Participatory Budgeting: Sharing Power Over Public Resources

By Mira Luna

Photo by Alan Cleaver on Flickr

With city governments now declaring bankruptcy and cutting vital services, local officials may be wise to take the lead from Brazil and get their constituents directly involved in tough budgetary decisions. Politicians can be pressured to fund bank bailouts over health care by their campaign contributors, but their constituents won’t.

Long before the global finance crisis, residents of Porto Alegre, Brazil were having trouble getting essential services from their government. The city was bankrupt and residents were lacking proper sewage, clean water, and other necessary infrastructure due to rampant corruption. In order to more equitably and efficiently distribute scarce public funds, Porto Alegre became the first town to formally adopt a process called participatory budgeting. This process allows its residents to directly decide how public funds will be spent though open deliberation in budget assemblies and voting. Since 1989, when the program started, city-wide participation in budgetary decision-making increased from 1,000 to over 50,000, while doubling the town’s access to many essential services.

Now over 1200 local governments across the world use participatory budgeting, including most municipalities in Brazil, several other Latin American countries, Europe, and a smattering of towns in Canada, Africa, and Asia. Peru, the U.K. and the Dominican Republic have national participatory budgeting laws that apply to all their local governments, and the UN acknowledges participatory budgeting as a core component of good democratic governance.

Yet this process remained largely unheard of in the U.S. until last year when it sprouted up in an unlikely place, Chicago’s 49th Ward, a community which speaks over 80 different languages within two square miles. Last year, residents of the ward, invited by their city representative Joe Moore, made proposals and voted on its $1.3 million discretionary budget for capital infrastructure. At a series of neighborhood assemblies, residents brainstormed project ideas and selected representatives who would transform those ideas into concrete proposals. Representatives split into six thematic issue committees to spend four months meeting with experts, conducting research, and developing budget proposals before the big vote. As Moore wrote in a letter to his constituents, it “exceeded even my wildest dreams. It was more than an election. It was a community celebration and an affirmation that people will participate in the civic affairs of their community if given real power to make real decisions.” Now some candidates in Chicago’s other wards are running on a participatory budgeting platform.

Participatory budgeting as a model usually allows residents to propose, discuss, and vote on public spending projects. It is frequently initiated to address resource inequalities, as well as corruption in the budget allocation process and lack of transparency and accountability. It can also have the potent side effect of creating a more engaged and empowered citizenry through a taste of direct democracy.

Most participatory budgeting processes involve these steps:

-A government and/or nonprofit develops the 1st year participatory budgeting process.

-The government approves the amount of the budget to be turned over to the voters.

-Neighborhood assemblies are organized and meet to determine budget categories (public safety, education, health, environment, sanitation, etc.) and who will be making project proposals to the community, either on a city-wide or district/neighborhood basis.

-Proposals are developed in collaboration with nonprofits, technical experts and government officials.

-Proposals are presented, publicized, discussed and voted on by everyone eligible in the community (usually more inclusive criteria for voting than electoral voting).

-The process is refined to achieve greater budget inclusion, transparency, diversity, participation, and quality of proposals.

There are wide variations on this process, and each community defines its own rules, which may be more or less participatory. Where corruption is high and civic participation is low, participatory budgeting should start with small initiatives and work towards greater transparency and accountability as the process develops. Comparing the most with the least successful participatory budgeting projects, a well developed participatory budgeting organization with adequate structure and rules is imperative to residents’ willingness to participate and trust in the process. Loosely developed participatory budgeting programs that simply provide a rubber stamp to corrupt local government or cheat the process can be even more disempowering.

In most cities, residents are allowed to decide on no more than 20% of the budget, and often it is only the discretionary portion of the budget (non-necessities) that is voted on. This limits the damage of uninformed mistakes, but the public may actually become more informed and make wise decisions about services that their lives depend on. As the community becomes more involved and the process refined, additional portions of the budgets may be included. A larger pot can encourage more participation. One town in Brazil puts 100% of its budget up for public discussion and vote after positive experiences.

While participatory budgeting can cost cash-strapped municipalities extra money to hold assemblies, publicize, vote and add staff to deal with the requests, residents often end up more motivated to fulfill their tax obligations, because they feel their money is better spent with less money going to pork barrel projects. Some participatory budgeting processes have also led to increased local employment through local hiring prioritization as selected projects are implemented, improving the overall local economy.

Another side effect of a good participatory budgeting process is greater social harmony. Government officials can less be blamed for corruption, and unequal allocation, and so community-government relations may be improved. And as residents of all walks of life come together to listen to each others’ needs and be heard in a fair venue, trust, understanding, and collective wisdom may blossom. The process is not about winning, but as a one participant mentioned, “It’s more about being happy for someone else to be able to live a better life.”

