The grand ambition of the Rev. Al Sharpton.
The reporting was scandalous, too.
Drive across the United
States, mostly on Interstate 40, and you have plenty of time to
listen to the radio. Even more time than usual if, to take my own
situation, you're in a 1976 Ford 530 one-ton, plowing along at 50
mph. By day I listen to FM.
Bunked down at night, there's
some choice on the motels' cable systems, all the way from C-SPAN to
pay-as-you-snooze filth, though there's much less of that than there
used to be. Or maybe you have to go to a Marriott or kindred high-end
place to get it. By contrast, the choice on daytime radio, FM or AM,
is indeed a vast wasteland, far more bleak than the high plains of
Texas and New Mexico I've been looking at for the past couple of
days. It's awful. Even the religious stuff has gone to the dogs. I
remember twenty years ago making the same drive through the Bible
Belt and you'd hear crazed preachers raving in tongues. These days
hell has gone to love. Christian radio is so warm and fuzzy you'd
think you were listening to Terry Gross.
By any measure,
and you don't need to drive along I-40 to find this out, radio in
this country is in ghastly shape. Since the 1996 Telecommunications
"Reform" Act, conceived in darkness and signed in stealth, the
situation has got even worse. Twenty, thirty years ago broadcasters
could own only a dozen stations nationwide and no more than two in
any single market. Clear Channel Communications alone owns and
operates almost 1,200 stations pumping out identical muck in all
states. Since 1996 there's been a colossal shakeout. Small
broadcasters can no longer hack it. Two or three companies, with
eight stations each, can control a market. Bob McChesney cites an
industry publication as saying that the amount of advertising is up
to eighteen minutes an hour, with the commercials separated by the
same endless golden oldies. On I-40 in Tennessee alone I listened to
"Help!" at least sixteen times.
The new chairman of the
FCC, Colin Powell's son Michael, has just made life even easier for
Clear Channel and the other big groups. On March 12 he OK'd
thirty-two mergers and kindred transactions in twenty-six markets.
Three days later, at the instigation of the FCC, cops burst into
Radio Free Cascadia in Eugene, Oregon, seized broadcasting equipment
and shut RFC down.
Michael Powell--actually installed on
the FCC by Clinton in 1997, no doubt eager to stroke Powell Senior at
the time--is clearly aiming for higher things than the FCC, and he's
certainly increased his own family's resources. His OK of the
AOL-Time Warner merger stands to net his father, a man freighted with
AOL stock options derived from his recent service on that company's
board, many millions of dollars. Michael insists there was a Chinese
wall across the family dining table and that he and Dad never chatted
about AOL. Why would they need to? If there's a hippo on the hearth
rug, you don't need to put a sign on it.
Is there any chink
of light amid the darkness of Radioland? Yes, there is. Several, in
fact. For one thing, the tide may be turning in the Pacifica fight.
In the recent meeting in Houston the national Pacifica board took a
beating in its effort to fix the bylaws so as to make it easier to
continue its mission of destruction. And recent court decisions in
California have favored courtroom challenges to the national board's
onslaughts on local control of stations such as KPFA.
all, the Pacifica Board is now reaping the consequences of its
forcible late-night seizure of WBAI offices last December and the
barely credible arrogance and stupidity of WBAI interim station
manager Utrice Leid, who on March 5 pulled the plug on Representative
Major Owens in the midst of a live broadcast because he dared discuss
A furious Owens has now raised a stink
on the floor of the House about Pacifica's highhanded conduct and has
put forward a plan to settle the row. Somewhere down the road we can
maybe see a scenario developing in which the Pacifica National Board
gets pushed toward the exit. Meanwhile, Juan Gonzalez, who resigned
from Democracy Now! recently, recommends: Don't finance the
enemy. Put your contributions to Pacifica stations in
And low-power radio? The commercial broadcasters
fought savagely all last year to beat back the FCC's admittedly
flawed plan to license more than 1,000 low-power stations. In the end
the radio lobby attached a rider to an appropriations bill signed by
Clinton late last year, with provisions insuring that low power would
never gain a foothold in cities, also insuring that the pirate
broadcasters of yesteryear, who created the momentum for low power,
could never get licenses. But make no mistake who the real villain
was. Listen to Peter Franck of the National Lawyers Guild in San
Francisco, who has been a leading force in the push for low-power FM.
"From talking to people in DC it is absolutely clear that if NPR had
not vigorously joined the National Association of Broadcasters in its
attempt to kill microradio, the legislation would not have gone
But all would-be low-power broadcasters should
know that right now there's opportunity. The FCC has been accepting
applications for licenses (in some regions the window has already
closed), and mostly it's been conservatives (churches included)
jumping in. In many states you can still make applications to the
FCC. Jump in! Contact the Lawyers Guild's Center on Democratic
Communications at (415) 522-9814 or Aakorn@igc.org, but first take a
look at their website (www.nlgcdc.org).
