Month: January 2009

“Novelist John Updike dead at 76: Was he a ‘great novelist’?“:

“The need to bend the truth, avoid certain realities, above all, not look too probingly at America’s social foundations affected his art, deflecting it and blunting it. In the more than 20 novels, there is far too much waste, secondary material, running in place, even showing off. As well, frankly, there is a good deal of mean-spiritedness directed toward those who fall outside of or reject Updike’s limited middle-class American universe.”

Amy Goodman reports:

Tim DeChristopher is an economics student at the University of Utah in Salt Lake City. He had just finished his last final exam before winter break. One of the exam questions was: If the oil and gas companies are the only ones who bid on public lands, are the true costs of oil and gas exploitation reflected in the prices paid?

DeChristopher was inspired. He finished the exam, threw on his red parka and went off to the controversial Bureau of Land Management land auction that the Southern Utah Wilderness Alliance called “the Bush administration’s last great gift to the oil and gas industry.” Instead of joining the protest outside, he registered as a bidder, then bought 22,000 acres of public land. That is, he successfully bid on the public properties, located near the Arches and Canyonlands National Parks and Dinosaur National Monument, and other pristine areas. The price tag: more than $1.7 million.

He told me: “Once I started buying up every parcel, they understood pretty clearly what was going on … they stopped the auction, and some federal agents came in and took me out. I guess there was a lot of chaos, and they didn’t really know how to proceed at that point.”

Patrick Shea, a former BLM director, is representing DeChristopher. Shea told the Deseret News: “What Tim did was in the best tradition of civil disobedience, he did this without causing any physical or material harm. His purpose was to draw attention to the illegitimacy and immorality of the process.”

There is a long tradition of disrupting land development in Utah. In his memoir, “Desert Solitaire,” Edward Abbey, the writer and activist, wrote: “Wilderness. The word itself is music. … We scarcely know what we mean by the term, though the sound of it draws all whose nerves and emotions have not yet been irreparably stunned, deadened, numbed by the caterwauling of commerce, the sweating scramble for profit and domination.”

Abbey’s novel “The Monkey Wrench Gang” inspired a generation of environmental activists to take “direct action,” disrupting “development.” As The Salt Lake Tribune reported on DeChristopher: “He didn’t pour sugar into a bulldozer’s gas tank. He didn’t spike a tree or set a billboard on fire. But wielding only a bidder’s paddle, a University of Utah student just as surely monkey-wrenched a federal oil- and gas-lease sale Friday, ensuring that thousands of acres near two southern Utah national parks won’t be opened to drilling anytime soon.”

Likewise, the late Utah Phillips, folk musician, activist and longtime Utah resident, often invoked the Industrial Workers of the World adage: “Direct action gets the goods.” …

Mark Vallen notes: Arts Stimulus Plan Petition – A petition calling on the new Obama administration to create a stimulus package for the arts was launched on January 20, 2009, by the Foreign Policy In Focus (FPIF) Washington D.C. think tank in alliance with the Split this Rock Poetry Festival.

Shelley Ettinger: “The Crab-Canning Ship is the story of a struggle by shipboard workers horribly exploited by the crabbing and processing industry. Its 1929 publication caused a sensation in Japan, and drew the imperial government’s attention and enmity, driving Kobayashi underground. In 1933 undercover police agents trapped him, captured him, beat and tortured him and, when he refused to squeal on his communist organizer comrades, murdered him. Fast forward to 2008-2009: the book is in the midst of a huge revival in Japan, where its message of class struggle resonates with masses of young workers facing cuts, takebacks, layoffs, rising prices, all the ills of the deepening capitalist economic crisis.”

Ettinger on the Acclaimed Young Writer and lit establishment ideology: “Virtually every time I’ve ever seen the case made that a politically conscious approach to art is illegitimate, and this certainly applies to the case made by Mr. AYW, it relies on three logical (actually political!) bases. None is explicitly stated. Each is assumed to be understood. Each is mind-bogglingly wrong.”

Wikileaks – “Harry Nicolaides’ Verismilitude“:  On 19 Jan 2008, the Australian author and academic Harry Nicolaides was sentenced by a Thai court to three years prison for Lese Majeste — criticizing the King. The sentence follows Mr. Nocolaides arrest in August 2007, allegedly for this passage in his 2005 novel:

From King Rama to the Crown Prince, the nobility was renowned for their romantic entanglements and intrigues. The Crown Prince had many wives “major and minor” with a coterie of concubines for entertainment. One of his recent wives was exiled with her entire family, including a son they conceived together, for an undisclosed indiscretion. He subsequently remarried with another woman and fathered another child. It was rumored that if the prince fell in love with one of his minor wives and she betrayed him, she and her family would disappear with their name, familial lineage and all vestiges of their existence expunged forever.

For the full novel and further information, see: http://wikileaks.org/wiki/Imprisoned_Australian_author_Harry_Nicolaides_censored_novel:_Verismilitude%2C_2005

http://edition.cnn.com/2009/WORLD/asiapcf/01/19/thai.jail/index.html#cnnSTCVideo

Pointed incoherence is hallmark of Jonathan Franzen’s thoughts about the social novel (fiction that is especially sociopolitically engaged). This telling garble is demonstrated in the 1996 essay Franzen wrote on the social novel – both the original and revised version, “Perchance to Dream” in Harpers and “Why Bother?” in How to Be Alone – and recurs most recently in an interview this January 2009 at 5th Estate where Franzen states with trademark non sequitur:

[When] young I actually thought I was the only one with [more-or-less progressive sociopolitical] perceptions. … I think the difference now is that I recognize that there’s a small but non-zero segment of the population that feels and thinks in all of those literary ways….