Participatory budgeting is not just for city-wide budgets, some nonprofit agencies are adopting it, too. Toronto Community Housing has given its capital budget ($9 million currently) up to its tenants since 2001. Tenants are encouraged to propose ideas for improving their community and democratically decide their priorities. The top ideas are pitched at voting events, where tenants from different buildings come together to listen to each other and view display boards that each buildings creates as part of their proposal. Using “dot-mocracy”, every building selects a delegate who gets sticker dots with which they vote for the best ideas. Listening to active tenants talk about their experience, you get the impression that this is a fun community bonding event and less of a democratic chore. Many of them being marginalized and low income, this is also one of the more empowering things they’ve done.

In New York, City Representative Joe Moore from Chicago is promoting the idea of participatory budgeting to universities such as CUNY (City University of New York), as they experience cuts from decreased public funding. Even in good times, budgets are often a source of conflict between college administrations and students. Students might be less frustrated and dissatisfied with their education if there was more transparency and they had some say over how their tuition is being spent, increasing student retention.

Think about how participatory budgeting could democratize your world. How can you incorporate participatory budgeting into your government, university, business, nonprofit, community, or family? If we put our heads and our hearts together, we just might make better decisions that our collective future depends on.

For more information see the Participatory Budgeting Project website.

This article was first posted on Shareable.net

Writers on the Writing Life: Steven Gillis

Cover of Steven Gillis's 2010 novel out from Black Lawrence Press

I miss teaching.  If I could find the time in my days, I would return in a heartbeat to Eastern Michigan University.  Not that this is possible with all the other irons my fire is heating, and with my wife’s threat to leave me if I take on one more freaking thing!  And true, too, even when I had my gig as a writing professor, I was operating outside the norm; able to pick the time I taught and the one class I would teach a semester to upper level writing students.  I didnt have to commit to a full-time course load, didnt have to participate in the administrative bullshit that can suck the soul right out of an already stressed writer working a heavy teaching schedule while trying to squeeze out time to actually do their own writing.

Most of my writer friends who have gigs as professors or lecturers at a University find the job has a combination of cool and cruel to it.  They enjoy being able to spend their working hours invested in the near and dear of literature and writing, but the grind of the long hours and trying to impart their knowledge to students who – most at least – wont ever demonstrate any appreciable skills as “real”  writers has an exhausting effect.  You can’t teach writing.  I have heard that phrase tossed about so many times that before I began to teach I almost believed it.    The fact of the matter is the claim simply isnt true.   You can teach writing.  You can’t give someone talent.  But you can teach someone the process of writing and improve what skills they have.  And isnt this what teaching is all about?  Not to make rock stars out of the tone deaf, but to share what you know and help those who sincerely want to improve.  The best experiences I had as a teacher were working with my less gifted students who nonetheless truly wanted to learn how to write.

As I have now been a writer going on – Christ – 40 years, I also found what I love most about teaching is the ability to explain the process and get students to understand there’s no such thing as a muse, what there is to writing is a blue collar roll up your sleeves and just do it attitude that Nike be damned existed well before the running shoe.
When I first started writing, I had the passion but was otherwise clueless about the process.  Leaving talent out of the equation for the moment, it is most often the lack of experience that undermines a well intended would-be writer.  When a young writer has a bad day, their immediate reaction is to question their abilities, to think they must suck and what the hell what the hell what the HELL!! It is only after staying the course as a writer that we begin to learn that the process doesn’t ever change, that having a rough day – or week or month – doesnt mean one cant write it means you are a writer experiencing the inescapable torture.   The only thing important is doing the work.  Daily.  Where I used to go crazy with insecurity, I am now totally calm about the process, know a rough day is still a productive day, that the key is just working the page.

This is what I tried to convey to my students, how writing is a freakin discipline, that you have to work hard.  There is never – and I mean never – a day when I finish writing that I am not completely physically and mentally exhausted.  If anyone has the misfortune of trying to deal with me in the hour after I finish my writing day, well lets just say its not pretty.  Writing is hard.  It takes a focus like none other.  You cant write if you are distracted, the application of one’s efforts have to be total. And you can’t write if you aren’t willing to commit.

An older and quite successful writer once told me it takes 10 years of writing shit before one even begins to know what they are doing.  Well, as much as I didnt want to believe this at the start of my career, I can surely attest to this now.  So, how to convey this to a classroom full of young and eager students who think they are top dog and ready to  publish.  What I did in my class, which cut against the grain and shocked the hell out my students each and every new semester, was to tell them instead of writing 5 stories during our term together, we were going to write one story each and rewrite it at least 5 times.
“WHAT?”  was the response.  “Rewrite?  What the hell is that?”  They all just wanted to crank and move on to something new.   I held my ground.  Class after class.  And class after class, always, within 3 weeks these students who had never rewritten a story before, had never put themselves back into a work, began to groove on the idea of actually reworking a story.  At the end of every semester, always, these initially dubious students thanked me for showing them what is the essence of all good writing – the rewrite.