These fights are
all essentially the same, against the same enemy, whether in the form
of the Pacifica board or the directors of NPR or the NAB or the
government: the fight for democracy in communications. Here Franck
and others are already contemplating a deeper assault on the 1996 act
and the 1934 Communications Act, on constitutional grounds. The
purpose of the First Amendment is democracy. Democracy requires a
broad range of opinion. After sixty-five years of a commercially
based media system we have a narrow range of debate; this abuse of
the airwaves is therefore unconstitutional. That's a big fight, but
here it comes.
Adrian Wilson can't make a lobbying trip to
Albany anytime soon: The New York State Department of Corrections
does not escort its prisoners to the state capital for teach-ins. But
his story--typical of the 22,000 nonviolent drug offenders in New
York's cellblocks on any given day--could serve as the centerpiece of
the campaign now under way for the long-overdue repeal of the
notoriously punitive Rockefeller drug laws. In 1983 Wilson, an
African-American, then 29, was arrested for drug possession--his
first offense--and prosecutors offered him a plea bargain that would
have required him to undergo electroshock treatments and eight
months' incarceration. Wilson chose instead to exercise his
constitutional right to a trial. Convicted of possessing four ounces
of cocaine, instead of eight months he faced a mandatory prison term
of fifteen years to life.
No single moment in the history
of US criminal justice matches the destructive impact of the New York
legislature's 1973 session. That was when Governor Nelson Rockefeller
set the tone for a national wave of prison-packing schemes with the
drug laws that bear his name. As Wilson's case illustrates, the
Rockefeller drug laws combined two regressive criminal justice
policies into a new and potent brew: They prescribe imprisonment
rather than treatment for drug offenders, and they establish
mandatory minimum sentences and give the power to decide sentences to
the prosecutors, who choose charges, rather than to the judges
The outcome, repeated thousands of times
daily around the country: Nonviolent drug offenders like Wilson get
punished not in proportion to any presumed threat to society but for
daring to inconvenience prosecutors with a trial. With built-in
incentives for police and prosecutors to concentrate on low-level
users and with racial discrimination an inevitability, the
Rockefeller drug laws are the ancestor of just about every regressive
criminal justice policy since enacted--three-strikes laws, federal
sentencing guidelines and zero-tolerance police sweeps.
With the cost for imprisoning Rockefeller drug offenders
topping $710 million per year, Governor George Pataki has at last
proposed a package of reforms reducing minimum drug sentences and
expanding treatment. Assembly Democrats--many of whom have dodged the
issue for years until Pataki opened the door--have upped the ante,
proposing more sweeping discretion for judges and more money for drug
treatment. The Correctional Association of New York and a broad array
of activist, religious and legal-reform groups have launched a Drop
the Rock campaign (kicked off with a March 1 forum in Manhattan
co-sponsored by the Nation Institute), which on March 27 will bring
thousands to Albany for a day of teach-ins and citizen lobbying. Only
a handful of district attorneys, worried about losing their
sentencing leverage in plea bargains, are holding out for the
Rockefeller status quo.
So the question is not whether New York will reform but if reform will go far enough. Pataki's plan would not give judges any more discretion for Class B felonies, the most commonly charged drug offenses in New York, and would actually
increase some minimum sentences. Pataki would allow prosecutors to handpick the offenders tracked into treatment--a certain recipe for abuse and another usurpation of the proper authority of judges. Perhaps most important, Pataki has so far come nowhere near proposing a budget for drug treatment commensurate with the need. Drug-law reform without a commitment to drug treatment is a half-measure, similar to the 1980s deinstitutionalization of psychiatric patients
with no system of community mental healthcare in place.
New York, which for years styled itself as a pioneer in criminal justice
policy, is now playing catch-up to states like California, whose
voters last November overwhelmingly approved a treatment-over-prison
referendum for first- and second-time offenders, or Colorado and
Nevada, which have passed medical-marijuana measures. But the
Rockefeller laws are the founding charter of the failed war on drugs,
and their repeal would turn state reform tremors into an American
earthquake. In immediate impact on the lives of the poor and people
of color, and as a long-term shift in national priorities, there will
be no more important campaign this year. It's time to Drop the
This is not about profits and
patents; it's about poverty and a devastating disease." That
statement did not come from AIDS activists struggling to provide
sub-Saharan Africa's 25 million HIV-positive people with access to
life-extending medications. It came from the executive vice president
of Bristol-Myers Squibb, which recently announced it would slash
prices on its two AIDS drugs and forgo patents on one of them. A week
earlier, Merck & Co. said it would lower prices on its two AIDS
drugs not just in Africa but, pending review, in other heavily
affected countries as well.
What's going on is not a
change of heart on the part of "Big Pharma"--which John le
Carré describes in this issue as a group of
"multibillion-dollar multinational corporations that view the
exploitation of the world's sick and dying as a sacred duty to their
shareholders." Far from being a humanitarian action, the price
reductions represent an attempt to preserve patent rights by
diffusing international pressure for generic manufacturing.
