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My sister-in-law, a historian and researcher in alternative medicine, once told me of a doctoral dissertation she'd happened across in which the writer interviewed a number of committed liberals and conservatives for the purpose of drawing conclusions about their governing emotional equipment. Liberals, the student found, feel most at home with guilt. Conservatives, as you might expect, don't have much truck with that; instead, they do anger.
It may be hard to call these findings shocking ones, and I do not know whether the candidate's advisers concluded that he or she had sufficiently advanced the literature so as to earn a doctorate. But I can say from personal experience that the liberalism-guilt correlation rings true, and, after reading David Brock's Blinded by the Right, I can certify on the strength of Brock's eyewitness--and often eye-popping--account that conservatives really do anger. Anger as trope; anger as strategy; anger as immutable biological condition; and anger just because it's fun. Yes, we knew this. But we didn't know it the way Brock knows it. Let me put it this way. Throughout the Clinton era, I read every major newspaper and all the magazines and a lot of the websites and most of the pertinent books; I didn't think there was much more for me to learn. But once Blinded by the Right kicks into gear, there is a fact, anecdote or reminiscence about the right's feral hatred of the Clintons every ten pages or so that is absolutely mind-boggling. And, as often as not, these stories are also about the rancid hypocrisy (usually sexual) that underlay, or probably even helped cause, the hatred. In sum: You cannot fully understand this fevered era without reading this book.
The question you may fairly ask is the one some people are already asking: Given the source--Brock was the capital's most famous conservative journalistic hit man before quite famously commencing a mea culpa routine in 1997--can we believe it? The short answer is yes, mostly. The long answer requires that we start, as Oscar Hammerstein III put it, at the very beginning.
The book dances back and forth between exposé and memoir. David Brock was raised in New Jersey, the adopted son of a mother who paid too much mind to what the neighbors thought and a father so rigidly conservative that he did something, as Brock notes, that even Pat Buchanan never felt moved to do: He left the Catholic Church to protest the liberal reforms of Vatican II and worshiped in a sect overseen by the profoundly right-wing French archbishop Marcel Lefebvre. It was partly for the sake of agitating his taciturn father that Brock's first political stirrings were liberal (Bobby Kennedy) to moderate (Jimmy Carter, for whom he secretly persuaded his mother to vote). The family moved to Dallas, an inhospitable milieu in general for a Kennedy acolyte, not least one who was coming to terms with the fact that the sight of his fellow boys disrobing after gym class did more to quicken his pulse than, say, a stolen glance in the direction of the décolletage of the Cowboys cheerleaders. Hating Dallas and still seeking to traduce the old man, for college he chose, of all lamentable destinations, Berkeley.
There, Brock expected to drop anchor in a tranquil moorage of like-minded, tolerant, liberal bien pensants. Instead, he ran head-on into the multicultural, academic left, a bird of altogether different plumage. When Jeane Kirkpatrick came to campus to speak, and protesters would not let her utter a sentence as one of them unloaded a bucket of simulated blood on the podium, that was enough for Brock. Soon he was writing columns in the Daily Californian applauding the "liberation" of Grenada and submitting an essay to the Policy Review, a publication of the Heritage Foundation, on campus Marxism. The Wall Street Journal adapted that piece as an Op-Ed, which caught the eye of John Podhoretz, son of Norman, and Midge Decter, and then an editor at Insight, a magazine put out by the Washington Times. Podhoretz offered him a job, and Brock was off to Washington.
The story of Brock's ideological conversion is important, because it reflects a pattern with regard to several of his comrades we meet later in that it was at once both shockingly superficial and utterly fervent. Forget Burke or Oakeshott or Hayek or even Russell Kirk; Brock admits he hadn't read a single thing beyond some issues of Commentary he tracked down in the library. "I knew nothing of the movement's history," he writes. Joe McCarthy, Goldwater, Nixon--all were mysteries to him, for the most part. His politics were nothing more than a reaction to his personal experience. While the same cannot fairly be said of the movement's intellectuals, from Brock's telling it was indeed true of many of the activists, operatives and media babblers. Their conservatism was purely an emotional or psychological response to their immediate environment. In the most extreme case, Brock writes that his former close friend Laura Ingraham, one of the bombastic blondes of cable television, didn't "own a book or regularly read a newspaper." But as we have seen, in our age, ignorance is no barrier to expertise, particularly on cable television.
Shallow though it may have been, Brock's conversion was virtually consummate. I say virtually because there were some matters on which he claims he never drank the Kool-Aid. He had little taste, he says, for the racist shock antics of
the Dartmouth Review crowd; he quietly backed abortion rights; and, of course, on the gay question, he marched to a very different drummer than that of the movement to which he belonged. Of parties at the home of archconservative fomenter Grover Norquist, who hung a portrait of Lenin on his living room wall and often quoted Vladimir Ilyich's dictum to "probe with bayonets, looking for weakness," Brock writes that he was "ill at ease" at these gatherings; "unsure of how to handle the issue of my sexuality, I drifted in late and out early, usually accompanied by a woman colleague," traversing the room "like a zombie." Nevertheless, he wanted nothing more than their approval, and he put his remaining misgivings, and the odd homophobic joke, to the side.
This brings us to the book's second vital point about the winger psyche. The need to belong--and, specifically, to belong to a self-styled minority that felt itself embattled, thumbing its nose at the larger, contaminated culture--is a constant motif of Blinded by the Right, and it becomes clear over the course of the book that it was this convulsed emotional state, even more than ideology, that was, and I suppose still is, the real binding glue among the right. For Brock, it began with his trying to shock his father with Jimmy Carter and Berkeley; it went on to Brock's seeking to vilify the campus lefties. It was present, too, among many of the movement types he befriended: "There was electricity on the right, the same sense of bravely flouting convention--of subverting the dominant culture--that I had first felt in Texas and then at Berkeley."
It was by the time of the 1992 election, when this mindset joined hands with a group of men--and their many millions of dollars--who couldn't accept that the GOP was losing the White House to such a man as Bill Clinton, that it went from being a kind of batty nuisance to a well-oiled agitprop apparatus to, ultimately, a threat to the Constitution. Brock was by then ensconced at The American Spectator, which became in time the most virulent right-wing magazine in America, willing to publish any thinly sourced rumor as long as it made a Clinton look bad, and the home of the Arkansas Project, the Richard Mellon Scaife-funded operation that sought to dig up any Clinton dirt it could find. Brock sharpened his knife first on Anita Hill. With Laurence and Ricky Silberman holding his hand--he was a circuit judge in Washington and a member of the hard-right Federalist Society; she had worked for Clarence Thomas with Hill--Brock could scarcely believe how quickly and easily previously unreleased affidavits and so on fell into his hands from GOP Congressional staffers.
Brock knew intuitively what he was supposed to do with this material, and it wasn't journalism. It was character assassination, and not only of Hill. Of one Democratic Senate staffer, he wrote that the man was "known for cutting ethical corners...to achieve desired results." Brock admits he knew nothing about the man. He made no effort to contact sources who might have had different interpretations (and obviously not Hill herself); he double-checked nothing; he twisted the hearing record to make Hill look like a vengeful harridan who was, in his infamous phrase, "a little bit nutty and a little bit slutty." But it was good enough for the Spectator, which billed it, natch, as investigative journalism. Rush Limbaugh began reading sections of the piece on the air. Brock was put on to Glen Hartley and Lynn Chu, the literary agents of choice for the hard right. He signed a book contract with the Free Press, then run by archconservative Erwin Glikes and Adam Bellow, son of Saul. The Real Anita Hill hit the bestseller lists. The right-wing newspeak machine, now such a fact of political life, was born.
Next up, the famous "Troopergate" story (again in the Spectator), about Arkansas state policemen supposedly setting up sexual liaisons for Governor Clinton. Brock followed the old MO--no independent sourcing, printing rumors, etc.--to the same triumphant effect. And this time he found to his surprise a willing abettor. Though a few mainstream news organizations did shoot down some specific charges that didn't check out, the chief response of a largely panting Washington press corps ("I was astonished to see how easy it was to suck in CNN") was for more, more, more. Brock became a bigger star still.
Hillary Clinton was the next quarry, and Adam Bellow had obligingly put a $1 million price on her head in the form of Brock's advance. But Hillary proved to be Brock's Waterloo--as she has been, incidentally, for several other men who were supposed to steamroller her (Starr, Whitewater committee chair D'Amato, candidate Giuliani, candidate Lazio...). By then, Brock was starting to develop a conscience. In 1994, Jill Abramson and Jane Mayer's book on the Thomas-Hill matter, Strange Justice, had hit the stands. It proved to everyone in the world but hard-shell rightists that Thomas was indeed a ravenous porn enthusiast and that Hill, in all likelihood, was the truthful one. When even Ricky Silberman, who had been Brock's source and cheerleader while Brock was writing the Anita Hill book, seemed to acknowledge privately that Thomas had lied, Brock was shaken.
By the time he got around to Hillary, Brock was determined to write an actual book. ("I began to relish the complexity of my subject. I realized I had never known what journalism was.") I cannot here convey the full flavor of the contempt his old comrades regarded him with as a result: the sideways glances, the calls not returned, the party invites not received--and, now that he wasn't "on the team," in the argot, the jokes about and denunciations of his sexuality, suddenly delivered within earshot. He was not supposed to commit journalism or write what he thought. He was supposed to kill Clintons. Period. Once he stopped that, his life on the right was finished.
David Brock gave up anger and turned to guilt. In the process, he flings open a most illuminating window on this hideous circus. Here is Newt Gingrich, vowing "to say the word 'Monica' in every speech" even while "conducting his own illicit affair." We see Georgia Congressman Bob Barr plotting to bring the troopers to testify on Capitol Hill to expose Clinton's adultery--the same Barr who, interestingly enough, married his third wife within one month of divorcing his second. We hear Jack Romanos, the head of Simon & Schuster, telling Brock, as he signed the million-dollar Hillary book deal--without even writing a proposal!--that the only thing he wanted to know before OK'ing the money was whether Hillary was a lesbian. We eavesdrop on the publisher of the Spectator asking Brock, "Can't you find any more women to attack?" We read of George Conway, one of the lawyers who played a crucial role in pushing Paula Jones's story, admitting that privately he didn't believe Jones's allegation at all but that her case must be pressed nonetheless because the point was to force a situation in which Clinton would have to lie under oath about extramarital sex. We witness Ted Olson, a member of the bar and now this country's Solicitor General, telling Brock that while he believed Vince Foster had committed suicide, the Spectator should still run a trashy, unsourced piece about Foster's "murder" to keep the pressure on the Administration until the Spectator could shake loose another "scandal."
Anecdotes like these spill out of this book. And so we return to the question: Why believe this man? I was not persuaded by every assertion about his emotional state in 1992 or 1995; there could be some after-the-fact varnishing going on there. But as for what he saw, and whom he saw doing it, there are three very good reasons to believe every word. First is the simple standard of factual recall. Brock names names, places, dates, the food and wine consumed, the color of the draperies. Perry Mason would love to have called Brock as a witness and watched as poor Hamilton Burger buried his vanquished head in his hands.