That the art to writing is in the rewriting is, for me, a given – now.  Along with understanding the process of writing, these two rules are invaluable.  (The third rule would be to read read read and READ.  The fourth to drink, but I digress.)    Everything in life evolves and changes, requires a rewrite and a knowledge of what is going on.  Relationships change, how we keep our love life going.  I have been married 17 years and  the totality of my relationship with my wife has evolved in 1,000 different ways since we were 17 years younger.  What is the same about me is no doubt my extremes have become more understandable – at least to me if not my wife – my settling into the routine of what I need to achieve in my personal and professional life.  Everything is a process.    Everyday a writer must apply his/herself to the challenge and run the risk of writing shit, of exhausting one’s self physically and emotionally and intellectually.  The same as we do with any worthwhile relationship.  What is essential to whatever it is we want to do is hanging tough.  With writing – and in life – the process doesnt necessarily get easier but it becomes more readily understood the longer we stay the course. An old dog of a writer knows how to get through bad days, knows not to panic in the face of a rough stretch.  As said, in this way the experience one gathers as they commit to the process of writing is much the same as the process of maturing in our everyday life. Understand the effort, know not every day will be a success.  Be aware that not everything goes smoothly and most things require a rewrite.  This is what I’ve come to learn and is the best advise I can give.

Steven Gillis is the author of Walter Falls, The Weight of Nothing, Giraffes, Temporary People, and, most recently The Consequence of Skating (October 2010). His stories, articles, and book reviews have appeared in over four dozen journals, and his books have been finalists for the Independent Publishers Book of the Year Award and the ForeWord Magazine Book of the Year. A three-year member of the Ann Arbor Book Festival Board of Directors, and a finalist for the 2007 Ann Arbor News Citizen of the Year, Steve taught writing at Eastern Michigan University and founded 826michigan in 2003.  Steve is the co-founder of Dzanc Books  www.dzancbooks.org along with Dan Wickett.  All proceeds from Steve’s writing go to help support Dzanc Books. Contact: steve@dzancbooks.org

Andreas Economakis

photo by Andreas Economakis

THE SEE-THROUGH CAT

by Andreas Economakis

Last night I had a strange dream about cats. I was with my family somewhere by a lake. As we walked the small dirt path between the woods and the water, we came across a cat with her litter of tiny kittens. Delighted, I knelt down and started to pet the little ones. One of the kittens was so excited he was bouncing around like a plastic ball. He bounced himself right into the lake. Miaowing and splashing about, he struggled to stay afloat. Panicked, I started to get undressed, ready to jump in and save the drowning kitten. A moment later, while I was pulling off my socks, an elderly woman waded into the lake and swam out to the struggling kitten. The white-haired woman, who looked a lot like my estranged mom, grabbed the kitten and threw him up to me. I grabbed the little wet one, happy that he was safe. At that exact moment, another cat came walking down the path. This cat was amazing. He was completely see-through, made of clear glass. The little kittens chased his glass tail as he ambled by. I turned to my daughter to see if she’d noticed how awesome this cat was. That’s when I woke up. My cat Rufus was massaging my belly, hoping to wake me up so that I could feed him. I pet him and he rumbled a purr in response. I better get another cat soon. I think Rufus needs company. I can see right through him on this one.

For Rufus, who recently went missing after 15 years of unswerving companionship.

–Andreas Economakis

This piece is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2010, Andreas Economakis. All rights reserved.

For more stories by Andreas Economakis click on the author’s name below.

SATURDAY POETRY SERIES PRESENTS: JESSE LOREN

CONSIDER ICARUS
by Jesse Loren

Consider Icarus as a woman pasting wings on
Testing her harness and the snugness over breasts
And think of that flawless moment before the yawn
When she tires of waiting for the rest.

Think of her there above obelisk and spruce
Coasting above the small men scything down below
Her latched bindings slip and become loose
Her internal timing races and then slows.

She is circling above the town picking out the strong
Glancing to the corners of every lawn
A trickle of blood spills out between thighs
The blind sun melts wax into her eyes

Consider Icarus as a woman pasting wings on
Consider the tedious boredom of kite string and tumbling down.



Jesse Loren is originally from East Los Angeles and is currently rooted near Davis, California with her family and chickens. Her poetry can be found in Exquisite Corpse, Yawp, New Virginia Review, and Screamin’ Meme, her first book of collected poems. Ms. Loren co-edited two anthologies of poetry; Mourning Sickness, a collection about miscarriage and infant death, and Bombshells: War Stories and Poems by Women on the Homefront, a collection of homefront tales spanning from WWII to the present. Loren is a graduate of UC Irvine, and MFA graduate of UNO, and is a frequent columnist at iPinion.


Editor’s Note: Typically I don’t go in for rhymed poetry, but when Ms. Loren sent me poems for consideration for As It Ought To Be, this poem struck a chord with me. In Judaism the term “midrash” is used to describe a story that is created by opening up an existing story. With this poem Loren creates a midrash of sorts – opening up the story of Icarus to allow for another new tale. The tale of Icarus as a woman, a story that has feminist undertones, that explores the trials and tribulations of being a woman under the lens of a beloved mythological tale. This poem is clear and imagistic, and takes us on a journey on the wings of one who both has the opportunity to fly, and learns what it is to fall.