Revealingly, neither BMS nor Merck has withdrawn from a suit against
the South African government brought by thirty-nine pharmaceuticals
seeking to prohibit importation of generic drugs, which they claim
would violate their patents.
The Indian generic
manufacturer Cipla announced in February that it would sell the
entire AIDS triple-therapy combination at $350 per person, per year,
and other generic manufacturers, in Thailand and Brazil, currently
offer AIDS drugs at a fraction of multinational prices. By
comparison, the Wall Street Journal reported that a
combination of AIDS drugs from BMS and Merck would cost between $865
and $965 per person, per year. If those prices were multiplied by the
number of AIDS patients in, say, Zimbabwe, a relatively prosperous
country by African standards, the total would come to about 20
percent of its GDP. And that sum doesn't include the investments in
healthcare infrastructure needed to distribute and monitor the drugs'
But even if poor African countries could somehow find
the money to pay the high patent-protected prices of the drug giants
(the $26.6 billion a year it would cost to provide all Africa with
AIDS drugs is no more than about a third of what Bush's tax plan
would give to America's wealthiest 1 percent), that would not be the
end of their problems. Rather, such a course would lock them into
exclusive trade agreements with multinationals and put them at the
continual mercy of Western foreign aid budgets. As new treatments are
developed, Africa would have to negotiate new price reductions,
country by country, company by company.
If the solutions
lie with generic manufacturing (not just for AIDS medications but for
a slew of vital drugs for malaria and other ills), then circumventing
existing international patent regulations is a necessity. The trial
in South Africa over compulsory licensing is one crucial test of the
viability of this option. Another potential plan would be for the
National Institutes of Health to give patents owned by the US
government on publicly funded AIDS drugs to the World Health
Organization, thereby licensing it to oversee generic manufacturing.
Why not, in fact, let governments underwrite the entire cost of drug
research--rather than, as now, underwriting substantial amounts of
the research, which drug companies then exploit--and do away with
Whatever the recourse, and despite the
well-publicized gestures by multinational pharmaceutical companies,
the solutions to Africa's AIDS epidemic lie in sustainable
competitive drug production, not momentary self-interested
Many compared it to marching through a dream.
After seven years under siege by 70,000 Mexican Army troops in the
jungles and highlands of Chiapas, the Zapatista National Liberation
Army (EZLN) sent twenty-four delegates, including its pipe-smoking
writer-spokesman Subcomandante Marcos, on a triumphant two-week
motorcade that landed in Mexico City on March 11.
believe that in any place, in any space in this world--and I have the
memory of my own revolution twenty-six years ago--I don't remember a
more moving moment than I lived yesterday," declared the
septuagenarian Portuguese Nobel Prize-winning author José
Saramago the next morning.
The US press coverage of the
march, limited though it was, hinted at such an apotheosis: the
cheering multitudes that greeted the Zapatistas from the roadsides
and at mass rallies in twelve states along the route, the flowery
words of peace and civil rights coming to Mexico's mythical newfound
democracy. But for the Zapatistas and Mexico's indigenous movement,
the struggle now turns into a battle to codify the movement's
progress into law.
The caravan came to demand
constitutional recognition for Mexico's 10 million indigenous
citizens, subjected to generations of repression, poverty, racism and
exploitation of their lands and labor. As Mexico's President Vicente
Fox passed his hundredth day in office, he reiterated calls to the
Zapatistas to negotiate a peace. Not until the government fulfills
the promises it has already made, answered the rebels: release of
Zapatista political prisoners, closure of seven of the 259 military
bases in Chiapas, and congressional passage of the law that would
ratify the 1996 San Andrés peace agreements signed by the
government [see Jerry W. Sanders, "Two Mexicos and Fox's Quandary,"
The geographical advance was accompanied by a
steady rise in the popularity of Marcos and the Zapatistas in opinion
polls, an average gain of two percentage points per day, with over 50
percent in support. The implementation of the San Andrés
Accords is now the sticking point. Marcos and the Zapatistas, with
more than 1,000 delegates from the Indigenous National Congress,
encamped at the base of Mexico City's Cuicuilco pyramid--a circular,
370-foot-diameter stone monument that has survived at least 2,600
years of lava flows, earthquakes and urban
Underscoring their credo, "We will not sign a false
peace," the Zapatistas caused a fierce uproar when, as the caravan
was launched from San Cristóbal, Chiapas, they named architect
Fernando Yáñez Muñoz as their representative to
the federal Congress. Mexican police agencies have long claimed that
Yáñez is Comandante Germán, the feared national
guerrilla leader of the 1970s and '80s who, they say, helped found
the Zapatista army in the jungle in 1983, a charge that
Yáñez has denied. The Zapatistas have also, for the
first time, called upon other guerrilla movements to protect their
journey and remain alert, implying that if the state doesn't keep its
word, an armed guerrilla response could explode
María Luisa Tomasini, 78, a Chiapas
native designated by Marcos as the "grandmother of all the
Zapatistas," analyzed his call to the other insurgent groupsas she
was returning from the March 7 Zapatista rally in Iguala, Guerrero, a
state with at least sixteen armed clandestine guerrilla
organizations. "Clearly," she said, "it was a threat to the
government that it had better comply."