Second, quite simply, the writing has about it the tenor of veracity and candor. Brock comes clean on things he has no contemporary motive to come clean on, like a lie he told back at Berkeley in an attempt to discredit a journalistic foe. That strikes me as an act of expiation, not public relations.
And third, most persuasive to me, is this: You would think the right's screamers would be engaging right now in flamboyant public harangues about Brock's duplicity and so forth. But to date, I've scarcely heard a peep. Admittedly, it's early yet, as the book is just out. If Blinded by the Right ascends the bestseller lists, I expect at that point that the screamers will decide they have to deal with it. Until then, my hunch is that they hope they can bury it with their silence. That tells me that David Brock, while no longer right, is, in fact, right as rain.
On December 14, the German writer W.G. Sebald died, age 57, in a car accident in England, where he had lived for thirty-five years. He had published four remarkable books: fluid, melancholy novel-essays composed in beautifully rich and formal language, and studded with odd black-and-white photos rescued
from the oblivion that was his overwhelming theme. In each book, including Austerlitz, brought out just before Sebald's death in an English translation he supervised, a solitary traveler undertakes research into devastation (of trees and animal species, of human practices and populations) and conducts interviews among the bereaved, making himself into a kind of tribune of universal loss. About the traveler we know little but that he shares the main features of the author's life and suffers from precarious mental health, especially a "paralyzing horror...when confronted with the traces of destruction."
I had read Sebald with uneasy admiration, and learning of his death I felt jolted, brought up short. It wasn't only that he was in the middle of a great career; there was something in specific I still expected from him, and not until I happened to see a movie version of Hamlet could I formulate my question.
Act I, Scene 2. Queen Gertrude is remonstrating with her gloomy son: "All that lives must die," she reminds him, "Passing through nature to eternity." Hamlet: "Ay, madam, it is common." Gertrude: "If it be, why seems it so particular with thee?"
But we know why grief is so particular with Hamlet: His father has just died. Likewise, in Austerlitz, we discover just why the life of Jacques Austerlitz has been "clouded by an unrelieved despair." As Austerlitz reveals in one of several huge monologues, he was raised in Wales by a grim Calvinist couple and without any knowledge of his origins. Only as an adolescent was he told of his real name, and not until middle age, when he sits in a London train station slated for demolition, does he recall, in a sudden blow of anamnesis, that he had passed through this station once before, as a child of 4. It turns out that Jacques Austerlitz is the son of Prague Jews, saved from their fate by one of the Kindertransporten that spirited a few Jewish children to safety at the beginning of the Second World War.
Austerlitz's recovered memory, as always in Sebald, serves only to take the measure of his loss. In this way Sebald is the counter-Proust, despite his preoccupation with memory and the serpentine elegance of his precisely measured long sentences. Memories stand in relationship to forgetting as photographs to unrecorded time and Holocaust survivors to the 6 million dead: They are a small, exceptional minority. They refer, in Sebald, more to the absence of others than to their own thin presence. Page 183 of Austerlitz reproduces a photo of a towheaded little boy dressed in operatic costume as a queen's page, a picture Austerlitz's childhood nanny shows him when, searching for traces of his parents, he tracks her down more than fifty years later in post-Communist Prague. She tells him that it is himself looking out from the photograph:
As far back as I can remember, said Austerlitz, I have always felt as if I had no place in reality, as if I were not there at all, and I never had this impression more strongly than on that evening...when the eyes of the Rose Queen's page looked through me.
Of course, the reader doesn't know whether the boy pictured was really, like Austerlitz, the son of a Jewish opera singer. Fact and fiction go into Sebald's characters--even their documentary aspects--in unknown proportions, and to an interviewer he said: "Behind Austerlitz hide two or three, perhaps three-and-a-half, real persons." Sebald added the unreliability of fiction to the frailty of memory and made it seem a double wonder that anything at all should be plucked from oblivion and spared.
It is this way of representing what has been destroyed that is most moving in his work. That is the task of each of his four books, and it accounts in large part for their having been invariably called sublime. Typically a term of a vague commendation, it must nevertheless have come to mind in Sebald's case because of its precise, Kantian sense: the insufficiency of our faculties to what they contemplate. The sublime is what we know to be more than we can know, and thus the past--available only in fragments--is a perfect instance of sublimeness.
So, too, is the Holocaust, an event, in this sense, as sublime as it was obscene. The Nazis created in their camps and ghettos (to one of which, Theresienstadt, Austerlitz's mother was confined before presumably being shipped east to be murdered) "an infinite enormity of pain," as Primo Levi wrote, only a tiny portion of which can be apprehended by "our providentially myopic senses." Sebald's approach to the genocide is more direct in Austerlitz than before, but still exemplary in its indirectness: He depicts only the furthest, charred edge of the phenomenon, letting the sufferings of one comparatively very fortunate European Jew evoke, in the half-imaginary person of Austerlitz, the far greater and unrepresentable sufferings of the massively more numerous unlucky ones. And sometimes it is even as if Sebald matches the degree of indirection to the degree of horror, as when he writes of the notorious Nuremberg rally at fourth hand, the narrator recounting what Austerlitz said about what his nanny said about what his father, Maximilian, an eyewitness, had said. (But it's interesting to note that Sebald's third name was Maximilian and that friends knew him as Max.)
Sebald's art is exemplary in another way. The writers he explicitly identified with were Conrad and Nabokov, emigrants like himself, but his books' deepest affinities are with his native tradition of German Romanticism--its convention of the solitary wanderer, its love of fragments, its sense of the nobility of spiritual sickness, its hymns to night. Yet the same Novalis who wondered, as Sebald might have done, what life could offer "to outweigh the chain of death," also felt a keen nostalgia for "the beautiful and glorious time, when Europe was a Christian land, inhabited by one Christianity." Romanticism was a more political and longer-lasting affair in Germany than elsewhere, and its frequent enthusiasm for an "organic" nation-state and disdain for cosmopolitan reason supplied Nazi ideology with much of its spurious dignity, not least in its anti-Semitic elements. Sebald's is a romanticism, then, in which death and grief and wandering retain their strange prestige, but for which European Jews and other displaced people have become questing heroes chasing a lost past. Such a romanticism alludes relentlessly to the murderousness that romanticism once helped to underwrite, and so Sebald manages at once to preserve and to subvert a great literary tradition, to renovate it through disgrace.
It's impossible not to admire a feat like that. But to notice Sebald's romanticism is also to realize what is troubling in his work. Part of the method of romanticism is to find symbols of the self--its moods and truths--in the features of nature. Yet the landscape Sebald has before him belongs not to nature, but to history. It is easy enough to understand why Austerlitz himself would identify with the calamities of history: He has lost his past to them. And Sebald has taken the audacious and even ludicrous step of naming his character after a great Napoleonic battle. When Austerlitz hears a fervent account of the battle of Austerlitz, he naturally feels that his name has made him intimate with the sorrows of Russian and Austrian soldiers drowned in retreat. But why did Sebald make the damaged survivors of his books into his own army, and how is it that he heard in various historical crimes and disasters, above all the Holocaust, an echo of his own name? The grief his books describe is there in the world to be found, but why was it so particular with Sebald?
All we can say is that there seems to have been in him some unspecified pain that sought and found affiliation with the felled trees and vanished industries of The Rings of Saturn, with the dead hunter in Vertigo and with the scarred remnant of European Jewry in The Emigrants and now Austerlitz. At times he made fun of his insistent grief, as when he wrote of drinking a Cherry Coke "at a draught like a cup of hemlock." But more often this grief was simply his principle of selection, his lens. Because he didn't take its subjective character enough into account, permitting himself only the scantiest and most covert autobiography, his work sometimes had the effect--no doubt unintentional--of muffling the atrocities to which he was so curiously attracted. "Our history," he wrote, "is but a long account of calamities." The Holocaust and other historical crimes would belong very naturally to such a history, and might even seem its consummation. Yet history consists no more exclusively of calamity than any population consists of the suicides and other solitaries who are Sebald's characters. There might have been more truth to his work had it been less noble and self-effacing, and explained in some way not only how he came to speak on behalf of the lost, but how it was that they seemed to speak for him. It might also be that in books to come Sebald would have done just that. As it is, he died too soon, forced to illustrate the hidden motto of his work: that time destroys everything but mystery, which it conserves.
When it comes to the events of September 11, everyone is an expert and no one is.
Kanan Makiya, the Arab world's most ardent and vocal supporter of America's projected intervention in Iraq, the hammer of liberal Arab intelligentsia, the arch anti-Orientalist, has just published a new book. The Rock: A Tale of Seventh-Century Jerusalem is a beautifully crafted fictionalized account of
the Muslim conquest of Jerusalem, related by Ishaq, the architect of the Dome under which the Rock of Foundation now lies. To call it a novel, however, is misleading. It's more a performance, and a highly political one too. The Rock is a chapter in Makiya's complex political program.
Kanan Makiya is America's favorite dissident. For a start, he's the Iraqi intellectual whose descriptions of life under Saddam Hussein provided the first Bush Administration with peripheral justification for the first war in the Persian Gulf. But he's gone further and taken up America's battered cause against the legions of fashionable intellectuals--Arab and other--who blame the United States for the ills of the Middle East, the ongoing conflict in Israel-Palestine and the general misfortunes of the Third World.
Makiya's Republic of Fear, first published under the pseudonym Samir al-Khalil in 1989, described a dystopia the likes of which were hardly imagined by such fearmongers as Huxley and Orwell. The hells of Brave New World and 1984 were founded on the wholesale indoctrination of a people, and the insidious bureaucratized destruction of individuality. Iraq under Saddam Hussein, as described by Makiya, made claims to no such subtlety or totalitarian sophistication. There, the system's survival rested quite simply on its subjects' physical pain, and fear of it. Violence, first used as a carefully prescribed political medicine, became the instrument of state control.
Iraq in the 1960s and '70s saw the frenetic invention of domestic pariahs--Kurds and Shiite radicals, but also those political undesirables who threatened to undermine the all-conquering Baathist revolution. (The Baath Party was founded in the 1940s in Damascus along populist, socialist and nationalist principles, based in large part on the belief that Arabs had a special mission to end Western colonization. It swept to power in Iraq in 1968.) Their violent destruction legitimized a movement that, much like Slobodan Milosevic's ultranationalism, could only unify negatively--against an other. The society Baathist politics created, founded on violence, bred a populace "to whom strength of character is invariably associated with the ability to both sustain and inflict pain," wrote Makiya. Violence directed outward quickly proved itself to be the most effective sedative for a restless population. It took little time to turn it inward to the same effect: It bred fear and made power. In Makiya's descriptions of the punishments of first-time thieves (brandings on the forehead, amputation of limbs), the horrific tortures and endless disappearances of suspected dissenters, the ethnic cleansing of the Kurds, even the executions of military deserters, lies an anatomy of political evil.