Want to hear more by Jesse Loren?
Buy Screamin Meme at Amazon.com
Jesse Loren’s Blogspot
Exquisite Corpse

DITCH THE CAR by Lezlie Mayers

You can’t live in Los Angeles without a car. I mean, that’s what a lot of people say. It’s not true, but many L.A. residents believe it. Of course these are the same people who constantly gripe about gridlocked traffic, aggressive drivers, and scarcity of parking. Parked vehicles are routinely towed from streets where the multitude of cautionary parking signs practically requires a law degree to successfully navigate. Some LA residents act surprised when I tell them a clean subway runs under downtown LA that stretches north through the Hollywood Hills to Burbank, and reaches south all the way down to Long Beach. Above ground, buses operate frequently on every major street. In fact, out of any major U.S. city, the relatively flat terrain and temperate weather here couldn’t be more ideal for bike riding.

Some of the advantages to ditching the car, even for one day a week, aside from the obvious beneficial environmental and economic factors: you will interact with life in the city in a more intimate way than you ever could in the insulated bubble of a leased Beemer. Old ladies in Koreatown will smile at you toothlessly and simulate flexing their muscles as you lift your bike onto the bus rack. You’ll cruise down fragrant Hollywood tree-lined streets on cool nights. Your right bike handle gets caught in a bush but as you fall two strangers catch you and laugh. The people-watching on the subway is stellar, and the skyscrapers tower overhead on the long escalator ride up from the underground into the sunlight downtown. If you’re pissed off you can pedal fast and hard, blaring music into one ear. Walking with friends to get cupcakes in Larchmont makes you feel like a kid again. And when you ride a bike you arrive at every destination feeling slightly invigorated. Okay, maybe a little sweaty.

I’m not going to lie, it’s not all cupcakes and meet-cutes, especially if you’re a woman. You’ll meet men who make helpful offers like, “Girl, I’ll teach you how to ride that bike.” I literally had two different men, one young, one old, say this to me within an hour of each other. I don’t know what it means exactly, but I’ve got my suspicions. My bicycle seat was stolen after I left the bike locked to a street sign for 20 minutes to run an errand. A few weeks ago, I grabbed the last vacant seat on the bus only to discover that my seatmate was sniffing an unidentified substance out of his hand. And like driving, bike riding on city streets is not without its dangers. Our mayor, Antonio Villaraigosa, on his first bike ride out in years, was recently hit by a cab and dislocated his elbow. Thankfully, he wore a helmet that morning. This unfortunate accident thrust bicycle safety concerns into the spotlight, and concrete steps have been taken by local government to more aggressively expand LA’s bike lanes over the next decade.

Ultimately, walking, biking, and commuting by public transport reduces pollution, increases physical health, saves money, and leaves you open to fully experience the people and locations that embody a city. There’s a certain life-enhancing vulnerability in talking to strangers and launching off of cracks in sidewalks. This is not to say that I won’t ever own another car. The siren call of heated leather seats is not lost on me. For now though, life is good and interesting without them.

PLACE by John Dunn

Kansas City is a vast inland city, and its marvelous river, the Missouri, heats the senses; the maple, alder, elm and cherry trees with which the town abounds are songs of desire, and only the almonds of ancient Palestine can awaken the hungry pores more quickly.

-Edward Dalhberg, from Because I Was Flesh

The place to which I first belonged, which belonged to me then in flesh and belongs to me now in memory – memory visual, aural, tactile – was a 165-acre Hudson Valley farm. On the east bank of the river, just north of the village of Croton-on-Hudson, itself some forty miles north of New York City, overlooking the river from the crest of what seemed such a great hill to me then, the farm was no longer worked, but it was kept well.

Willard Brinton, a Quaker from Philadelphia, an engineer by training, owned the property with his wife. We had moved to a house that abutted the farm when I was four years old. Not long after I met two brothers, Mike and Geoff Sutherland – one older, one younger than me. They lived on the farm itself with their parents, who had bought a house from “old man Brinton”, as he was called behind his back. We became explorers and scouts, walking the property’s bounds, exploring hay ricks and caves, skirting the lake where, with our fathers, we would fish while our mothers sat on the steps of the cabin that fronted the lake and drank cheap sherry. We flushed a giant one early fall evening and went running to our fathers to tell them. Having encountered giants themselves when they were young, they did not discount our story, but instead went off in search of him. He was gone by the time we returned.

Ever restless, old man Brinton was always having something done on the property. One of the greatest of his works was a series of cascading ponds, formed by building a series of small dams on the stream that ran through the property and down into the Hudson. One was fitted with a diving board. There we swam, trying hard to jump on each other as we ran off the board. One day we spotted a huge snapping turtle in one of the upper ponds. “Big Mike”, my friends’ father, was able to lift it from the edge of a pond into a 55-gallon barrel filled with water. I don’t know why it deserved such confinement. We knew it could be dangerous to us, but his pond was not where we swam.

