as if simple pleasure is not enough

film_noirI like detective stories. Henning Mankell says that character is revealed in moments of crime, or something like that, and he uses his detective novels, many of which are also films, to talk about politics, too. Which makes me feel better about it, as if simple pleasure is not enough. I’ve watched all the Scandinavian crime TV shows on Netflix. The cops hardly ever carry guns. Fat old cops chase down young muscular criminals and catch them, somehow, through sheer force of will or authority. European cops often go right into people’s homes if the people are gone, and we don’t even mind because they are good. European criminals hardly ever think to say they want a lawyer. Usually detectives drink too much, but we don’t hold that against them unless they are female. If they are female, it’s troubling. We worry about them in a way we don’t if they are male, even if we are feminist and know this is illogical. When I read Donna Leon, I want my husband to be Commissario Brunetti, and I want to live in Venice. For a long time after the Supreme Court appointed Bush president, I only read detective novels. I wanted a world in which things got sorted out eventually, a world in which the bad guys lost, the good guys won, the truth prevailed.

taking a picture is not enough

>the two explanationsA man was pushed onto the subway tracks last week and struggled to get out while a station full of people watched. Even more chillingly, someone took a photograph. I heard a radio commentator explain that this happens with crowds. Everyone thinks someone else will take care of the problem. Maybe it’s a message for us all. Maybe it suggests that we might approach problems—not just a stranger who needs help, but everything: climate change; torture; war; extinction; deforestation– as if it is just us on the subway platform, alone, and one man, asking for help.

Sometimes I imagine that writing about problems is enough. It’s what I do, write. It’s what I’m best at, but maybe that’s like being the man with the camera, taking a picture while the train comes.

we are not zombies

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When we questioned the District Attorney about the decision to use a SWAT team that night, a “small army,” as one of the journalists characterized it, the DA said that overwhelming force generally encourages submission. Research shows that, he said. At one time, not too long ago, a SWAT team was called in only in rare cases: when hostages had been taken or if there was a mass shooting, but now they are used for common crimes. They are used to help serve search warrants. Now our police are militarized. There is no longer a clear line between our police force – whose job it is to protect us—and the military – whose mission is to annihilate the enemy.

According to Radley Balko, writing in the Huffington Post, since the 1994, it has been legal for the Pentagon to donate its surplus weapons to the police.

In the 17 years since, literally millions of pieces of equipment designed for use on a foreign battlefield have been handed over for use on U.S. streets, against U.S. citizens. Another law passed in 1997 further streamlined the process. As National Journal reported in 2000, in the first three years after the 1994 law alone, the Pentagon distributed 3,800 M-16s, 2,185 M-14s, 73 grenade launchers, and 112 armored personnel carriers to civilian police agencies across America. Domestic police agencies also got bayonets, tanks, helicopters and even airplanes.

At the end of the 1968 zombie movie, Night of the Living Dead, the police show up. Zombies, they have realized, can be destroyed if you shoot them in the head. They are shooting zombies. Looking up they see a black man, the movie’s hero, at the window of a house, and he is not a zombie, but they quickly shoot him and move on. He is clearly not a zombie, but he is not part of their group either. Like the zombies, he is part of the “other,” and this is what disturbs me about the increasing militarization of the police, that with it comes also an increasing dehumanization, that we all become the enemy, the other.

~this is an excerpt of the book I’m currently writing. Non-fiction, for a change.