Edward Said and other luminaries of the exiled Arab intellectual community virtually accused Makiya of being an American agent, of showing hatred toward his fellow Iraqis and of providing ammunition for Islamiphobes and Arab-haters across the West. The faintest justification for such a condemnation does exist. In Republic of Fear, Makiya avoids detailing all the reasons for the Iraqi hatred and massacre of the Assyrians in the 1930s, explaining it away as a political machination intended to unify a divided people by inventing a common enemy. He fails to mention that the Assyrians had played an important role in the British persecution of this divided Iraqi people in the previous decade, creating huge resentment at what was perceived as treachery. But his own betrayal of the Arab cause as represented by his critics goes only so far--omission in the footnotes.
Principally, Makiya causes concern to his fellow Arab exiles because he has turned their most powerful conceptual tool on its head, and against them. The notion that the West has unconsciously condescended to the Muslim world since first encountering it in the early modern period, and willfully exploited it ever since, has formed the basis of every indictment of US (and British) policy toward the Middle East: It is superior, self-interested imperialism. Ten days after Iraq's invasion of Kuwait, Said wrote in the London Independent: "Is it too much to connect the stark political and military polarisation [building up in the Gulf] with the cultural abyss that exists between the Arabs and the West?" Makiya's response to American intervention in the area was wholehearted support. He claimed that the Arab world was failing itself; he let himself imagine a scenario that turned Said into the condescending Orientalist: Makiya dared imagine that the Arabs themselves might have fought Iraq, in defense of Muslim values and an Arab people, in this case the Kuwaitis. Arab intellectuals, he claimed, were conniving in the cataclysm befalling the Arab world by blaming the West rather than attacking the virus within.
Of course, both Said and Makiya provide vital weapons against the troubles of the Middle East, and Said is just as Saddamophobic as Makiya. Said's tireless attacks on Western neo-imperialism in the region are hugely important correctives to what is undoubtedly a tendency in the powerful West, eager for low oil prices. And Makiya's emphasis on Arab responsibility represents perhaps the bravest and most immediate proposal for change in the Middle East. Said and Makiya may talk at opposite ends of the spectrum, but the solutions they envisage to the problems of their areas of interest both focus on the crucial role of US involvement: Said argues that Palestinians have everything to gain from curtailed US intervention in support of Israel, while Makiya contends that Iraqis can only gain from full-fledged US involvement.
Although Makiya is best known for his politics, specifically vis-à-vis Iraq, in his political program there is another striking difference from most Arab intellectuals known in the West: his engagement with Islam. Islam is, of course, a core coefficient of the Arab worldview and subsequently of its politics. In what many perceive as the Arab world's struggle with and into modernity, it is also the hardest element to include, in large part because most Arab efforts to upgrade their political and societal structures have imitated a specifically Protestant West, where, in addition, church and state are divided. But very few secular Arab thinkers venture to write about Islam or consider it as a component of their political thinking. Doing so involves pitching headlong into the vipers' nest that is doctrinal competition in Islamic theology today--it is much easier to avoid it.
Makiya's first response to September 11 was to analyze the Islam that justified it. In his first major piece of journalism after the attacks, he wrote in the Observer of bin Laden's theology: "This is not Islam any more than the Ku Klux Klan is Christianity." He picked up this theme again in a detailed piece for the New York Review of Books in January, where he provided an intricate exegesis of the form of Islam propounded by the terrorists, as laid out in a document found by the FBI after the event. His concluding paragraph for that piece read:
The uses and distortions of Muslim sources in the hijackers' document deserve careful consideration. If arbitrary constructions of seventh-century texts and events have inflamed the imagination of such men, we should ask whether the ideas in the document will become part of the tradition that they misrepresent.... To contend with such an ideology [that of the hijackers] effectively it is not enough to go back to the original core of the tradition.... Bold and imaginative thinking must come from within the Muslim tradition in order to present social and political ideas that Muslims will find workable and persuasive. The tragic events of the past months have shown all the more clearly how urgently such ideas are needed.
The Rock was written before the horrors of September 11, but it must be read with all the above in mind. Makiya's first crusade was directed against the horrors of Baathism in Iraq--a secular, nationalist totalitarianism with universalist pan-Arab overtones. That crusade has now been extended to include what at first glance appears to be Baathism's nemesis but that lays an identical claim to absolute truth, justice and good: political Islamism.
In Republic of Fear, Makiya made the point that Baathism had failed to yoke the social to the political: It had failed to include the basic yearnings and ideals of its populace within its political program. Religion, such a vital component of Iraq's social fabric, had only been excluded. Khomeini's Iran, on the other hand, turned religion into politics at the immense cost of its political openness.
There is a middle ground. The Arab world has yet to produce a political system that is capable of incorporating its ethical and moral heritage (Islamic) within a social context that allows for freedom, individuality and those other values typical of "modern" (Western) society but so highly prized by a majority of the Arab world. To do so, the notions of both modernity and Islam must be addressed. Makiya looked at the practical politics of the Middle East and its foremost "modern" thinkers in Republic of Fear and Cruelty and Silence. In The Rock, he tackles Islam.
This, Makiya's first novel, tells the story of Ka'b al-Ahbar, a Jewish Yemeni convert to Islam, who accompanies Umar ibn al-Khattab, second of the Rashidun (or Rightly Guided) Caliphs of Islam, in his conquest of Jerusalem. Tired of the desolation of life in Yemen, Ka'b sets off to make his fortune in the booming renaissance of northern Arabia, where a Prophet has blessed the people of Mecca and Medina. By his knowledge of the stories of Genesis and the cosmology of Abraham, he is quickly included into the elite Muslim fold, in which he converts, before setting off for the Holy City with the Arabian army. There, after battling with Sophronius the Christian Patriarch, he and Umar discover the Rock under a mountain of refuse on the Temple Mount. Here, on the site of Solomon's Temple, Ka'b finds home. If he kneels in the right place, he can pray facing both Mecca and the holy stone on which the father of mankind descended in his fall from Eden: the Precious Stone, the Rock of Atonement, the Rock of Sacrifice, the Rock of the Ages, the Rock of Judgment. He founds a family. His son recounts the story.
While it does spin a tale--and well--the novel is really a skeleton upon which to drape a patchwork cloak of stories. Ka'b hails from a family of rabbis, and his role in the book, just as it was in history (such a Ka'b appears periodically in the annals of early Islam), is as a sourcebook of traditions.
The first Muslims of Arabia, Caliph Umar included, for all their beautiful epic poetry, were not a cultured people. They inherited through the Koran an immense and complicated cosmology that, for all its strength and beauty, left much unexplained. As a Jewish convert to Islam who met the Prophet, deeply versed in the Abrahamic tradition that all monotheists share, Ka'b acted as the exegete of meaning for a people with profound conviction and colossal, newfound power but almost no epistemological context. In history, as in the novel, Ka'b was the one who could advise on the traditions; he was the jurist of myth.
The Rock is a historical novel with a difference. While it traces the lives and developments of people who did exist and events that did happen, its real sources and ultimate focus are the traditions of monotheism. These center on the rock that now sits under the Dome on the Haram al-Sharif, or Temple Mount, in divided Jerusalem. In chronological order, these traditions describe the rock as that upon which Adam landed when he was banished from Paradise, the rock upon which Abraham was called to sacrifice his firstborn, the site of Solomon's Temple, where Jesus preached and from which Mohammed ascended on his tour of the seven heavens. These and countless other stories--all sourced in one or the other of the Jewish, Christian and Muslim texts--are delicately brought to life by Ka'b to help the first Muslims make Jerusalem theirs, physically and spiritually.
Unsurprisingly, perhaps, the first effect of the novel, achieved by going so deep into the competing and complementary myths about the place, is to remind its reader of the great arbitrariness that designated this rock to be the focal point of worship for half the world. It is, after all, just a rock. That some have seen it as a kind of warp-zone to heaven, others as being suspended between the two worlds of God and Man, and yet more as the launch pad of History (and Apocalypse) is testament to man's unflinching search for meaning, of which Makiya seems proud.
The second act of Makiya's performance, achieved via the endless interplay of the stories related by Ka'b, suggests an interpretation of how meaning works. Just as some literary critics argue that books owe more to those that precede them than to the historical context in which they were written, so Makiya insinuates that religious truth is dependent on and develops out of the canon of truth that precedes it. In his long appendix on the sources he has used, Makiya writes: "It is not always easy for readers to discern from the narrative whether a given story, or a particular detail within a story, or even a passage of scripture is Jewish, Muslim or Christian in origin. This was the way things were in Ka'b's time and place, if not in ours."
In providing an anatomy of the context out of which Muslim truth was articulated, Makiya has provided the foundations for an inquiry into the nature of religious ideas, particularly as they relate to Muslim society. That inquiry will stand on two pillars. The first is the profound acceptance of the fact that truth is always relative, that it must be looked at contextually and that it perpetuates itself. For when these things are forgotten, the letter will always overcome the spirit of religion. And the second is a hyper-self-conscious sense of symbolism that takes itself for what it is: an expression of meaning, not a truth in itself.
The Rock is a compendium of the monotheistic myths, the ultimate guide to the city of Jerusalem and a narrative history of the Muslim conquest as factually correct (or ambiguous) as any we might expect. But it is also a profoundly sensitive proposal for the basis of a new Islamic theology.
For the past few decades a virulent debate has been raging across the Muslim world, pitching Islam against modernity. It has been brought to a head by the events of September 11. In that context, Kanan Makiya's novel is as important a piece of political writing as any of his work to date.
"There are things/We live among 'and to see them/Is to know ourselves.'" These three lines are among the most stirring written by George Oppen, a poet whose modesty and honesty permitted him to look for meaning only in the knowable. He was preoccupied with the world outside his window, and writing about it in a clear language was always a struggle: "say as much as I dare, as much as I can/sustain I don't know how to say it."
For all his commitment to clarity, there is much about Oppen himself that remains unknown. He was a Modernist, but unlike his mentors Ezra Pound and William Carlos Williams, he was not prolific. When he published his Collected Poems in 1975, he had written exactly one book review and one essay. No manifestoes, no dissertation, no autobiography. When he died in 1984, he had given only a handful of interviews. A Selected Letters was published in 1990, but its paper trail begins in 1958, the year Oppen and his wife, Mary, returned to the United States from political exile in Mexico. The Oppens had been members of the Communist Party in the 1930s, and they went into exile in 1950 to escape the dragnet of McCarthyism. Even George's FBI file, a crucial source of information about the Mexico years, is riddled with black-outs. To know Oppen one must live among his poems, a pleasure that has been greatly enhanced by the publication of George Oppen: New Collected Poems. Housing Oppen's seven full-length books, plus fifty-seven pages of previously uncollected poems, the volume is an astonishing record of the development of an indigenous American avant-garde style by a poet of great intelligence and humanity.