The powerful sectors
that have always gotten their way in Mexico--bankers, chambers of
commerce chiefs, right-wing clergy, the TV networks and key
legislators--are working furiously to sabotage the road to a genuine
peace. Fox's party, the PAN, teamed up with the former ruling party,
the PRI, against the left-wing PRD party to propose that the
Zapatistas meet with twenty congressional leaders instead of the
entire Congress. Marcos, noting that the indigenous of Mexico have
always been hidden "in the kitchen, on the back porch," rejected the
offer, arguing that the Zapatistas and the Indigenous National
Congress deserve to address the whole Congress. Hard-liners continue
to seek any roadblock to passage of the full indigenous rights bill
with hysterical claims that autonomy would fracture the nation, and
they vow radical surgery to the initiative.
On March 19 the
Zapatistas announced they will return to the jungle, citing the
"close minded" attitude of "cavemen politicians," saying, "Nothing
will be able to stop the popular mobilization" that stems from the
Congress's failure to act. "We will return with everyone who we are."
Immediately, thirteen national peasant-farmer groups pledged
nationwide marches, students plotted direct action and five major
indigenous groups in Oaxaca vowed to close the Pan American Highway
until Congress passes the accords. Congressional leaders begged the
Zapatistas to stay, Fox urged the Congress to meet with the rebels
and the drama now moves in unpredictable directions.
guiding principle of the San Andrés Accords is autonomy. The
word has galvanized many beyond Mexico's indigenous populations. The
battered Mexican left--peasant farmers, urban workers and especially
the nation's youth--view themselves, too, under the banner of
autonomy. Indeed, the popularity of the Zapatista struggle around the
world derives at least in part from the coherent language of
opposition to globalized and savage capitalism that they have
constructed. French sociologist Alain Torraine, who accompanied the
caravan, praised the Zapatistas during a March 12 discussion with
Marcos and the comandantes in Mexico City, marveling, "The entire
world, and we are speaking of the left, is looking for a new
language." Comandante David, a Tzotzil delegate who was a chief
negotiator and architect of the San Andrés Accords,
acknowledges that the demand for autonomy goes far beyond indigenous
rights. "We are going to explain directly to the indigenous and
nonindigenous brothers of the country that indigenous rights are for
the good of all the peoples," he said while preparing to leave on the
Autonomy--what might be called "home rule" in
other parts of the world--includes local control of land use, a sore
point for big business in Mexico, its eyes on natural
Beyond Mexico, US investors and corporate
interests, with expectations that Fox will be the most effective
deliveryman yet of Mexican resources under NAFTA, are stoking the
subterfuge. Former US Ambassador to Mexico James Jones, now a
railroad baron and rainmaker for the Manat, Phelps and Phillips law
and lobbying firm in Washington, is on the board of directors of TV
Azteca, the most notorious manipulator of public opinion among all
the Mexican media. TV Azteca joined the other broadcasting giant,
Televisa, to present a March 3 Concert for Peace live from Aztec
Stadium, featuring a laser light show, a Woodstock-style logo and the
usual condescension toward "our indigenous brothers." The prepackaged
video aired with the concert didn't mention autonomy, or indigenous
political prisoners, or 500 years of conquest--certainly not justice
in connection with the 1997 massacre of unarmed indigenous peasants
at Acteal. The only proposed solution was to send aid to the poor,
barefoot indigenous communities, an approach known in Mexican
politics as "clientism." Many analysts saw Fox's fingerprints on the
TV peace show, as both stations rely on state permission to broadcast
in Mexico. Indeed, one of the demands of the San Andrés
Accords is the right of indigenous peoples to break that control by
forming their own media, including the use of radio and television
The question of indigenous autonomy also has
consequences for the US-imposed "war on drugs." The San Andrés
Accords would restore indigenous rights to the use of currently
illicit sacred plants and codify the pre-eminence of ancient forms of
community justice. Luciano, a spokesman for the Zapatista community
of Polho, explained to me in 1998 how the autonomous system works
without constructing a single prison cell: "If a young man grows
marijuana, he goes before a municipal judge to be disciplined and
oriented so that he won't ever do it again. If the youth does it
again, there is no response whatsoever: He cannot be pardoned a
second time. He would then be expelled from the
That the Zapatista communities have had far
more success in driving out the narcotraffickers and preventing drug
and alcohol abuse than any other region of the Americas is of little
concern to the big talkers of law and order. Opponents charge that
autonomy in matters of criminal justice would "balkanize" the country
and subvert the "rule of law."
