hitler to take this latter step in the wake of Kristallnacht (November 1938). He resisted it until August 1941, when Goebbels finally "convinced" him to act. And in the summer of 1941, he repeatedly "rejected" Reinhard Heydrich's proposals to make the destruction of Eastern Jewry more systematic. Why? Certainly moral compunction cannot be the answer. According to Kershaw, Goebbels expressed a certain dismay at the inconsistency between Hitler's behavior and his stated principles on the "Jewish Question," yet he never suggested that Hitler had softened his attitude toward the Jews. During this time Hitler continued to cite his own prewar "prophecy," according to which the Jews would be destroyed if they started another world war, and to provide various justifications for large-scale murder. Kershaw speculates that Hitler may have been acting, or not acting, out of denial. For to devise a "Final Solution" before winning the war in the East was to acknowledge that the war could not be won anytime soon. As long as the fiction of imminent victory could be sustained, it made more "sense" to wait for the acquisition of vast new territories. After all, the Nazis were trying to figure out how to dispose of millions of people and had not yet begun to think seriously about gas and ovens.
The problem, for Kershaw, is that Hitler had given up this illusion by the fall of 1941, and yet he remained reluctant to authorize mass deportations and overtly genocidal policies. Hitler did not enumerate his reservations, at least not on records available to us. And so we are left wondering. What is clear is that the solicitations of Heydrich, Himmler and Goebbels had the desired effect--Hitler eventually did license extermination. Yet, as Kershaw stresses, he did so only in the most general terms. Pushing his claim, Kershaw goes so far as to contend, "Whatever the reasons, [Hitler] could never have delivered the sort of speech which, notoriously, Himmler would give in Posen two years later  when he described what it was like to see 1,000 corpses lying side by side and spoke openly of the 'extermination' (Ausrottung) of the Jewish people as a 'glorious page in our history....' Even in his inner circle Hitler could never bring himself to speak with outright frankness about the killing of the Jews." Hitler "could not bring himself" to discuss the Holocaust directly, apparently not even with Goebbels. This is an unsettling idea. Indeed, David Irving, the British historian and notorious Hitler apologist, rushes from Hitler's silence to the conclusion that he did not know about the death camps. What Kershaw does is very different. With unrivaled precision and without polemicism, he circumscribes Hitler's unwillingness to speak about the Holocaust, ultimately treating it as a question. Far from exculpating Hitler, Kershaw's move invites further inquiry. Nemesis does more than inform exhaustively and explain brilliantly: It points to what remains to be said about Hitler.
A review of The Venona Secrets: Exposing Soviet Espionage and America's Traitors, by Herbert Romerstein and Eric Breindel.
A review of Cherry, by Mary Karr; On Writing, by Stephen King; and Ghost Light, by Frank Rich.
A review of The Hill Bachelors, by William Trevor.
Are sanctions ethical--or an ill-used weapon of mass destruction?
Noah Isenberg reviews Communazis, by Alexander Stephan.
Chris Kraus reviews Cool for You, by Eileen Myles.