Discrete Series, Oppen's first book, was published in 1934. At first glance its thirty-one lyrics look like offshoots from Williams's Spring and All. Both Oppen and Williams favored spare, compressed lines divested of emotional subversions and devoted to sight and sound. But for all their quotidian scenes, Oppen's poems lack Williams's drama and localism. Instead, they are general, almost categorical, building a moment of perception from prepositions, generic nouns and pauses. "On the water, solid--/The singleness of a toy--//A tug with two barges.//O what O what will/Bring us back to/Shore,/the shore//Coiling a rope on the steel deck." What's equally notable about Discrete Series is that Oppen hewed to a Modernist style without endorsing Modernism's abiding themes; no blood-dimmed tides are loosed, no fragments shored against ruins. But Oppen didn't only defy Modernism. He joined the Communist Party in 1935, and instead of abiding by an orthodoxy that had corralled Pegasus and led it to the Socialist Realist glue factory, he stopped writing altogether. He was a left-wing thinker who did not believe that poetry had the same kind of efficacy as political action, a view that made him "A most inappropriate man/In a most unpropitious place," to borrow a few lines from Wallace Stevens's "Sailing After Lunch." Oppen did not write again until 1958.
What to make of Oppen's silence? Hugh Kenner called it a mere pause between poems; Charles Bernstein has wondered if it is the longest line break in Oppen's oeuvre. While it would be inaccurate to say that the hiatus did not cause Oppen any anxiety as a poet, it's certainly misleading to describe it as just another pregnant pause. Oppen did many things during those years; none were poetic, but all nourished his thinking as a poet. He and Mary organized a farmers' union milk strike in 1937; they became parents in 1939. George worked as a tool-and-die maker at Grumman Aircraft during the early years of World War II and then served as an infantryman in the US Army. He fought in the Battle of the Bulge in 1944; later, near Alsace, he suffered serious shrapnel wounds from German shellfire. After the war he built houses near Los Angeles.
"And Bronk said/Perhaps the world/Is horror," Oppen writes in "A Narrative." The poem is from This in Which (1965), and Oppen is most likely referring to a few lines from William Bronk's "The Nature of the Universe": "we/are the inner mirror of those stars, who find/only an ecstasy to outfeel/horror." When Oppen was writing in the 1960s, he returned over and over to the political and philosophical dimensions of horror. He was terrified and disgusted by the proliferation of nuclear weapons ("My love, my love,/We are endangered/Totally at last") and the escalation of the Vietnam War ("Now in the helicopters the casual will/Is atrocious"). Elsewhere he takes a longer view, wondering about "a lone universe that suffers time/Like stones in sun. For we do not." Oppen's struggles with horror and suffering, however, did not turn him into either a nihilist who sneered at a meaningless universe or an aesthete who walled off that universe with intricate formal masonry. "Survival: Infantry," from The Materials (1962), is an important poem for understanding why. Oppen returns to his wartime experience in Alsace, with memories of an artillery barrage--"Where did all the rocks come from?/And the smell of explosives"--mixed with memories of recovery:
We were ashamed of our half life and our misery: we saw
that everything had died.
And the letters came. People who addressed us thru our
They left us gasping. And in tears
In the same mud in the terrible ground
The crucial word is "addressed." Oppen does not say that people "wrote" to him; they addressed him, spoke to him, through their words and hence through his life. Those words in turn create an experience of awe ("They left us gasping"), and while they fail to deliver Oppen from a devastated world (he remains stuck in the "same mud"), they alleviate his despair.
The letters, in other words, gave Oppen a language of survival, and of his many attempts to create this language himself the richest is the serial poem "Of Being Numerous," which appeared in the 1968 Pulitzer Prize-winning book of the same title. "Urban art, art of the cities, art of the young in the cities--/The isolated man is dead, his world around him exhausted," Oppen writes, and he tries to understand and repair that failure through the very construction of "Of Being Numerous." Some of its poems begin with "Or," "So" or "Because" while others redact lines from Oppen's earlier poems, as if the poet was publishing excerpts from an endless conversation with himself. Yet "Of Being Numerous" is not Oppen's song of himself. Self-reflection is knitted into a larger conversation with friends, family members and other writers, whose words Oppen lifted from correspondence or essays and incorporated into his jagged little lyrics, sometimes in quotation marks, sometimes not. To write a language of survival is to be numerous, but to be numerous is not necessarily to contain multitudes. Rather, it is to startle the self into a meditative drama of reversal and qualification, interruption and invitation, of being pressed into dialogue with others.
Oppen's last book, Primitive, which appeared three years after the publication of his Collected Poems, is perhaps his most haunting vision of survival. Oppen wrote its thirteen poems under some duress; he was growing increasingly disoriented and forgetful, battling the Alzheimer's disease that went undiagnosed until 1982 and claimed his life two years later. Yet it is difficult to determine the impact of the disease on Oppen's poetry, since Primitive is the culmination of the vibrant, attenuated syntax that Oppen had introduced in Of Being Numerous and continued to hone in his next two books, Seascape: Needle's Eye and Myth of the Blaze. In poem nine of "Of Being Numerous," Oppen proposes an ideal: "To dream of that beach/For the sake of an instant in the eyes." Primitive is the dream of that beach, a linguistic "sea-surge," as Eliot Weinberger writes in his lucid preface to this volume, "of contradictory forces: assertions and their negations, declarations couched in double-negatives, questions without answers." The poems are the work of "a returned Crusoe," a poet entranced by mysterious images of war, water, light and rescue. From "The Poem":
in the room it was all
part of the wars
of things brilliance
in the appalling
lives and wakes us together
out of sleep the poem
opens its dazzling whispering hands
The inclusion of Primitive is not the only reason Michael Davidson's edition of Oppen's Collected Poems is "new." The volume also contains the twenty-nine poems that were published in magazines or anthologies but not collected during Oppen's lifetime, and sixty poems that were not published at all. Among the uncollected poems are some gems, including Oppen's last published verse and an epitaph for his close friend and fellow poet Charles Reznikoff. The unpublished poems are fascinating as well and of more than a scholarly interest; one can better appreciate Oppen's technique by considering what he chose to leave in the drawer. Some of the unpublished poems are derivative of Williams's work, relying too much on parochial images or idiomatic speech to convey an idea or emotion. Still others are a heap of images and phrases that Oppen had yet to refine into a few radiant and haunting parts of speech. "The New People," for instance, which dates from the late 1950s, opens with a description of a neighborhood's gentrification: "Crowding everywhere/Angrily perhaps/The world of stoops,/The new young people//With their new styles, the narrow trousers/Of the young men and the girls' bee hive/hair-do's this year they seem a horde." The scene is a messy version of the milieu portrayed in poem twenty-five in "Of Being Numerous": "Strange that the youngest people I know/Live in the oldest buildings//Scattered about the city/In the dark rooms/Of the past.... They are the children of the middle class.//'The pure products of America--'//Investing/The ancient buildings/Jostle each other." It's telling that like most of Oppen's unpublished poems, "The New People" lacks the generic adjectives and nouns that Oppen treasured: thin, strange, home, populace, little and, most important, small.
Davidson's arrangement of the uncollected and unpublished material is curious. Instead of organizing the entire volume chronologically, which would have involved interspersing the uncollected published poems between the contents of the seven published books and placing the unpublished poems (which are often difficult or impossible to date) at the end of the volume, Davidson has placed the uncollected and unpublished poems in a single annex following Primitive. If you want to compare published, uncollected or unpublished poems, which Davidson's editorial notes to individual poems often encourage, be prepared for some page-flipping between poem and poem and poem and note.
The notes themselves are usually informative, providing snippets of relevant biographical and bibliographical information. A few notes could stand to be more precise. The fifth poem in "Of Being Numerous" begins with one of Oppen's most famous images: "The great stone/Above the river/In the pylon of the bridge//'1875.'" Here is Davidson's gloss: "Probably a reference to the Brooklyn Bridge, which was built between 1869 and 1883, making 1875 a likely date for one of the pylons." A glimpse at any good history of the bridge's construction will reveal that its two granite pylons (or towers) were completed in 1875, and that on the eastern and western facades of the Manhattan pylon, centered between the apexes of its great gothic arches, is a stone engraved with the digits "1875." (The Brooklyn pylon is undated.) The engraved stone is easily seen from the pedestrian walkway that runs above the bridge's roadways.
Verifying the location of the engraved stone is important, and not merely for precision's sake. "The great stone" is a central poem of Oppen's canon because it symbolizes the poet's relationship to the visible world. He seizes on a public object--the engraved marker--as an image of consciousness: "Frozen in the moonlight/In the frozen air over the footpath, consciousness//Which has nothing to gain, which awaits nothing,/Which loves itself." Clarifying that Oppen is referring to the Brooklyn Bridge helps to underscore the unromantic nature of his aesthetic. Oppen's stance is the antithesis of Hart Crane's, who in the opening lyric of his long poem "The Bridge" pleads with the granite and cables to "lend a myth to God." In Oppen's poem, the bridge does not become heroic or mythical in the poet's eyes. And even though "1875" hovers at a height that, in the topography of Oppen's poetry, is usually cluttered by the absurd parapets of office buildings, the engraved stone is hardly above it all. Instead, both stone and poet remain public, functional and objective, firmly lodged within the bridge's design as well as the various streams and cycles of space and time churning below and above: the East River, automobile traffic, pedestrian traffic and the moon's orbit.
Oppen was well acquainted with the Brooklyn Bridge. It loomed over the building where he rented a workroom and was not far from the three different apartments in Brooklyn Heights where he and Mary lived at different times between 1960 and 1966. Brooklyn Heights occupies a bluff directly across the East River from lower Manhattan, and while walking around Oppen's old neighborhood it's impossible not to wonder what he would have thought about the devastation of September 11. One recalls an image of Manhattan in "Of Being Numerous":
A city of the corporations
Or a line Oppen used repeatedly in his correspondence, "the girder/Still itself among the rubble," which is a misquotation of a line from Reznikoff's Jerusalem the Golden ("Among the heaps of brick and plaster lies/a girder, still itself among the rubbish"). But these images, though provocative, are mere fragments, and Oppen's work is likely to disappoint someone who thinks that poems of the past can somehow divine the physical and emotional dimensions of the recent catastrophe. "The events of Sept. 11 nailed home many of my basic convictions," the poet Mary Karr explained recently in the New York Times, before describing her September 11 reading list, "including the notion that lyric poetry dispenses more relief--if not actual salvation--during catastrophic times than perhaps any other art form."