Indigenous and social
movements across Latin America--in Ecuador, Colombia, Bolivia, Peru,
Panama, Brazil and other nations--had representatives quietly
observing the caravan. In spite of the powers stacked against them,
the Zapatistas, newly strengthened, their national support deepened,
have many cards yet to play in forcing legislative victory. In the
latest of the ironies under NAFTA, autonomy may thus, and soon,
become Mexico's leading export product.
Big Pharma's dark underside.
With negotiations between the Writers Guild and some of Hollywood's major film studios and TV networks at an impasse as the May 1 deadline nears, putting the panic of a strike in the usually gilded air, we're reminded of the often uneasy relationships between writers and the film industry--which Raymond Chandler amply described in writings outside his famous novels. The following are portions excerpted from The Raymond Chandler Papers: Selected Letters and Non-Fiction, 1909-1959, edited by Tom Hiney and Frank MacShane and published in April by Atlantic Monthly Press.
Letter to Erle Stanley Gardner, January 29, 1946. Chandler was working steadily on a fifth Marlowe novel. The cheap editions of all four earlier Marlowes were now selling in the hundreds of thousands, and Newsweek had reported in 1945 that "Chandlerism, a select cult a year ago, is about to engulf the nation."
Most of what you write is a complete surprise to me--including the idea that you are a lousy writer.... As I speak I have two solid rows of Gardners in front of me, and am still trying to shop around to complete the collection. I probably know as much about the essential qualities of good writing as anybody now discussing it. I do not discuss these things professionally for the simple reason that I do not consider it worthwhile. I am not interested in pleasing the intellectuals by writing literary criticism, because literary criticism as an art has in these days too narrow a scope and too limited a public, just as has poetry. I do not believe it is a writer's function to talk to a dead generation of leisured people who once had time to relish the niceties of critical thought. The critics of today are tired Bostonians like Van Wyck Brooks or smart-alecks like Fadiman or honest men confused by the futility of their job, like Edmund Wilson. The reading public is intellectually adolescent at best, and it is obvious that what is called "significant literature" will only be sold to this public by exactly the same methods as are used to sell it toothpaste, cathartics and automobiles. It is equally obvious that since this public has been taught to read by brute force it will, in between its bouts with the latest "significant" bestseller, want to read books that are fun and excitement. So like all half-educated publics in all ages it turns with relief to the man who tells a story and nothing else. To say that what this man writes is not literature is just like saying that a book can't be any good if it makes you want to read it. When a book, any sort of book, reaches a certain intensity of artistic performance, it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball. That is to me what you have more than anything else and more than anyone else. Dumas Père had it. Dickens, allowing for his Victorian muddle, had it; begging your pardon I don't think Edgar Wallace approached it. His stories died all along the line and had to be revived. Yours don't. Every page throws the hook for the next. I call this a kind of genius. I regard myself as a pretty exacting reader; detective stories as such don't mean a thing to me. But it must be obvious that if I have half a dozen unread books beside my chair and one of them is a Perry Mason, and I reach for the Perry Mason and let the others wait, that book must have a quality.
As to me, I am not busy and I am not successful in any important way. I don't get written what I want to write and I get balled up in what I write. I made a lot of money last year, but the government took half of it and expenses took half of the rest. I'm not poor, but neither am I in anything like your condition, or ever will be. My wife has been under the weather with the flu for ten days, but she wants to come down to your place as much as I do. I'm working at home because I refused to report to Paramount and took a suspension. They refused to tear up my contract. A writer has no real chance in pictures unless he is willing to become a producer, and that is too tough for me. The last picture I worked on was just one long row.
Letter to Alfred Knopf, January 12, 1946. Though Knopf was no longer Chandler's publisher, he and Chandler had buried the hatchet and were to remain in touch for the rest of Chandler's life. Knopf had written in response to reading Chandler's article in The Atlantic Monthly about screenwriting.
One of the troubles is that it seems quite impossible in Hollywood to convince anyone that a man would turn his back on a whopping salary--whopping by the standards of normal living--for any reason but a tactical manoeuvre through which he hopes to acquire a still more whopping salary. What I want is something quite different: a freedom from datelines and unnatural pressures, and a right to find and work with those few people in Hollywood whose purpose is to make the best pictures possible within the limitations of a popular art, not merely to repeat the old and vulgar formulae. And only a little of that.
The ethics of this industry may be judged by the fact that late last night a very important independent producer called me up and asked me to do a screenplay of one of the most advertised projects of the year, do it on the quiet, secretly, with full knowledge that it would be a violation of my contract. That meant nothing to him; it never occurred to him that he was insulting me. Perhaps, in spite of my faults, I still have a sense of honor. I may quarrel, but at least I put the point at issue down on the table in front of me. I am perfectly willing to let them examine my sleeves for hidden cards. But I don't think they really want to. They would be horrified to find them empty. They do not like to deal with honest men.