From the house where I lived, I could walk through the woods down to the railroad tracks that ran along the Hudson. Today’s parents would not think of letting their children do what we were allowed to do: cross those tracks to get to the river bank. But my father had grown up in New York City and my mother, an Englishwoman, had survived the Blitz in wartime London, so what harm could come to us? The tracks were a source of coal that fell from the steam engines’ coal cars and a source of the odd equipment – shovels, lanterns, mysterious tools and pieces of metal – that fell from the trains. One day my friend Geoff and I were standing on the river bank when a huge fish broke the water’s surface: its back seemed to go on forever. We ran screaming from the bank, flew across the tracks with no regard for what might be coming and fled through the woods back up to the house. Only years later did I realize that it was a sturgeon, probably one of the last of the very old ones that would migrate up the river.

We moved not long before I turned eight. My mother was expecting another child and the house which we rented was too small for four of us. So we found a house in the village itself. Was I now to live east of Eden? I don’t remember ever feeling that way. Before I had ridden the school bus, now I could walk to school. Having walked the metes and bounds of Brinton’s farm, having made it my own, I could now walk the village. Before the dangers were hayricks that could collapse, or mud that could suck you in if you weren’t careful. Now I needed to watch out for yard dogs off their leads and, worse, bullies whose prey I could become.

But the dangers were minor compared to what lay before me now. I could be sent on errands, walking and later riding my bike into the village center from the knoll where we lived. I had friends in every direction. Best of all I could walk to the library.

The library was housed on the second floor – no, I think it was the third – of the Municipal Building, an otherwise undistinguished three-story pile of brick that housed the village and the town offices, the police department and the local justice court. Tall-ceiling’ed, the walls lined with shelves, the shelves supplemented by free-standing bookcases that thrust out into the room like Manhattan piers, the library was presided over by a stern-faced woman who wore tweed suits and sensible shoes. The deference of children to adults was a given then, in the mid-Fifties and, as the librarian, she was to be treated with especial respect. Her’s was the final word on behavior: if she threw you out, there was no appeal. Rumor had it that several children had died under her stern gaze, but we never found their bodies and suspected that she encouraged this belief to keep us under control.

I needed no control in the library. It was the world made large for me.  I could walk into the books on the shelves and inhabit them, living inside the worlds they contained for as long as I liked. Then, as now, I would return home laden with books. I would haul them up to my room and only then discover which ones I really wanted to read. Looking now at my online library record, I see that I have out far more books than I can read in the time I have them. At least back then the librarian would look at my record and inform me that I had hit the limit and would have to bring some back before I took out any more.

Layers of place accreted over the years. Later, in high school, I discovered a passion for biology and would roam the woods and paths of my village. Heavily developed now – I no longer live there, but visit occasionally – then there were still large parcels of undeveloped land. They were not posted or, if they were, we paid no attention. My chief prey were the bullfrogs that inhabited a particular pond and swamp. I would return home covered with muck and reeking of swamp odor and would be directed to the back of the house where I stripped naked,  hosed myself off and, wrapped in an old towel reserved for the purpose, ran upstairs to take a shower before dinner.

All places have limits which we must sometimes cross and I crossed the limits of mine when, during Vietnam, I went into the Air Force. Returning “home” in 1968, I realized that it was not home any more and, anyways, I had planned to live in New York City. Which I did for several years, then moved overseas for a year. Only when I came back and then only when I moved upriver about twenty miles, did I begin to replant myself.

Perhaps it was then that I began to develop some wisdom and realize that, like a river, life tears at the banks of our lives, constantly reshaping them. Mine had been reshaped – by the war (though I was fortunate and did not serve in Vietnam), by life overseas and the attendant collapse of my first marriage – and I knew that I needed to stay in one place for a while. Which I have, thirty-five years, thirty of them in the same house. Which stands just one block back from the Hudson River, closer than I was to it when we first moved to Croton in 1950.

Can a river be a place? It can, but you have to step back to see it, to see how the river shapes the land as much as the land has shaped the river. To understand, as I did one bright morning, that I live not only on a river’s banks but on the coastline, because all the way up to Albany the Hudson River is, in fact, a tidal estuary, filling and emptying twice every day. It is the place where we launch our yellow kayak – a beamy little boat reminiscent of HMS MINNOW, Rat’s boat in THE WIND IN THE WILLOWS. We paddle out and then turn around to see the land from the river’s point of view.