I can't imagine a sentiment more alien to Oppen's work. How peculiar to have one's aesthetic convictions "nailed home" by an act of mass murder, and how more peculiar still for Karr to proclaim, after having assimilated September 11 into poetic accounts of past disasters, "Here I stand, bat cocked, ready for whatever impossible pitch history flings." Oppen wrote often about disasters, but he never counseled a quick flight into culture as a remedy for them. His poems are as void of softball pitches as they are of similes. Things are not "like" other things; they appear and exist before your eyes. In this respect, Oppen's work offers no figurative or topical premonitions of what occurred on September 11; neither thing is like the other, which is precisely why his work remains remarkable and relevant. Hardly a self-contained world of words, the poetry of George Oppen is a place where words about the world must be earned--phrase by phrase, line by line, poem by poem.
It's official now: The United States has a policy on climate change. President Bush announced it on Valentine's Day at a government climate and oceans research center. "My approach recognizes that economic growth is the solution, not the problem," he said. Instead of requiring the nation to lower greenhouse gas emissions below 1990 levels, as called for in the Kyoto Protocol, the new policy is voluntary and aims only to slow the growth of emissions, not reduce them. The centerpiece of the new climate policy is a tiny little tax cut for any manufacturers who are interested.
Of course, it's not nearly as big as the tax cuts used for real national priorities like distributing income upward or starving civilian government of resources. It's just some walking-around money, less than $1 billion a year, for investors who voluntarily, now and then, feel like doing the right thing for the environment. The President would also like industries to report their own emissions levels voluntarily, which may earn them valuable credits in the future if an emissions trading scheme is implemented.
It takes a creative imagination to believe that this is an appropriate way for the world's largest economy (and producer of about 20 percent of the world's greenhouse emissions) to respond to a serious global crisis. If you believe, that is, that global warming is a crisis. George Bush and his friends keep hoping it's not, but the scientific consensus, not to mention world opinion, is absolutely clear on this point. At the request of the Bush Administration, the National Academy of Sciences re-examined the climate change issue last year and promptly concluded that the problem is every bit as important as previously reported. Finding a way to debunk all this annoying environmental science must be high on the White House wish list.
It almost looks like that wish has been granted. Bjørn Lomborg, a statistics professor at a Danish university and self-described "old left-wing Greenpeace member," says the story began when he got interested in the longstanding debate between environmentalist Paul Ehrlich and economist Julian Simon. Ehrlich claimed that shortages of many natural resources were imminent; Simon said they were not. A few years ago Lomborg started researching the facts in order, he says, to prove that Ehrlich was right. Instead he found to his surprise that Ehrlich was wrong--and indeed, environmentalists were wrong about many, many things.
Trapped by the "litany" of doom and gloom, environmental advocates have, according to Lomborg, missed the evidence that most of the problems they worry about are not so bad, and are not getting any worse. There are more acres of forests all the time, plenty of fish in the sea, no danger of acid rain, no threat of rapid extinction of species, no need to do much about global warming and no reason to worry about environmental causes of cancer. Everyone in the environmental world, his erstwhile comrades at Greenpeace included, has misunderstood the subtleties of statistics and overlooked the growing good news, as he graciously offers to explain.
Preposterous as it sounds (and, in fact, is), that's the message that Lomborg presents in The Skeptical Environmentalist. It received rave reviews in the Wall Street Journal, the Washington Post, The Economist and elsewhere, and it looks as if the Bush Administration has torn a few pages from it. Lomborg plausibly points out that the environmental litany of short-run crisis and impending doom is unrealistic, and sometimes based on statistical misunderstandings. If he had stopped there, he could have written a useful, brief article about how to think about short-run versus long-run problems and avoid exaggeration.
Unfortunately, Lomborg stretches his argument across 350 dense pages of text and 2,930 somewhat repetitive footnotes, claiming that the litany of doom has infected virtually everything written about the environment. As an alternative, he paints a relentlessly optimistic picture of dozens of topics about which he knows very little. Responses from researchers who are more familiar with many of his topics have started to appear, including rebuttals in the January issue of Scientific American, in a report from the Union of Concerned Scientists and on the website www.anti-lomborg.com.
On global warming, Lomborg believes that "the typical cure of early and radical fossil fuel cutbacks is way worse than the original affliction, and moreover [global warming's] total impact will not pose a devastating problem for our future." In support of this Bush-friendly thesis, Lomborg attempts to reinterpret all the massive research of recent years, including the carefully peer-reviewed Intergovernmental Panel on Climate Change (IPCC) reports. But he is not up to the task. Discussing the standard graphs of average temperature over recent centuries, which most analysts use to highlight the exceptional recent increases, he offers pages of meandering speculation and concludes that "the impression of a dramatic divergence [in recent world average temperature] from previous centuries is almost surely misleading." Lomborg's own figures 134, 135 and 146 present strong visual evidence against his strange conclusion, showing average temperatures heading sharply and unprecedentedly upward in recent decades. He also finds it terribly significant that we do not know exactly how fast temperatures will change in the future, as greenhouse gases accumulate in the atmosphere; nonetheless, he accepts IPCC estimates that temperatures above the range of recent historical experience are essentially certain to occur.
When it comes to estimating the economic costs of greenhouse gas reduction, Lomborg's claim that all models produce "more or less the same results" is absurd. He has missed a valuable analysis from the World Resources Institute, by Robert Repetto and Duncan Austin (The Costs of Climate Protection: A Guide for the Perplexed), which describes and analyzes the huge range of sixteen major models' estimates of the costs of greenhouse gas reduction. Repetto and Austin attribute the divergent estimates to the models' differing assumptions about the pace of economic adjustment to future changes, the extent of international emissions trading and the uses the government will make of revenues from carbon taxes or similar measures, among other factors.
I turn out to have a small part in Lomborg's story, in a manner that does not increase my confidence in his research. My name appears in footnote 1,605 in his chapter on solid waste, where he cites in passing a three-page article based on my 1997 book on recycling but overlooks the book (Why Do We Recycle?) and the larger point that it makes. Lomborg's solid-waste chapter simply says that the United States is not running out of space for landfills. Echoing an example long favored by the most vehement critics of recycling, he calculates that a landfill big enough to hold all US solid waste for the next 100 years would be quite small compared with the country's land area. Nothing is said about other countries--Denmark, for example--where land might be a bit scarcer. Almost nothing is said about recycling, either, because it seems that it doesn't much matter: "We tend to believe that all recycling is good, both because it saves resources and because it avoids waste.... We may not necessarily need to worry so much about raw materials, especially common ones such as stone, sand and gravel, but neither should we worry about wood and paper, because both are renewable resources."
The United States is not running out of landfill space, but this does not invalidate concern about waste and recycling. Rather, it shows the error of collapsing our thinking about long-term problems into short-term crisis response.
Several life-cycle analyses of material production, use and disposal (none of which Lomborg refers to) have found that extraction and processing of virgin materials accounts for far more environmental damage than landfilling the same materials when they are discarded. The greatest benefit of recycling is not that it solves a nonexistent landfill crisis, or that it staves off any immediate scarcity of resources, but rather that it reduces pollution from mining, refining and manufacturing new materials.
There are similar shortcomings in many other areas of The Skeptical Environmentalist, of which I will mention just a few. Lomborg claims that there is little need to worry about trends in air pollution: "The achievement of dramatically decreasing concentrations of the major air pollutants in the Western world...is amazing by itself.... There is also good reason to believe that the developing world, following our pattern, in the long run likewise will bring down its air pollution." He endorses wholeheartedly the hypothesis that economic growth will first cause air pollution to get worse, but then later will lead to improvement. This controversial idea, the so-called environmental Kuznets curve (EKC), was more widely accepted in the mid-1990s, the period from which Lomborg's citations are taken. Recent research has cast doubt on this pattern, as he acknowledges in the second sentence of a footnote. Yet he has missed the most comprehensive critique of the EKC research, by David Stern ("Progress on the Environmental Kuznets Curve?," Environment and Development Economics, 1998). According to Stern, the EKC pattern can be clearly detected only for a few air pollutants, such as sulfur, and then only in developed countries.
Rushing to critique environmental views in one area after another, Lomborg may not have had time to read all his citations. In his introductory chapter he maintains that the collapse of the indigenous culture of Easter Island was based on factors unique to that island and does not suggest that an ecological crash caused by resource overuse could threaten other societies. But the only source he cites about Easter Island reached exactly the opposite conclusion, speculating that ecological problems could have caused the decline of such civilizations as the Maya, early Mesopotamia and the Anasazi in what is now the southwestern United States: "Easter Island may be only one case of many where unregulated resource use and Malthusian forces led to depletion of the resource base and social conflict," concluded James Brander and M. Scott Taylor in "The Simple Economics of Easter Island" (American Economic Review, March 1998).
In his concluding chapter, Lomborg relies heavily on studies by John Graham and Tammy Tengs. These studies purport to show vastly different costs per life saved, or per life-year saved, from different regulations. At one extreme, the federal law requiring home smoke detectors, flammability standards for children's sleepwear and the removal of lead from gasoline have economic benefits outweighing their costs. At the other extreme, controls on benzene, arsenic and radioactive emissions at various industrial facilities are said to cost from $50 million to $20 billion per life-year saved. The implication is that shifting resources from the more expensive to the cheaper proposals would be enormously beneficial--by one wild calculation (which Lomborg uncritically accepts) saving 60,000 lives annually: "And the Harvard study gives us an indication that, with greater concern for efficiency than with the Litany, we could save 60,000 more Americans each year--for free." Graham and Tengs follow closely in the footsteps of John Morrall, who made similar claims in a related, earlier study.
A widely cited article in the Yale Law Journal ("Regulatory Costs of Mythic Proportions," 1998) by Georgetown University law professor Lisa Heinzerling explains the fatal flaws in the Morrall study. This, too, escaped Lomborg's notice. Heinzerling demonstrates that Morrall's long list of allegedly expensive regulations includes numerous items that were never adopted and in many cases never even proposed. Moreover, many of the cheaper lifesaving measures--removing lead from gasoline, for example--have already been done and cannot be redone for additional savings. Thus the re-allocation of money that would putatively save thousands of lives would have to be from nonexistent expensive regulations to already completed cheaper rules. In more recent, forthcoming work, Heinzerling and I have found that the same fundamental errors occur throughout the Graham and Tengs studies, including "the Harvard study" that Lomborg likes so well.
Finally, Lomborg cannot be allowed to speak for "old left-wing Greenpeace members" in general. I personally remain happy to support Greenpeace because, among other reasons, I admire its courageous and imaginative confrontations with the likes of nuclear weapons testers, the whaling industry and oil companies drilling in ecologically fragile areas. I am of course disappointed, but hardly shaken in my worldview, to learn that Lomborg claims to have caught Greenpeace in a statistical error or two. Greenpeace doesn't rely on me to throw grappling hooks onto whaling ships, and I don't rely on it for quantitative research. On the strength of this book, I won't rely on Lomborg, either.
It's been three decades since President Richard M.
The birds stopped coming after the annuals died.