From the beginning, from the first pulp story, it was always with me a question (first of course of how to write a story at all) of putting into the stuff something they would not shy off from, perhaps even not know was there as a conscious realization, but which would somehow distill through their minds and leave an afterglow. A man with a realistic habit of thought can no longer write for intellectuals. There are too few of them and they are too specious. Neither can he deliberately write for people he despises, or for the slick magazines (Hollywood is less degrading than that), or for money alone. There must be idealism but there must also be contempt. This kind of talk may seem a little ridiculous coming from me. It is possibly that like Max Beerbohm I was born half a century too late, and that I too belong to an age of grace. I could so easily have become everything our world has no use for. So I wrote for the Black Mask. What a wry joke.
No doubt I have learned a lot from Hollywood. Please do not think I completely despise it, because I don't. The best proof of that may be that every producer I have worked for I would work for again, and every one of them, in spite of my tantrums, would be glad to have me. But the overall picture, as the boys say, is of a degraded community whose idealism even is largely fake. The pretentiousness, the bogus enthusiasm, the constant drinking and drabbing, the incessant squabbling over money, the all-pervasive agent, the strutting of the big shots (and their usually utter incompetence to achieve anything they start out to do), the constant fear of losing all this fairy gold and being the nothing they have really never ceased to be, the snide tricks, the whole damn mess is out of this world. It is a great subject for a novel--probably the greatest still untouched. But how to do it with a level mind, that's the thing that baffles me. It is like one of these South American palace revolutions conducted by officers in comic opera uniforms--only when the thing is over the ragged dead men lie in rows against the wall, and you suddenly know that this is not funny, this is the Roman circus, and damn near the end of civilization.
Chandler having decided to stop studio work and move permanently to La Jolla, The Atlantic Monthly persuaded him to report on the 1946 Oscar ceremony for them.
If you think most motion pictures are bad, which they are (including the foreign), find out from some initiate how they are made, and you will be astonished that any of them could be good. Making a fine motion picture is like painting "The Laughing Cavalier" in Macy's basement, with a floorwalker to mix your colours for you. Of course most motion pictures are bad. Why wouldn't they be? Apart from its own intrinsic handicaps of excessive cost, hypercritical bluenosed censorship, and the lack of any single-minded controlling force in the making, the motion picture is bad because 90 per cent of its source material is tripe, and the other 10 per cent is a little too virile and plain-spoken for the petty-minded clerics, the elderly ingénues of the women's clubs, and the tender guardians of that godawful mixture of boredom and bad manners known more eloquently as the Impressionable Age.
The point is not whether there are bad motion pictures or even whether the average motion picture is bad, but whether the motion picture is an artistic medium of sufficient dignity and accomplishment to be treated with respect by the people who control its destinies. Those who deride the motion picture usually are satisfied that they have thrown the book at it by declaring it to be a form of mass entertainment. As if that meant anything. Greek drama, which is still considered quite respectable by most intellectuals, was mass entertainment to the Athenian freeman. So, within its economic and topographical limits, was the Elizabethan drama. The great cathedrals of Europe, although not exactly built to while away an afternoon, certainly had an aesthetic and spiritual effect on the ordinary man. Today, if not always, the fugues and chorales of Bach, the symphonies of Mozart, Borodin, and Brahms, the violin concertos of Vivaldi, the piano sonatas of Scarlatti, and a great deal of what was once rather recondite music are mass entertainment by virtue of radio. Not all fools love it, but not all fools love anything more literate than a comic strip. It might reasonably be said that all art at some time and in some manner becomes mass entertainment, and that if it does not it dies and is forgotten.
The motion picture admittedly is faced with too large a mass; it must please too many people and offend too few, the second of these restrictions being infinitely more damaging to it artistically than the first. The people who sneer at the motion picture as an art form are furthermore seldom willing to consider it at its best. They insist upon judging it by the picture they saw last week or yesterday; which is even more absurd (in view of the sheer quantity or production) than to judge literature by last week's ten bestsellers, or the dramatic art by even the best of the current Broadway hits. In a novel you can still say what you like, and the stage is free almost to the point of obscenity, but the motion picture made in Hollywood, if it is to create art at all, must do so within such strangling limitations of subject and treatment that it is a blind wonder it ever achieves any distinction beyond the purely mechanical slickness of a glass and chromium bathroom. If it were merely a transplanted literary or dramatic art, it certainly would not. The hucksters and the bluenoses would between them see to that.
But the motion picture is not a transplanted literary or dramatic art, any more than it is a plastic art. It has elements of all these, but in its essential structure it is much closer to music, the sense that its finest effects can be independent of precise meaning, that its transitions can be more eloquent than its high-lit scenes, and that its dissolves and camera movements, which cannot be censored, are often far more emotionally effective than its plots, which can. Not only is the motion picture an art, but it is the one entirely new art that has been evolved on this planet for hundreds of years. It is the only art at which we of this generation have any possible chance to greatly excel.