Will I die here? I don’t know. I have tried living away from here and it does not work. Place is not simply a location, longitude and latitude. It is a wave from a car window, a “hello” yelled across the street, a joke shared over breakfast, a moment of silence for a friend suddenly dead by his own hand. The texture of the hand rail that you’ve gripped thousands of times, the sound that your tires make running over a particular stretch of road, reminding you that you’re coming up to a dangerous curve. It is, in the end, a vast web that runs wide and deep. Like the spider’s work, it can be repaired, but only up to a point. It requires diligence and hard work to be maintained.

Without it, though, we are dead long before we die.

The Typewriter

Royal Typewriter, circa 1950s. Photo credit: mrtypewriter.tripod.com.

The Typewriter
By John Unger Zussman

A year after I’d lost him, I taught myself to touch-type. I relished our old Royal, his old Royal. I loved how the keys plunked and the typebars clattered, how the letters appeared neatly on the line, one after the other. I reveled in the ping of the bell and the thwack of the carriage return. By the time I finished the lessons, it was not the typewriter’s music I craved but its lyrics: a powerful word, a deft sentence, a paragraph that leaves you breathless.

Although I knew my father had written, I didn’t expect the thick envelope of manuscripts my mother presented me when I turned forty. From it spilled war stories and postwar stories, war poems and love poems, the first chapter of a novel. He’d dreamed of a life as a writer and, judging by his professors’ comments, showed promise. Then he joined my grandfather’s warehouse business so he could marry her and have me. He packed those pages away, planning, I suppose, to return to them when the business got to its feet and we kids could make our own way to school.

My manager and my writing mentor want me to write something commercial instead of another passion project. I see their point. But I conjure the smoky late-night staccato of my father at the Royal. No. I don’t think so.

Today’s post is the third of three in tribute to my father, Myron “Mickey” Unger, who would have turned 85 in August. In September, I posted a reaction to an old baby picture of me in a stroller, laughing, with my parents on either side. Last month, fifty years after his death, I continued the story with a poignant essay on life and parenthood that my father wrote in the ’50s, called “Upon Reaching the Age of Three.”

I am grateful for your interest and comments. It is comforting to know that my father’s words, even now, can move those who didn’t even know him.

Copyright © 2010, John Unger Zussman. All rights reserved.

French Connection

Two recent novels by French-speaking authors blend close psychological analysis with free-flowing lyricism to tell deceptively simple love stories. One of those books, In the Train, by Christian Oster, was released by Object Press this year. Object Press, out of Toronto, is an indie press established in 2008 and with only two titles to its name so far. But if In the Train is any indication, they are off to a promising start.

Oster’s novel is small, not quite 150 sparsely printed pages, and the story it tells is a modest one. Frank, nondescript in every aspect except his tendency to overanalyze and his habit of seeking out women on train platforms, meets Anne, a woman carrying a large bag at the Paris station. He offers to hold the bag for her and thus their romance begins. Anne is cautious at first, but Frank insinuates himself into her heart through a series of maneuvers ranging from half-gestures to outright stalking – or what would amount to stalking if we weren’t charmed by Frank’s voice and thus made to trust his motives.

I’ve not read another novel by Oster so I can’t say if this voice is his or one cleverly adopted for Frank. But whether he’s chosen the perfect character for his style or created the perfect style for his character, it’s a match. Comma-heavy, this style involves long sentences, full of clarifications, elaborations, asides, and disclaimers – many of them seemingly unnecessary; and yet they charm us while drawing us closer to Frank, and so, I think, are essential.

Here is Frank analyzing Anne’s reaction after he offers to hold her bag:

She looked tempted by my offer, although still undecided. Then she looked at me and thought that, at worst, I was interested in her, not her bag, and she handed it to me… I took the bag, thinking this woman was actually pretty relaxed, with men, unless she was doing everything possible to be left in peace, but I wasn’t sure this was the best way to go about it, with a man. But with me, I don’t know.

There are plenty of phrases here that an insensitive editor might remove, but to do so would be to miss the point. And besides, there’s enough meat in the story that we don’t get sick of this style. Not only is there Frank’s questionable behavior as he knocks on every door of the hotel to which he has followed Anne – is this gesture romantic or creepy, and more importantly, how will Anne see it? – but there is another man, a successful and interesting author who uses Anne as a plaything. When Anne first takes off her robe for Frank, in her hotel room while waiting for the author to return, we are not sure whether her behavior is the result of genuine attraction or revenge on a man who has hurt her. We go on questioning her sincerity throughout the story: even when she does succumb to Frank’s love, we can’t help but feel she’s settling.

The overly explanatory style doesn’t always suit Oster’s purposes perfectly. The bag in the aforementioned passage comes to symbolize many things – an obstacle to Frank and Anne being fully united; the weight of their separate pasts; the burden of love – but Frank makes all these meanings explicit to us, and in doing so, they lose some of the impact they might have had were we allowed to figure them out on our own.

All in all though, this is a strong novel in the European mode – if I might be allowed such a generalization. European novels tend to privilege abstraction and the explicit elaboration of thought and feeling, while American novels approach these things obliquely, through gesture, dialogue, loaded description and telling action. Both are useful and worthy methods, but it’s books like this that give rise to the lie at the heart of the worst American fiction: that we do not elaborate our feelings and thoughts to ourselves; that we are acting, not thinking, beings and that we approach our consciousnesses indirectly.