I didn't realize how much I missed them until the bluebird
Returned, lured by the burgundy haze of the fall pansies
Pouring from the window boxes. I was too slow finding
The camera and then I left the cap on. The bird rose
Into a cut of sky and I was left with a vision of blue--
His sapphire eye and marigold breast. Maybe it was you,
Released from your standing body--fingers fluid between
Tissue and organ--as you operate in the crowded surgical
Theatre, transformed to tell me autumn is here. I would not
Be surprised. This brief visit imitates your frequent calls
Between cases. After he flies, the room seems to hold you.
I see the white waves throwing themselves into the Cliffs
Of Moher, your eyes stealing blue from the sky.
Die Nigger Die!, the autobiographical political memoir by H. Rap Brown, is a vital American historical document--historical almost in the sense of a message found in a time capsule, a missive from another age. But it remains of considerable interest for what it tells us about social and political attitudes, behaviors and expectations of a time--so my students believe--long past. The time, in this case, being a discrete, relatively short period of domestic upheaval in this country during the late 1960s and early 1970s, a time of "revolutionary" black uprising in Northern ghettos following hard on the heels of the Southern, nonviolent, direct-action movement engineered by SNCC (Student Nonviolent Coordinating Committee), CORE (Congress of Racial Equality) and SCLC (Southern Christian Leadership Conference), a movement usually associated with Martin Luther King Jr. Rap's book has an added dimension of sociological interest, being a voice from the frontlines, the personal and political testimony of a radically militant chairman of SNCC who came to symbolize the defiance of a generation of angry and militant black youth. A third, perhaps less compelling, area of interest is the personal: what the voice and language reveal about the character and personality, the sensibility, if you will, of the speaker. Who is this man, of whom McGeorge Bundy reportedly commented at the founding gathering of the National Urban Coalition, "Wouldn't you, wouldn't all of us, sleep much better tonight if we knew that H. Rap Brown...was somewhere quietly running his own little drugstore?"
Well, for one thing, the author, H. Rap Brown, is no longer among us. Nor has he really been since 1971, when, as a young man in his late twenties, he made his shahadah (the Muslim declaration of faith). During a period of incarceration by the State of New York, the black activist known to the media as H. Rap Brown converted to orthodox Islam and emerged as Jamil Abdullah Al-Amin, a Sunni Muslim. Brown went in and Al-Amin emerged. This change was by no means cosmetic or strategic.
By all accounts and the overwhelming preponderance of evidence over years, this was a genuine religious conversion, a classically "profound transformation of self." Al-Amin embarked on a life of rigorous study and spiritual and moral inquiry with the same single-minded intensity and uncompromising commitment Rap had brought to militant social struggle.
It is important to mention this because, as we know, not all conversions--religious or ideological--are equal. This was a time particularly famous for sudden, public and apparently infinitely reversible self-reinventions, two of the more dramatic being Jerry Rubin's conversion from the stridently countercultural Youth International Party leadership to Wall Street broker (from yippie to yuppie) and Eldridge Cleaver's from Black Panther Party revolutionary to born-again Christian.
Al-Amin's embrace of Islam, however, proved neither facile nor expedient, as his emergence as a bookish Muslim cleric and his years of work in faith-based social improvement have demonstrated. The fiery and impetuous young rebel who speaks out of the pages of Die Nigger Die! has long since evolved into an austere religious scholar, disciplined by faith and projecting the aura of a spiritually disposed ascetic.
After thirty years, Al-Amin has become, in many important ways, a vastly different person from the author of this book. A respected imam, he now sees--and for some time has seen--the world, his own role therein and the eventual liberation of his people in quite different terms: those of faith, self-discipline and spiritual development. This vision is reflected in both his demeanor and his language. Consequently he has, at this time, serious reservations about the appropriateness of reissuing a book of youthful struggle. It is not that he repudiates any aspect of the book--not the tone, the defiant struggle out of which it came or even the youthful persona of that text.
While he considers some of the language of the early work "unseemly," his reservation is more that he considers his later work, Revolution by the Book, far more relevant to his current concerns and the work of thirty years, as well as being more indicative of his present personal and professional style. No two books could be more different in style and subject, but what they share, apart from their common paternity, is that both are earnestly addressed to the same audience and purpose: the re-education of the African-American grassroots.
Revolution by the Book is not, as might be inferred from a casual glance at the cover, a handbook on guerrilla war. The revolution of the title refers very specifically to jihad in its classical Islamic meaning of the daily, internal struggle for self-mastery and moral discipline. The book begins with a collection of sermons, each explicating one of the foundations of Islam--shahadah (declaration of faith), tauheed (the Oneness and uniqueness of God), salaat (prayer and worship), zakaat (the redemptive value of charity) and saum (purification by fasting and abstinence)--and the expression of them in the hajj, or prescribed pilgrimage.
Liberally illustrated with quotations from the Koran, the Sunnah and other secondary Islamic texts, Al-Amin's tone is learned and reverent, exhortatory and precise. It is an eloquent articulation of the fundamental principles, values and practice of orthodox Islam, affecting every aspect of life, personal and social. The revolution it envisions is a moral one, which begins with the individual, stressing awareness of God and self through piety, study and self-discipline, and moves through family and out into the larger society.
The first responsibility of the Muslim is as teacher. That is his job, to teach. His first school, his first classroom is within the household. His first student is himself. He masters himself and then he begins to convey the knowledge that he has acquired to the family. The people who are closest to him.
To be successful in struggle requires remembrance of the Creator and the doing of good deeds. This is important because successful struggle demands that there be a kind of social consciousness. There has to be a social commitment, a social consciousness that joins men together. On the basis of their coming together, they do not transgress against themselves and they do not transgress against others.
On society and revolution:
When you understand your obligations to God then you can understand your obligations to society. Revolution comes when human beings set out to correct decadent institutions. We must understand how this society has fallen away from righteousness and begin to develop, Islamically, the alternative institutions to those that are in a state of decline around us. But we must first enjoin right and forbid wrong to ourselves. That is the first step in turning this thing around: turn your self around.
There is a directness and, if you will, a sincerity to this language, a sincerity that those who know the imam say has for thirty years been evident in his life and example. These qualities are said to have earned him a fierce loyalty and affection from the Muslim congregation to which he ministers in a working-class suburb of Atlanta, respect in the surrounding Christian neighborhood and a wider regard in the national Muslim-American community. This side of Al-Amin's vocational persona is one I had not been privileged to observe until 1998, at a farewell tribute to our brother Kwame Ture (Stokely Carmichael), who was stricken with terminal cancer and had been about to return to his home in Africa, there to die. Perhaps 2,000 people gathered in the banquet room of a Washington hotel: family, friends, admirers and supporters of Carmichael's, mostly movement faithful, veterans of the "heroic days."
It would have been a remarkable gathering in any place and any decade, though it could probably not have happened in the 1960s, when doctrinal and ideological disagreement had loomed so urgent and divisive. Even recently, perhaps only respect for Carmichael could have assembled such a gathering. Black nationalists next to Southern Baptists; pan-Africanists, native Africans, a few Sunni Muslims, and NAACP integrationists next to Nation of Islam separatists; former Black Panthers next to former Students for a Democratic Society activists; progressive intellectuals--writers and editors--socialists, Marxists, liberals, black and white, next to Black Arts Movement cultural nationalists; and John Lewis, the assistant minority whip of the House, cheek by jowl with Minister Louis Farrakhan, the ubiquitous leader of the Nation of Islam. It was a fitting tribute to the extraordinary range and reach of Carmichael/Ture's political and personal charisma and the affection he commanded across lines of ideology and identity.
Prominent at the speakers' table were the former chairmen of SNCC (Marion Barry, Chuck McDew, John Lewis, Jamil, and Phil Hutchens). The talk from the platform was, as might be expected, nostalgic, affectionate, political.
The only real departure, and my only surprise, came when Imam Al-Amin spoke. What he delivered in tribute to his old friend was a thoughtful, Islam-inflected reflection on the nature of oppression and the moral duty, the religious imperative, of the faithful to resist. Liberally adorned with Koranic quotations, it was, as I recall, an erudite, elegantly constructed, finely reasoned explication of the categories and nature of oppression, and the moral dimensions and complexities of struggle as expressed in the prophetic poetry of the Arabian desert some 1,400 years earlier. In any terms--culturally speaking--it was scholarly. I found it startling in a curious way: It did not quite fit either stylistically or culturally with what had gone before, yet was completely appropriate.
Its traditional opening in the resonant cadences of classic Arabic poetry seemed to me and others a voice and sensibility out of a different culture and another time. Its text, taken from Sura 42, verse 41 of the Holy Koran--"All those who fight when oppressed incur no guilt, but Allah shall surely punish the oppressor"--seemed appropriate as a personal credo for both the speaker and the life of struggle being recognized.
As he spoke, I remember thinking: Ah, so this is what a serious Islamic sermon sounds like, huh? Rap really takes this calling seriously. The brother is indeed an Islamic scholar, an imam. (I took in the hang-jawed look of astonishment and dawning professional respect that crossed Minister Farrakhan's face as he listened to be confirmation of my impression.)
I'd known the youthful Rap at Howard University as the younger brother of my friend Ed and, of course, later with SNCC in Mississippi and Alabama, before he erupted in the nation's headlines as the black militant from hell, the Negro America loved to hate. I remembered a laconic, rangy (six-foot-five), hawk-faced youth, mostly silent, a preternaturally watchful, almost brooding presence. Said to be an extraordinary athlete, he looked the part. "Yeah, the boy can play him some ball, bro. Everything from point guard to power forward and some quarterback too," his brother told me. "An' there ain't no dawg in mah boy either. He a competitor from his heart. No quit in him."
Given the times, it was natural that the movement would draw him away from the courts and any possibility of athletic scholarships. He listened to our endless debates, read voraciously, joined our demonstrations and volunteered for the Mississippi Summer Project of 1964.
In 1965 he was back in DC, where he became chairman of NAG (Nonviolent Action Group), the local SNCC affiliate. This led to the infamous White House confrontation with President Lyndon Johnson. I believe it was a Saturday morning a week following the vicious police riot known as "Bloody Sunday" on the Edmund Pettus Bridge in Selma, Alabama. I was alone in the SNCC office when the telephone rang from the Leadership Conference on Civil Rights. Responding to international outrage over the atrocity in Alabama, President Johnson had suddenly agreed to a meeting with the national civil rights leadership. However, the meeting was that afternoon, and the leadership was scattered all over the country. The Washington representatives would have to stand in. Would I be representing SNCC? Hell, no, I most certainly would not. Just then in strolls Rap, attired, as I recall, for athletic endeavor.
"Hey, aren't you the chairman of NAG? Feel like going to the White House this afternoon?" Rap considered it for several moments.
"Well," he drawled, "why not? I ain't really doing much this afternoon."