Ten Mile

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When Sam got shot by the SWAT team up Ten Mile, I decided to go ahead and write the Ten Mile book.  I’ve been working on it this summer. I’m supposed to write in my blog at least once a week, according to what I read about blogs, but clearly I don’t do that.  I’m writing about Ten Mile, that beautiful place, and I’m writing about the people there: odd, eccentric, capable people. I’m writing about the Indians and the homesteaders, the CO camp nearby which was where the Beat Movement began, the battle over the forest,and poverty. I’m writing about Agent Orange and how, when it was outlawed in Vietnam, Dow Chemical and Monsanto marketed it as a herbicide and brought Agent Orange home to poison our forests and our rural communities. I’m writing about the fact that the worst elements of our culture can sometimes find their way into our most remote places. I’m writing about wilderness and the difference between the responsibility of a person living in the time of Thoreau and the responsibility of person living now. I’m writing about what it means to live within the context of the fact that we are, as Derrick Jensen points out, murdering the planet.  I’m writing about Sam and all the things that converged to make his death not inevitable, as the newspaper said, but likely.

just short of discursive meaning

In DC we went to an atheists rally, but I am not an atheist. It was the biggest atheist rally in history, or something like that. The periphery was lined with people wanting to save our souls, which is something I never understand. I went with Chuck and Maggie. Two atheists whose souls no one should ever worry about.

Afterwards, we went to the National Gallery of Art and looked at paintings by Cassatt, Monet, Manet, Degas, Matisse, Renoir, and Cézanne . In his essay “Impressions of Ernest Hemingway,” Paul Smith says that from Cézanne, Hemingway learned to write sentences that “end just short of verbal or discursive meaning.”  Hemingway himself says, “I was learning something from the paintings of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them. I was learning very much from him but I was not articulate enough to explain it to anyone. Besides it was a secret.” From Cézanne Hemingway saw that what we leave out is as important as what we put in. I used to disparage Hemingway but that’s when I was an ideologue. That’s when I thought I knew so much. When I was like the people on the periphery holding signs warning us about hell.

Three Queens

I’ve begun my young adult novel yet again. How many ways can I write the same story?  It was going to be my simple story, the one I wrote quickly, for fun. Oh, and my agent thought it would sell. Let’s be honest. The first version was disturbingly similar to the movie, The Sixth Sense. Something I didn’t notice until I had completed it. I went back and watched that movie again after someone pointed it out. I had taken the kitchen scene almost verbatim which made me wonder about myself. How much of what I think or imagine is my own? I rewrote the whole novel. I changed everything. I wrote it one way and I wrote it another. It is set in Portland. The protagonist is a sixteen year old girl whose mother died the previous year. My characters always have mother issues, but I don’t. I have a perfectly good mother. My characters have mothers who die or run off, who get arrested, who abandon them.

I am searching for the perfect coffeehouse in Corvallis, Oregon. I do like Market of Choice. MOC has comfortable chairs, is warm, serves Stumptown coffee. Today I am at Interzone, the hip coffeehouse near campus. It also has good coffee. Interzone is not a very good place for me to write because the music is sometimes discordant and it is not warm. Interzone has interesting art on its walls. There are tables outside but it is December and it will be a long time before we can sit out there. When I went to Paris I imagined I’d sit in coffeehouses but it was not so easy to do that. My German friend Maria took me to the coffeehouse where Sarte used to hang out but a cup of coffee cost $15 so I just took a picture of a man with a dog and left. So anyway when I tell myself that in Paris I would find a perfectly good coffee house, it is a lie. Oh, now Interzone is playing jazz and that is much more conducive to early mornings. A trumpet. Piano.

I can’t settle on my protagnonist’s name. Sometimes she is Frieda but other times she is Sophie. She was also Edie, briefly. Some writers say that the inability to decide on a name means the story itself is half baked but my story is not half baked. I just can’t seem to figure out how to tell it.

Yesterday I read Crystal’s Tarot cards and her ultimate outcome was three queens. Is it a violation of confidentiality to say that?

Does anyone else wonder about the Celtic Cross position “hopes and fears?” Waite’s book says “hopes or fears,” which has a different meaning entirely. Less interesting but more simple to interpret.

A woman with a bright pink umbrella walks down the street. It is late December and the students are gone.