Franzen falsely conflates “literary” with enlightened sociopolitical views. Franzen has shifted from trying to reveal public reality for a broad audience to writing for a much smaller audience that shares his sense of the “literary,” whatever the sociopolitical. Continue reading The Terminal Glide Path of the Established

Stateville hobble-hopped his mangled body into the lobby searching for coffee or maybe a pitcher of ice water with slices of lime. Coffee today. Stateville slung a golden mug from his ribs and poured a brew. He noticed a line. He loved lines. He hobble hopped over. He liked to join bank lines especially when he had no money to give or take. “They pay well in this joint? Slave you much? Boss you all day long?” Stateville passed through life as perpetual job seeker, traveler, lost soul, wise man, kid eccentric, elderly beggar, philosopher, clown, worker. Today he joined a line for workers behind a woman with purple and orange plaits cascading from large skull, one of several dozen people in line from the neighborhoods. “They want those who can talk is what I hear. Mhhmh. Not just anyone can talk, you ask me. There’s the war, elections, the weather, family, land, God. God is good to talk.”

“‘No gods no masters’ – no ma’am.” Stateville peered over his golden cup. “No god ever offered me a job. No god ever built me a home, offered me bread, gave me a lift, took my hand, led me anywhere but here where I am already. What do I need what don’t exist for? Fairy tales are fine but – is what is – all gods are make believe. Is what is. Far as anyone knows. Now, you got a great story? Fine, do tell. Story is not god. Story is signs and story is what is. But God no.”

“Mhhmh. You won’t get far without God in your life. You got to believe.”

“I believe in democracy not theocracy. ‘No gods’ – I tell it straight – ‘no master’.” Continue reading Stateville Speaks

ZNet Commentary:

His song titles are blunt and straightforward: “We’re All Immigrants,” “The Injustice System,” “Military Recruiters Lie,” etc., etc. Metaphors, poetic devices are completely absent here; his lyrics include sections like this one: Continue reading “Can You Handle Tha Truth” by Alexander Billet

“Writer of 1970s ‘Ecotopia’ Makes a Comeback in the Green Era” by Anita Weier:

It is useful to understand “liberatory” in two basic ways for literature. In the past the term in lit has been used mainly in regard to “women’s lib” of the ’60s, ’70s as far as I’m aware – I don’t recall that the lit critics of the ’30s and so on use it, though it nearly gets into the title of one of VF Calverton’s books, and maybe it is used in passing somewhere or another. More or less progressive critics of that time used words more like “revolutionary” and “proletarian” and “Marxist” or “materialist”. One broad basic sense of liberatory is in reference to about any sort of freeing or advancing or progressing phenomena of literature, especially in regard to normative issues (morals and ethics…politics and culture) and less so (secondarily or as derivative) aesthetically. So, for example, the multicultural expansion of recent decades is liberatory in this sense even when it occurs in basically a liberal and conservative or other status quo framework. In this sense, “liberatory” is a synonym for “progressive” (or “enlightened” – as in of the Enlightenment – or moving toward “ideal”) however limited or bound that progress may be. Elements of liberalism and conservatism contain some liberatory aspects also (especially in having some roots in the Enlightenment or other relation to it). All this understands liberatory in a very broad sense of the term.

The primary and most crucial sense in which we might understand liberatory is to distinguish progressive or revolutionary literature from status quo work that blocks or slows progress (let alone revolution) actively or passively, inadvertently or knowingly. Again, the term refers in this use mainly to normative respects of literature as revealed in a story’s substance, effects, functions, and consequences. Revolutionary lit, or to be more clear, liberatory revolutionary lit is the strongest sense in which the term might be used – again referring essentially to normative revolution, whether or not the aesthetics are also much revolutionized or advanced. Continue reading Liberatory Literature

The Complicit Culture

In literature, as in politics, and plenty of life, there can be a big difference between liberal and left. Literature is not somehow mystically ideology free. Don Quixote, as with many other classics, was written as propaganda. A lot of progressive views are to the left of the basic liberal views of periodicals like The Nation, n+1, The Guardian, London Review of Books, the New Yorker, etc. Substantial left views should be heard in national publications, especially since left views, as I understand them, and as polls reveal, are largely popular views. Instead, many left views are severely drowned out “even” in liberal media, as great media watch organizations like FAIR and Media Lens demonstrate. (Of course in my view conservative and reactionary views are typically as bad as or worse than liberal views.)

Obviously there are some ideological differences between basically liberal publications. There are significant differences between, say, The Nation and the New York Times, and so on. Alexander Cockburn, for example, is a left columnist for the predominantly liberal Nation magazine (though his column space was halved a few years back). The New York Times has no corresponding left columnist, though Paul Krugman occasionally comes close. The Nation is basically a liberal publication with some left tendencies, and its commentary on literature reflects its predominantly liberal emphasis, with many left views blocked out and discredited. The New Yorker, though predominantly liberal, lies to the right of the Nation. Though liberalism and its variants evince some genuine qualities, they also possess predominant and atrocious deficiencies, crucial to reveal. Continue reading Establishment Ideology – Suffocating and Oppressive