Later, when he gave his report, I remember his indignation and amazement at the fawning subservience toward the President displayed by a delegation ostensibly there to represent the urgency of our people's struggle, courtiers so effusively grateful for the privilege merely of being there and so anxious to preserve their access that none dared be forthright with the monarch. So it had fallen to him to raise the questions of presidential responsibility for federal inaction in protecting the rights of black citizens that the group was there to represent. He described the delegation's shuffling during the meeting and their not-very-subtle distancing of themselves from his intemperance, in some cases even going so far as to apologize for him. Yet once outside they effusively praised his courage for saying the things that "really needed to be said." Then, within the week, an insidious column in the Washington Post (by Evans and Novak) described how 'deeply embarrassed responsible civil rights leaders' were professing to be at the 'disrespect' shown the President by the young student.
Rap told me that LBJ had entered the meeting expressing his great displeasure at all-night demonstrations outside the White House, which were so noisy that "his little girls" had been unable to sleep. The courtiers each in their turn had expressed distress and apologies for this inconvenience to the presidential family. Rap, when his turn came, said that he too was real sad that for one night the presidential daughters' repose had been disturbed, but black people in the South had been unable to sleep in peace and security for a hundred years. What did the President plan to do about that? He had thought that this was what they were meeting to discuss. Which apparently so upset the President that the courtiers felt a need to run to the press later to put their disapproval on the public record. It must have been a generational thing.
When, in 1967 at the age of 23, Rap succeeded Carmichael as SNCC chairman, it was at a tense and desperate moment in the country. SNCC's call for Black Power, coupled with its stand against the Vietnam War, had isolated the organization and left it exposed. Deep fissures had appeared in the civil rights "coalition." The long-simmering anger of alienated black youth at racism and economic injustice in the ghettos was erupting into violent and destructive urban insurrections. In every case these "riots" were triggered by police brutality or misconduct, most usually the killing or brutalizing of an unarmed black man.
The black insurrections traumatized white America, which was further divided, usually along generational and class lines, by the Vietnam War. Suddenly, middle-class white youth--the ostensible beneficiaries of the system--were, to an unprecedented degree, also alienated from their government. The New Left, a generation of white student activists, was becoming increasingly strident in its denunciation of the American establishment and adopting an increasingly anticapitalist and anti-imperialist "revolutionary" rhetoric.
About this time, the Black Panther Party made its appearance in Oakland. A "revolutionary" organization of urban black youth, they had great style. A variation on gang colors, their black leather jackets, black berets and blue shirts--with firearms either visible or implied--were an expression of ghetto youth culture. Appearing as if on cue out of America's Third World, the Panthers were the New Left's homegrown surrogates for the Vietcong. Black, virile, menacing, hip guerrillas, the Panthers were--depending on one's orientation--the incarnation of white America's most primal fantasy or its worse nightmare: angry Negroes with guns.
Their leadership, with a well-developed sense of theater and an instinct for hustle, permitted the white New Left to declare them the revolutionary vanguard, with predictable results. Their members paid a terrible price: Some were killed and many are still in jail, often on very dubious charges.
All of which, in the media's dependably sensationalist presentation, contributed mightily to a pervasive mood of racial tension and impending doom across the nation. Wars (abroad) and rumors of (race) war at home--mere anarchy is loosed, the center cannot hold? Something like that.
Well, not by a long shot, pilgrim. The response of J. Edgar Hoover's Federal Bureau of Investigation, a "hard-hitting" national counterintelligence program (COINTELPRO), was of surpassing ruthlessness in its contempt for law and the civil rights of citizens. COINTELPRO cast a wide net covering the peace movement, the New Left, student activists, black militants ("black nationalist hate groups") and pacifist clergy, including even the very churchly Dr. Martin Luther King Jr. Hoover's specific instructions were to use all necessary means to "expose, disrupt, misdirect, discredit or otherwise neutralize...black nationalist hate type organizations [sic], their leadership, spokesmen, membership and supporters." Programs were designed to "convince them," Hoover instructed his agents, "that to be a black revolutionary is to be a dead revolutionary."
The bureau, taking him at his word, came up with a repertoire of dirty tricks--authorized by the director and usually illegal--ranging from character assassination, disinformation, false arrest on bogus charges, manufactured evidence, perjured testimony and cynical frame-ups to physical assassination by either uniformed officers or hired agents. All this has been documented by Congressional investigation, but none of the perpetrators--the so-called rogue agents--in the bureau have ever served a day of jail time.
This being the context in which H. Rap Brown undertook the SNCC chairmanship, it is therefore not surprising that his term of office, a succession of indictments and arrests, was spent mostly in court, out on bond or in jail. Some of this is recounted in Die Nigger Die!: It began in July 1967 after an appearance in Cambridge, Maryland, where he had given an "incendiary" and--in the presence of the media--politically ill-advised speech in which he urged black people to arm themselves, to be "ready to die" and to meet violence with violence. "This town is ready to explode.... if you don't have guns, don't be here.... you have to be prepared to die." This proved rather quickly prophetic: Immediately after the speech he and two companions were fired on from an ambush, and the community exploded.
After I spoke people were just milling around. A young lady who lived up towards Race Street where a bunch of white policemen were gathered asked for an escort home because she was afraid to walk by herself. Myself and two other people were walking her home and some dudes opened fire on us with shotguns from some bushes. We found out later they [the shooters] were black policemen. They were shooting at us a long time. I was hit, I dove to the ground, rolled into a ditch and made my way into someone's yard.
After the shooting there was a lot of commotion. People went into the street and just started tearing everything up. A few hours later they burned the school again. Two weeks earlier people had burned the black elementary school because it had been a rat infested, roach infested place. People were paying taxes and their children were forced to go to school in those conditions. It is these conditions which cause riots. Not anybody's rhetoric.
Shortly after this incident, Brown was charged by the State of Maryland with incitement to riot, beginning a succession of charges and protracted legal maneuvering drawn out over a two-year period.
I can remember following the process as it unfolded in almost Kafkaesque absurdity in the press. It seemed like every few months Brown would be hauled into court in a new jurisdiction on a different charge and held under an oppressively large bond. His attorney--the late William Kunstler--would struggle mightily to win a reduction. Rap would eventually come out and in a matter of days be reported somewhere else making even more "incendiary" utterances and be back in custody, there to begin the dismal cycle all over again. At least that's how it seemed to me. I can remember saying, "I guess you're right. Rap don't have no quit in him after all, but maybe he should." And Ed growling, "That boy hard-headed, bro. Jes' too damn stubborn."
Subsequently released FBI documents make it clear that this process of paralysis by indictment and legal intimidation was by no means limited to H. Rap Brown. It was a deliberate, across-the-board COINTELPRO strategy designed to cripple radical organizations by misusing the courts. First, there were arrests of targeted activists on serious charges carrying potentially long sentences. It was of little importance to the government whether it had a legitimate case, strong enough to secure a conviction. The point was to silence and immobilize leadership while forcing groups to redirect energy and resources into raising funds, organizing legal defenses and publicizing the cases. It was a government subversion of the American justice system resulting in drawn-out Soviet-style political show trials that became commonplace in the America of the 1970s: the Chicago Seven, the Panther Twenty-One, etc., etc.
Although the overwhelming majority of these cases did not result in convictions, government documents show that they were considered great tactical successes. They kept the movements off the streets and in the courts. However, a few convictions were attained, and it is clear that at least some activists who ended up serving long sentences--some of whom remain in jail to this day--were simply framed by the government. People were convicted on perjured testimony as witnesses were bribed or coerced into lying. Exculpatory evidence was withheld from the defense and made to "disappear."
As I write, Leonard Peltier of the American Indian Movement is still in jail. Elmer "Geronimo" Pratt of the California Panthers, a decorated Vietnam veteran, was recently released after spending nearly half his life in jail for a murder that the FBI had clear evidence he could not possibly have committed. Richard Moore (Dhoruba Al-Mujahid Bin Wahad), a New York Panther, has only recently been freed after a review of his case indicated similar government misconduct. Have you heard of the Angola Three?
These are two black men in the Louisiana State Penitentiary--Herman Wallace and Albert Woodfox--who have been held in continuous solitary confinement for twenty-nine years. They, along with Robert King Wilkerson (who was freed in February 2001) are responsible for organizing a functional chapter of the Black Panther Party among the inmate population of Angola prison. In 1972 the men were convicted of the murder of a guard and have been held in isolation ever since (see www.prisonactivist.org/angola). These are only a few cases that have surfaced into public awareness. But there remain a great many such cases that seem irretrievably buried in the catacombs of legal bureaucracy. There are activists of that generation, in other words--fellow human beings and American citizens--who are in effect political prisoners, still serving time in an American gulag, often on very questionable evidence indeed.
Back to the Rap. In April 1970, after two years of tortuous legal jousting, he failed to appear in court for trial on the incitement charge and simply disappeared. For seventeen months, despite the best efforts of the FBI and an international dragnet, he appeared to have dropped from the face of the earth. To my knowledge he has never publicly discussed this period, so it remains something of a mystery. At the time, speculation was rife. None of our mutual movement friends seemed to know--or would admit to knowing--his whereabouts. He was variously rumored as being in Cuba, in Algeria, in West Africa or deceased. His brother Ed was "pretty sure" he was alive, but so completely incommunicado that even he had not a clue as to where Rap might be.
When he finally surfaced in late 1971 it was in truly astonishing circumstances and surprisingly close to home--Manhattan, in fact. His friends and supporters in the movement were stunned when large New York Times headlines proclaimed his capture, gut-shot and seriously wounded, following a running gun battle with police during "an attempted holdup" of a westside Manhattan bar. To us this made no sense. Armed robbery of a bar? C'mon, that was completely at odds with the political principles we considered ourselves to share with Rap. Indeed, had he not been in critical condition in a Harlem hospital, one would have been tempted to simply dismiss the entire story as false identification.
To many black Americans, this was an astonishing and dismaying development. The young SNCC chairman seemed to have crossed the line between militant political defiance and flat-out criminality. Much of the support he had enjoyed, both within the movement and in the general community, evaporated. But not all. According to a report from the Harlem street, "It was some black nurses who saved that boy's life. Them sisters made sure he got proper treatment in that hospital." Also, according to street lore, the bar holdup was really more of an ill-advised, armed sortie against reputed drug dealers and their police partners. After recovering from his injuries, Rap served five years in prison. Having theoretically discharged his debt to the law and re-emerged into society as Jamil Al-Amin, H. Rap Brown, for all intents and purposes, should have been history.
Jamil Al-Amin, after making the hajj to Mecca following his parole, settled in Atlanta, where his brother Ed was director of the Voter Education Project, and set out to construct a new life outside the glare of the media. The imam, peaceably studying his religion and building an Islamic congregation, became--not that McGeorge Bundy was prescient--the proprietor of a small community grocery store cum culture center in Atlanta's West End.
The next episode in this remarkable tale might be seen as that of two utterly incompatible and mutually exclusive stories. One is the narrative of H. Rap Brown, the armed militant, prone to violence--"revolutionary" or "criminal," depending on your take. This old narrative is preserved alive and well in the computerized memory banks of law enforcement and the film clips and soundbites of the media, a convenient ghost to be summoned up at will over the next thirty years.