I’m reading On the Natural History of Destruction by WG Sebold about Germany after the war, the terrible destruction of it cities and how no one talked about it. Even the Germans themselves did not seem to comment. German writers did not write about it. My mother’s family was from Aachen which was destroyed. They were from Auchen, Alsace Lorraine and County Kildare.

I’m reading Hemingway for class.

Years ago Chuck’s great aunts hired a genealogist but when the genealogist found out they were Jewish, the aunts had the research stopped. I have looked for what that genealogist found but haven’t been able to discover it. Chuck’s family is from Poland, Ireland, Normandy and Visingso. His grandmother was Swedish but she was the opposite of the characters in an Ingmar Bergman film. Her comment on almost everything, “Oh, it don’t matter.”

Taha Muhammad Ali

Taha Muhammad Ali  (1931-2011):

Palestinian poet, author of “So What; New and Selected Poems, 1971-2005″ pub.2006, Copper Canyon Press

 And so
it has taken me
all of 60 years
to understand
that water is the finest drink,
and bread the most delicious food,
and that art is worthless
unless it plants
a measure of splendor in people’s hearts.
Thanks, Roger Weaver, for sending this.

The Iraqi Women

Green Diver

Our Sunday poem. This is by my friend, Peter Sears. I think it’s a good one for today. 9/11. The poem is taken from Peter’s book, Green Diver. Cover art by Rick Bartow. Purchase Peter’s book here, and if you are ever lucky enough to get a chance to hear him read, do it.

The Iraqi Women

From an article in “The Oregonian,” 07/05/06, A-5

The parking lot is filling with Iraqi women
here at the Baghdad City Morgue, just like yesterday.
Any minute now, a truck load of the dead is due in,

accompanied by the Americans.
Sunni and Shia slaughter one another and walk away.
The parking lot is filling with Iraqi women.

70 percent of the dead now are civilian.
Even children are common prey.
Any minute now, a truck load of the dead is due in.

The women wait to be told when they may go in.
Yesterday they waited all day.
The parking lot is filling with Iraqi women.

Wood scraps and paper they gather and burn
to drive the odor of death away.
Any minute now, a truck load of the dead is due in.

Here come the trucks! The gates swing open.
The women are told, Stand back, stay out of the way.
The parking lot is filling with Iraqi women.
Any minute now, another truck load of the dead is due in.

Zavis Kalandra

In The Art of Fiction David Lodge talks about  the refusal of Paul Eluard, then one of the world’s most renowned Communist poets, to intervene on behalf of his friend, Zavis Kalandra, a surrealist who was executed by the new, revolutionary Czech government. Lodge tells about Milan Kundera describing a day in June of 1950 when the ‘streets of Prague were once again ‘crowded with young people dancing….’ The day before, a Socialist politician and a surrealist artist were hanged, ‘as enemies of the state.’”

Lodge quotes Milan Kundra’s The Book of Laughter and Forgetting:

…Prague with its cafes full of poets and its jails full of traitors, and in the crematorium they were just finishing off one Socialist representative and one surrealist, and the smoke climbed to the heavens like a good omen, and I heard Eluard’s metallic voice intoning,

Love is at work it is tireless 

 

Inmates

It’s Sunday, poetry day. This is from Sara Backer.

INMATES

I heard there was a fat skunk, all white,
who waddled in the yard followed by two kits
the men called babies.
I heard about a pair of chipmunks and raccoons
that hung around the kitchen.
A hummingbird appeared one morning,
a gray-tailed hawk at noon,
and at night, feeding on mosquitoes, bats carved
dark curves in the darker sky.

In the concrete room without windows
where we held class, I was impressed the men all knew
each bird and animal the others mentioned.
They could pinpoint their location
in the prison they inhabited.

This poem was originally posted by The Montucky Review 

About Sara Backer:
Sara Backer is the author of the novel American Fuji. She has poems forthcoming in Sleet Magazine, The Aurorean, and San Pedro River Review.