In painting, music and architecture we are not even second-rate by comparison with the best work of the past. In sculpture we are just funny. In prose literature we not only lack style but we lack the educational and historical background to know what style is. Our fiction and drama are adept, empty, often intriguing, and so mechanical that in another fifty years at most they will be produced by machines with rows of push buttons. We have no popular poetry in the grand style, merely delicate or witty or bitter or obscure verses. Our novels are transient propaganda when they are what is called "significant," and bedtime reading when they are not.
But in the motion picture we possess an art medium whose glories are not all behind us. It has already produced great work, and if, comparatively and proportionately, far too little of that great work has been achieved in Hollywood, I think that is all the more reason why in its annual tribal dance of the stars and the big-shot producers Hollywood should contrive a little quiet awareness of the fact. Of course it won't. I'm just daydreaming.
Show business has always been a little overnoisy, overdressed, overbrash. Actors are threatened people. Before films came along to make them rich they often had need of a desperate gaiety. Some of these qualities prolonged beyond a strict necessity have passed into the Hollywood mores and produced that very exhausting thing, the Hollywood manner, which is a chronic case of spurious excitement over absolutely nothing. Nevertheless, and for once in a lifetime, I have to admit that Academy Awards night is a good show and quite funny in spots, although I'll admire you if you can laugh at all of it.
If you can go past those awful idiot faces on the bleachers outside the theater without a sense of the collapse of the human intelligence; if you can stand the hailstorm of flash bulbs popping at the poor patient actors who, like kings and queens, have never the right to look bored; if you can glance out over this gathered assemblage of what is supposed to be the elite of Hollywood and say to yourself without a sinking feeling, "In these hands lie the destinies of the only original art the modern world has conceived"; if you can laugh, and you probably will, at the cast-off jokes from the comedians on the stage, stuff that wasn't good enough to use on their radio shows; if you can stand the fake sentimentality and the platitudes of the officials and the mincing elocution of the glamour queens (you ought to hear them with four martinis down the hatch); if you can do all these things with grace and pleasure, and not have a wild and forsaken horror at the thought that most of these people actually take this shoddy performance seriously; and if you can then go out into the night to see half the police force of Los Angeles gathered to protect the golden ones from the mob in the free seats but not from that awful moaning sound they give out, like destiny whistling through a hollow shell; if you can do all these things and still feel next morning that the picture business is worth the attention of one single intelligent, artistic mind, then in the picture business you certainly belong.
Letter to Charles Morton, November 22, 1950.
Television is really what we've been looking for all our lives. It took a certain amount of effort to go to the movies. Somebody had to stay with the kids. You had to get the car out of the garage. That was hard work. And you had to drive and park. Sometimes you had to walk as far as half a block to the theater. Then people with big fat heads would sit in front of you and make you nervous... Radio was a lot better, but there wasn't anything to look at. Your gaze wandered around the room and you might start thinking of other things--things you didn't want to think about. You had to use a little imagination to build yourself a picture of what was going on just by the sound. But television's perfect. You turn a few knobs and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don't have to concentrate. You don't have to react. You don't have to remember. You don't miss your brain because you don't need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in poor man's nirvana. And if some nasty-minded person comes along and says you look more like a fly on a can of garbage, pay him no mind...just who should one be mad at anyway? Did you think the advertising agencies created vulgarity and the moronic mind that accepts it? To me television is just one more facet of that considerable segment of our civilization that never had any standard but the soft buck.
Letter to Gene Levitt, who had been adapting Marlowe for the radio show, November 22, 1950.
I am only a very recent possessor of a television set. It is a very dangerous medium. And as for the commercials--well, I understand that the concoction of these is a business in itself, a business that makes prostitution or the drug traffic seem quite respectable. It was bad enough to have the sub-human hucksters controlling radio, but television does something to you which radio never did. It prevents you from forming any kind of a mental picture and forces you to look at a caricature instead.
Letter to Dale Warren, November 7, 1951.
You ask me how anybody can survive Hollywood? Well, I must say that I personally had a lot of fun there. But how long you can survive depends a great deal on what sort of people you have to work with. You meet a lot of bastards, but they usually have some saving grace. A writer who can get himself teamed up with a director or a producer who will give him a square deal, a really square deal, can get a lot of satisfaction out of his work. Unfortunately that doesn't happen often. If you go to Hollywood just to make money, you have to be pretty cynical about it and not care too much what you do. And if you really believe in the art of the film, it's a long job and you really should forget about any other kind of writing. A preoccupation with words for their own sake is fatal to good film making. It's not what films are for. It's not my cup of tea, but it could have been if I'd started it twenty years earlier. But twenty years earlier of course I could never have got there, and that is true of a great many people. They don't want you until you have made a name, and you have developed some kind of talent which they can't use. The best scenes I ever wrote were practically monosyllabic. And the best short scene I ever wrote, by my own judgement, was one in which a girl said "uh-huh" three times with three different intonations, and that's all there was to it. The hell of good film writing is that the most important part is what is left out. It's left out because the camera and the actors can do it better and quicker, above all quicker. But it had to be there in the beginning.