"Y'know," his brother Ed explained, "something happens. Say the first attempt to bomb the Trade Center, right? They feed their infallible profile into their computer. Muslim...radical...violent...anti-American, whatever, who knows. Anyway, boom, out spits the names, H. Rap Brown prominent among them. Next thing the Feds come storming into the community and haul Jamil in. This actually happened. Of course it's stupid. And every time they have to let him go. But how do you stop it? A goddamn nightmare, they never quit."
Then there is a more contemporary contending narrative, that of the Imam Al-Amin--pious, ascetic scholar/teacher and community leader widely perceived to have renounced violence--only to have his hard-won peace plagued at regular intervals by the ghost of the past persona, conjured up to that end.
Or, some suggest, could not the narratives sometimes merge: with the clerical robes and books of the imam being occasionally discarded for the weapons and fatigues of the militant?
One person has no doubt. "No, bro. It was just continuous harassment, pure and simple," Ed Brown says. "Harassment, sometimes routine and petty, sometimes pretty serious. Just one damn thing after another. No matter how absurd. The police simply would not leave my brother alone...an ongoing police vendetta."
Out of this series of low-level annoyances two incidents stand out. Immediately after the 1993 bombing of the World Trade Center, Imam Al-Amin was arbitrarily hauled in, interrogated and released under heavy and continuous surveillance, all in the absence of any evidence at all connecting him to the bombing--at least none the authorities cared to disclose.
Another such incident took place in August 1995. A month after a local shooting, agents of the FBI and the Bureau of Alcohol, Tobacco and Firearms converged on Atlanta and arrested Imam Al-Amin as the shooter. At a press conference, they informed the press that the victim had identified the imam as his assailant. The charges were dropped when the victim--who subsequently joined the imam's mosque--told the press that he had not seen his assailant but had been threatened by the authorities with jail if he did not implicate Imam Al-Amin. He also told the Atlanta Journal-Constitution and the New York Times that it was the police who first presented him with the name and photograph of Imam Al-Amin. The whole thing stank of a setup and police impropriety. However, the mainstream civil liberties establishment was silent, so it was left to the national Islamic community to question the irregularities surrounding this incident.
On August 28, 1995, the Washington-based Council on American-Islamic Relations (CAIR), joined by several other national Muslim organizations, held a press conference in which they called for a Justice Department investigation. The groups represented included the Islamic Society of North America, American Muslim Council, the Muslim Public Affairs Council and CAIR. Imam Al-Amin was also in attendance. The joint statement they released raises some interesting questions:
1) Why were agents of the FBI, the FBI's Counterterrorism Task Force and the Bureau of Alcohol, Tobacco and Firearms involved in a case that the police themselves described as a "routine aggravated assault"?
2) Why was the victim in this case, as he himself has stated and the Journal-Constitution reported, threatened with legal charges if he failed to identify Imam Al-Amin as his assailant? And why did authorities refuse to accept the victim's repeated statements that he did not see who the assailant was?
3) Why would the authorities in Atlanta wish to implicate Imam Al-Amin in this case?
4) Why was Imam Al-Amin arrested weeks after the alleged incident, even though he was easily accessible to law enforcement officials at his public place of business? Why was he arrested in his car and not called in for questioning at police facilities?
Good questions. I am not aware of a response from the Justice Department. Unfortunately, this is not where the story ends.
Five years later, on Thursday night, March 16, 2000, the troubled relationship between the brother and the various law enforcement agencies would escalate from farce to tragedy. As I write, Imam Al-Amin sits on trial on four felony murder charges, for which the state is seeking the death penalty. By the time you read this, part of the trial will have taken place, so we will have learned something of the quality and extent of the evidence the state has been able to produce in support of the thirteen charges it has brought. Here is the background--what we know of it at this time.
On the night of March 16, an exchange of gunfire between two Fulton County sheriff's deputies and persons unknown resulted in the death of Deputy Richard Kinchen and the serious injury of Deputy Aldranon English. The incident took place in the vicinity of the community mosque founded by Imam Al-Amin. According to the authorities, the deputies were attempting to serve an arrest warrant on Al-Amin, who had missed an earlier court appearance. (The charges--impersonating a police officer and receiving stolen property--while not insignificant, were relatively minor compared with the ones he now faces. Imam Al-Amin maintains that he never received notification of the court date, even though his residence and business address were well-known to authorities.)
In the immediate aftermath of the shootings, the Atlanta police released in rapid succession, and the media reported, four significantly different accounts of the incident. The precise location, the sequence of events, the description and even the number of assailants were all revised in these early accounts, the only constant being a "trail of blood." Deputy English was certain he'd seen, spoken to, shot and seriously wounded his attacker. The investigators reported following a "heavy trail" of blood up the steps and across the porch of an empty house. From photographs shown him, the wounded officer identified the shooter as Al-Amin, although there were discrepancies in his initial description. A regional manhunt was launched.
The local media had a field day with H. Rap Brown, whom they identified as a former Black Panther leader and all-around desperado. Apparently the most recent picture they could find was a police mug shot of a fierce-looking Black Power militant out of the 1960s. This image saturated all media (except radio) and is indicative of the general tone of the coverage. However, a few days after the shooting, when Al-Amin was arrested in Alabama, he was found to be completely free of physical injury. Subsequently very little was heard of the "wounded assailant" and the "trail of blood" motif, until it emerged in the first days of the trial.
There are other significant discrepancies between police and media reports and the known facts, but there is no need to recapitulate those here. They will come out in court, and I am no more the imam's lawyer than you are a jury of his peers. There is, however, one important dimension to this story that seems to have escaped the notice of the media.
Neither I nor the media commentators, having not been present, can say exactly what happened that night--who was present, or why and how things happened as they did. All that is indisputably clear is that an eminently avoidable human tragedy took place. One young black man was dead, another seriously injured. Somebody shot them. And a leader of the community is on trial for his life. Was this inevitable? Did any of it have to happen? Recall with me the prevailing context in which these events unfolded.
In March 2000, there was a particular mood in working-class African-American communities across the country. Our communities had been traumatized by a series of shootings of unarmed black men at the hands of police in urban centers, most of them innocent of any crime. In black Islamic communities in particular, feelings were extremely raw over the police shooting of a devout, law-abiding, unarmed young African Muslim named Amadou Diallo as he stood in the foyer of his apartment building in New York City. Although more than forty shots were fired at or into the young man, the four police perpetrators were found innocent of wrongdoing. The Diallo case was the subject of sermons in mosques across the nation, and the Atlanta mosque was no exception.
The Atlanta shootout took place within a month of the acquittal of the police officers in New York. One has to wonder, therefore, why, in the climate created by those events, the Atlanta authorities chose to act as they did. Why was it necessary to send into a Muslim community, under cover of darkness, heavily armed men wearing flak jackets to bring in a respected and beloved religious leader, a figure of fixed address and regular and predictable habits? And this in service of a warrant for charges they describe as relatively minor. Who authorized this action and in this manner? Was this abysmally poor judgment or deliberate provocation?
Al-Amin's neighbors also found it passing strange. "He understood the process, how City Hall works, how federal government works," one lady recalls. "So he was like a mayor to many people. Someone people could go to to make things happen." Another pointed out that "Jamil walked up and down the street all day, from the house to the shop to the mosque. So why would they wait till 10 o'clock at night? The man certainly wasn't hard to find."
There was a conference marking the foundation of SNCC a few months after the Atlanta shootings. The prisoner's colleagues from the movement said it well in a statement they issued there:
While we are deeply saddened by the bloodshed and loss of human life in this tragic and very avoidable incident, we are equally concerned by the presence in the record of a number of factors which threaten to compound tragedy with injustice. We refer to the number of glaring discrepancies in the official version of events and what appears to us as a precipitous and uncritical rush to judgment by the public media.
What further distresses us is that the facts as alleged are so completely out of character with the man we have come to know as Imam Jamil Abdullah Al-Amin. For twenty years, our brother has shown himself a serious student of religion, a devout spiritual teacher as well as a public spirited community leader.
We ourselves know him as a principled, compassionate, mature black man committed to justice for his people and the moral welfare of his community. These allegations are totally antithetical to the character of a man we greatly respect. We urge therefore a suspension of judgment pending a thorough investigation, not only of the tragic events of March 16, but of the chain of events preceding them.
Imam Al-Amin has been incarcerated since March 2000 under conditions that seem unnecessarily draconian. In solitary confinement, he was for a time deprived of his Holy Koran, and he has never been permitted to participate in weekly Jumu'ahservices with other members of his faith. He has been silenced by a court-imposed gag order. Before the order, however, he was able to make a personal statement. In the manner of his vocation and faith, the statement is issued in the name of his God, which inclines me to assume its sincerity. We should let him speak in his own voice, excerpted below:
My name is Imam Jamil Abdullah Al-Amin, the former H. Rap Brown. I am a devoted servant of Allah, and an unwavering devotee to His cause. For more than 30 years, I have been tormented and persecuted by my enemies for reasons of race and belief. I seek truth over a lie; I seek justice over injustice; I seek righteousness over the rewards of evildoers, and I love Allah more than I love the state.
On March 16, 2000, Fulton County Sheriff Deputy Ricky Kinchen was killed and Sheriff Aldranon English was shot and injured in the neighborhood where I have lived, worked, and prayed. Indeed, this tragedy occurred across the street from the Mosque I founded. I have been accused by the State of Georgia of having committed these crimes. Let me declare before the families of these men, before the state, and any who would dare to know the truth, that I neither shot nor killed anyone. I am innocent of the 13 charges that have been brought against me. Let me also declare that I am one with the grief of this mother and father at the loss of their son. I am joined at the heart with this widow and her children at the loss of a husband and a father. I drink from the same bitter cup of sorrow as the siblings at the loss of a beloved brother....
[The police] have sought to marginalize my humanity and humiliate my family. They have done their level best to reduce me to a one-dimensional monster.... I am no monster. I am a human being created by Allah and am an instrument of his purpose. I am entitled to every right and every consideration as every other human being including fairness, a fair trial and the presumption of innocence.
The trial currently under way may not prove particularly inspiring, but it will certainly be instructive. It doubtless can do little to resolve, or, in the fashion of the day, deconstruct, the prevailing paradox of the Brown/Al-Amin personas. Thus it will tell us less about the accused than about justice and the state of the nation in its present mood. Less about guilt or innocence than about respect for human rights.
For, as Jimmy Baldwin, our late Prophet, warned, "In the private chambers of the soul, the guilty party is identified and the accusing finger is not legend but consequence.... A people pay for what they do, and still more for what they allow themselves to become. And they pay for it simply by the life they lead."
It is now for the state and Al-Amin's fellow citizens to speak. In the national mood following the horrific events of September 11, it will be instructive to see what they say.
I offer these brief remarks today as a prayer for our country, with love
of democracy, as a celebration of our country. With love for our country.
With hope for our country.