Running Away, by Belgian novelist Jean-Philippe Toussaint, is roughly the same size and scope as In the Train. Released in 2009 by Dalkey Archive Press, it tells the story of an unnamed narrator who, on business trip to Shanghai, becomes involved with a mysterious woman named Li Qi. What follows is a whirlwind, dreamlike romance.

Like In the Train, much of this book takes place on the move – in trains, yes, but also on planes; and there is even a high-speed chase by motorcycle. As in In the Train, the romance is complicated by a third party – in this case, the narrator’s business partner, Zhang Xiangzhi, who has an ambiguous, probably romantic, relationship with Li Qi. And like In the Train, the story is told in the observant, lyrical voice of its first-person narrator. But while In the Train roots us in Frank’s head, Running Away focuses more on the physical world, providing lengthy descriptions of Shanghai, Beijing, and the Mediterranean.

At places, this book reads like the best travel writing. Here are the narrator and Li Qi after they first meet at a Shanghai art gallery:

Sound checks could be heard from the warehouse, and sharp bursts of Chinese heavy metal…filled the calm surroundings of the summer night, causing glass panes to vibrate and sending grasshoppers flying in the warmth of the air. It became difficult to hear one other on the bench and I moved closer to her…

Compare this to Frank’s meeting with Anne. In that passage, the focus is entirely on the two characters – just look at how many times the words “she” and “I” are used; and then notice how comparatively empty of pronouns the passage from Running Away is.

While it is nice to have a visceral experience of teeming China, Toussaint’s descriptive gifts often push us away when we should be drawn closer. Just as we become interested in the menacing, yet oddly passive love triangle (Zhang seems to know what’s going on between the narrator and Li Qi and yet doesn’t seem angry about it) we are dowsed in lyricism that gives a poetic lift to a situation that, psychologically, can’t support it. Where Oster uses lyricism to extract his characters’ motivations, Toussaint trains it on the outer world. And so the trio who races via motorcycle through the streets of Beijing could be anybody at all, the nice tension between them dropping away into mere action:

We turned off the freeway to escape our pursuers, braking to take an off- ramp, but the sirens kept following us, seeming to multiply in space, coming from everywhere at once, as when a number of police cars converge on the scene of an accident at high speed…

There’s a reason high-speed chases aren’t thought of as literary. Running Away does provide a deepening context to the passage: the narrator is “running away” from a previous romance; and the chase, his constant movement between countries, and his quick plunge into the arms of another woman all reflect that. However, Toussaint misses opportunities to complicate this idea, or I should say that the natural limitations of his style – its tendency toward superficial, poetic effect – prevent him from realizing these opportunities. It is when this book, yes, runs away from the very things that make it most European that it loses us, too.


SITUATIONISM AND THE GREEN PARTY by Robert Archambeau

As someone once said, it’s not easy being green, at least not in the United States.  Even here in Illinois, where the Green Party has had enough support to be an “established party,” theoretically on a par with the Republicans and the Democrats, you run into all kinds of logistical difficulties when you try to support your party.  I’m not just talking about how difficult it can be just to get a yard sign from a party that has no money and few personnel.  And I’m not talking about the eye-rolling you get from Democrats who blame the Green’s Ralph Nader for being the spoiler for Al Gore (for the record, I voted for Gore that time out).  And I’m not talking about the snickering of Republicans who figure you’re some kind of birkenstock-clad deep-woods tree-hugger (my feet are too ugly for open-toed sandals, people, and I admire nature mostly on the Discovery Channel).  Nope.  I’m talking about the difficulties one runs into at the actual polling place itself.  Even with the Greens officially established in Illinois, and election officials legally bound to ask you whether you want a Republican, Democratic, or Green ballot, problems continue.  On several occasions  I’ve been told by election judges that there was no such thing as a Green ballot (not true).  Once, when someone behind me overheard this and asked the judge if the Greens were a real party, the judge told her that they weren’t.  I don’t think this was malicious: I think it just didn’t compute, for this person, that there were more than two parties on the ballot.  I mean, a lot of people actually believe that the two-party system is constitutionally ordained, a permanent (if perhaps not always satisfying) part of the American political landscape.

And this brings me to why I think voting Green is a Situationist act.