Letter to Carl Brandt, regarding television, November 15, 1951.
However toplofty and idealistic a man may be, he can always rationalize his right to earn money. After all the public is entitled to what it wants. The Romans knew that and even they lasted four hundred years after they started to putrefy.
In many instances, those who fetishize holy objects or sacred places are the very ones who exhibit the most depraved indifference to human life.
In the near future we plan to expand our faith-based initiative, Holy Terror Sandblasting and Demolition Corp. New York City Mayor Rudolph Giuliani finds much merit in our proposal for a workfare program in which homeless people (men only, naturellement!) would be trained in medieval theology, art criticism and the use of explosives. Please send dollars and the floor plan of the Brooklyn Museum. Or else.
Dear Professor DiIulio,
With medical costs going through the roof, you'd think there'd be a better way. And now, with the Lord's help, there is! Our idea is to buy up struggling inner-city hospitals and turn them into profit centers--no doctors, no nurses, no fancy-shmancy machines and best of all, no messy malpractice suits. Just the blessed healing power of prayer, provided 24 hours a day at bedside by recovering drug addicts as part of their therapy. It's total win-win--the government saves, the patient is saved--if not in this world, the next. And that's the world that counts, right?
Rev. Tommy Johnson
Pentecostal Holiness Church, Memphis, TN
People say communism is just another religion, and they're right! We have everything the other faiths have--an all-encompassing worldview, sacred texts, meetings (and how!), schisms, excommunications and declining numbers and influence. We'd like to reverse that last item with funding for our workfare proposal: First, we provide welfare mothers a crash course in job readiness, parenting skills and the works of Karl Marx. Then, we get them jobs in daycare centers, where they pass their new "faith" on to the next generation, hopefully in time for the stock market crash. Don't count us out--a god that failed is still a god.
The Communist Party, USA
Dear Brother in Christ,
Did you know the Chicago Archdiocese has an exorcist on staff? Our faith-based initiative, The Exercist, would get this superbly trained but underutilized man out of the apse and into the community, where he'd help the so-called mentally ill get their sillies out with a carefully graduated low-impact aerobic workout that goes beyond head swiveling and projectile vomiting to get at the real nitty-gritty of diabolical possession! Then, everyone cools down with a sharing session, novena and group hug: because admitting you're possessed by the Devil is half the cure!
Hope to hear from you soon,
Msgr. George O'Reilly
Roman Catholic Archdiocese of Chicago
Dear Prof. DiIulio,
For ten years we've been trying to get our own public school district so our kids wouldn't have to go to school with goyim. The courts keep turning us down. Then we wanted buses with only male drivers and sex-segregated seating, and the self-hating Jewish liberals said no to that too. So we would like to become a Faith-Based Initiative with ourselves as clients. Our project is, we stay in our own town and only talk to each other. Because that's what G-d wants. Eventually we hope to get NEA funding as a conceptual art project ("The Choice: Chosen People Choose Themselves"), but a starter grant from your office would really put us on track.
Let us know,
Rabbi Shlomo Greenblatt, Kiryas Joel, NY
Ever wonder what's really behind that weird weather of recent years ? Hint: It's a long time between burnt offerings. How about paying some deadbeat dads to slaughter a herd of oxen and throw those fabulous thighbones on the barbie? Everybody benefits: They learn the meat business, you get fruitful harvests, favorable winds and calm winedark seas, and we get a decent meal. Reply soonest--the wife is pushing me to zap you with a thunderbolt.
Death Row Dad is a moving story of one father's embrace of capital punishment--despite his own imminent execution! While his ACLU lawyer tries frantically to turn up new evidence even as his own marriage unravels, and beautiful crusading nun Helen Prejean pleads with the governor for a stay, Leroy, who is in fact innocent, wants only that his son renounce his homosexual lifestyle and accept Christ as his personal savior. Soon the whole prison--even the crusty warden and a pair of racist guards--is praying for Leroy to get his wish. Jack, I promise you, when Leroy looks up from the gurney just before the lethal injection, sees his son standing there with his new girlfriend, and rejects the last-minute stay of execution ("I reckon the Lord is waitin' for my sorry self"), the audience won't know whether to cheer or go down on its knees. Morgan's people think yes for the lead, Julia's very interested in doing the nun. A major studio is ready to greenlight the minute your office comes through with co-financing.
Talk to you after the prayer meeting,
How about a grant where I become a lay minister and practice laying on of hands? There's a whole heck of a lot of lonely women out there with big spiritual needs. I mean, really big.