Situationism — the movement we tend to think of as starting with the Guy Debord and the Situationist International in 1957 — had its roots about a decade earlier, in Sartre’s essay “Pour un théâtre de situations.”  Here, Sartre argued that what theater should do is, one way or another, to show “simple and human situations and free individuals in these situations choosing what they will be…. The most moving thing the theatre can show is a character creating himself, the moment of choice, of the free decision which commits him to a moral code and a whole way of life.”  That is, theater, ideally, exists to break our sense of complacency and limitations.  It exists to kick us out of our sense that our hands are bound, and expand our sense of freedom and agency.  It’s sort of down the same street as Brecht’s thinking about theater: Brecht saw his own “epic theater” as something that, by breaking down narrative and the wall between the players and the audience, could wake people up from their spectator-stupor and make them active.  Sartre was a more conventional playwright than Brecht, but the goal was the same.  I mean, think of that moment in “Huis Clos” when the characters, who have been locked together in a room in hell, pull on the door and find, despite all their expectations, that it pops open.  They don’t leave (out of fear, out of various psychological weaknesses that bind them to one another) and we, the audience, are infuriated.  We want them to go, and we’re angry at them for refusing their own freedom.    We leave the show exasperated at their weakness and bad faith, and (ideally) we feel more fired-up about our own freedoms and possibilities.

That’s the idea of the “situation” — it is the moment when we realize we are freer than we thought we were, and have more options than we thought we had.  This can be something very small (“I don’t have to put up with that guy at work’s bullshit anymore”) or something large (“the King isn’t really ruling by divine right — let’s storm the goddam Bastille already!”).  And whatever their disagreements with Existentialism may have been, the Situationists took the idea of creating such situations — not just in the theater, but in daily life — as fundamental.  Their main techniques were designed to take us out of pre-fabricated ideas and a sense of passive spectatorship.

Consider détournement, in which one takes an existing cultural product (a comic book, say) and modifies it (replacing the dialogue with lines from Nietzche or something): we’re clearly meant to get the sense that we are not mere consumers of culture, but can intervene in it.  Or consider the Situationist dérive, a kind of boundary-crossing ramble over a built environment, without respecting the prescribed uses for the various kinds of space.  This is meant to help us realize that we don’t have to follow the ordinary paths, and use things as we are implicitly and explicitly told to use them.

So.  For me, voting Green is less about expressing a desire to save the trees and keep the water clean (though I believe those are good things to do) than it is about a desire to keep the Green Party on the ballot (you need 5% of the vote to do that in Illinois).  It’s about creating an environment in which one realizes that the way things are now is not the way they have always been and must always be.  It’s about creating a sense of expanded options.  It’s about creating a situation.


Robert Archambeau is the author of Word Play Place (Ohio/Swallow), Home and Variations (Salt), and Laureates and Heretics (Notre Dame).  He is Professor of English at Lake Forest College.

SATURDAY POETRY SERIES PRESENTS: GEORGIA KREIGER

By Georgia Kreiger:

HE COMES

For a time he lived between my legs
where our urgent collisions seemed more
than the common fuck, more like he wanted

to break through the boundaries of skin
and mind and dissolve himself in the depth
of a woman who, he insisted,

did not remind him of his mother. A woman
more pliant and yielding than the clumsy
young girls who offered themselves cocooned

in their own interests, a woman who knew
that his sickness drove him to seek
shelter on the inside of someone

who provided herself like an abandoned cabin,
whose heat was seasoned by distant fires,
hard nights, needs beaten to a sheen.

And when his breath caught
and he breached, almost, the sovereignty
between him and me, filling the space with sound,

my emptiness echoed his cry: the purr of wind
through loose windows, thrash of deer through brush,
the call of faraway trains at night.


POCKET KNIFE

What struck me most was how gently
his left hand cupped the elbow to steady
the arm and turn out the white expanse
near the wrist where the veins are visible.
And how slowly, tenderly, he positioned
it, held as one would when cutting a steak
for which one felt only the mildest hunger,
his thin wrist bent slightly over his work.
The almost translucent flesh dimpled
under the pressure and formed two plump
ridges on either side. I told him once
that I would be willing even

to bleed for him.
And when the flesh split, and the line
he drew down my arm turned scarlet
and welled up and ran thickly toward
my hand, I felt the bloodless despair
that cutters describe
rush out of me
and the room swirl almost
with the rhythm of his breath.
And weightless I rose
toward a beckoning twilight
as we sat leaning over
the slow flow that startled us awake.

(“He Comes” and “Pocket Knife” were originally published in The 2River View. These poems are reprinted here today with permission from the poet.)


Georgia Kreiger lives in Maryland and teaches creative writing. Her poems have appeared in The 2River View, poemmemoirstory, Literal Latté, Poet Lore, Sow’s Ear Poetry Review, Outerbridge, Backbone Mountain Review and others.

Editor’s Note: In truth I am at a loss for what to say about these striking poems. Thoughts fly through my head like cars on a freeway, crossing one another at record speeds. Of course I would love these poems. How brilliant, how honest, how raw. How painful, and how beautiful the pain. Kreiger wastes no time in cutting deep, in sticking her arms in up to her elbows as if midwifing or keeping a heart beating with her bare hands. Sex, violence, mental illness- there is no subject taboo, no aspect of the human/female/relationship experience that is off limits. I am inspired and humbled by Kreiger’s grasp on the art of the poem.