POLITICS

MoveOn t-shirt celebrating Barack Obama’s inauguration as President of the U.S.

WHO GOT IT RIGHT

by John Halle


Who Got it Right?

A common lament among progressives involves those who got it wrong-in many cases, disastrously wrong-walking away from their collisions with reality not only with their reputations untarnished, but actually rewarded in the form of increased access to circles of political power and media influence.

Parade examples include liberal hawks Michael O’Hanlon, Thomas Friedman, Peter Beinart and others, not to mention Hillary Clinton whose enabling of the Iraq disaster is taken as a prime qualification for being placed at the foreign policy helm.

Matched with them is a similar collection of elite technocrats from the Robert Rubin circle such as Larry Summers and Timothy Geithner joined by Fed chief Bernanke now being provided the opportunity to run the economy into the ground a second time, while their enablers in the media-the most conspicuous being CNBC hypemaster Jim Kramer continue to enjoy the status of financial gurus.

All this is always good for a few chortles from the gallows from what passes for the left and maybe boosts our morale-something we need a lot of now.

Unfortunately, we can only go so far with this before realizing that the laugh is also on us.

For just as the establishment right and center got Iraq and the economy wrong, the establishment left was indulging in its own fantasy world, and it was one which is now coming to bite us on the proverbial ass, namely the fantasy of Barack Obama.

Plenty of ink has been spilled in recent weeks about “misjudgments” which caused the left to swoon over a candidate who rejected virtually the entirety of what the left (by any reasonable definition) believes.  And even more anguish is caused by the grim reality that Obama is now acting on his deepest beliefs: expanding the war on terror, torpedoing banking reform, extending Bush tax cuts, while demanding fiscal austerity in the midst of what appears to be a second great depression.

How We Could Have Known

How could we have known? The answer is that we could have if we had listened.

For there were those who were speaking up but our alleged “reality based community” refused to hear them. Their voices were, quite literally, censored and those raising them were, figuratively speaking, disappeared.

As should have been obvious then and is painfully obvious now, left outlets ranging from the Nation to In These Times to the American Prospect passed over virtually all discouraging words during the campaign denying them access lest they threaten to put a damper on the party atmosphere deemed necessary for selling the Obama product.

The establishment left media was complemented by the progressive blogosphere which reached clinical levels of delusion during the campaign.  In dealing with dissenting voices,  passive censorship was replaced with the iron fist of repression.  At what have now become known as “access blogs” such as Daily Kos, Crooks and Liars, and Democratic Underground,  those suggesting that the Democratic nominee was anything less than a messiah were subjected to vicious personal attacks, troll rated and in short order summarily banned from discussion boards.

Rather than revisiting the Zombie-like behavior of much of the left during this period, well documented by the Onion, it is by this point probably best forgotten.

What is important now is where we are going-whether the left has learned from its absurd dalliance with a smooth talking Chicago neo-liberal and is now capable of the requisite level of skepticism in our dealings with him as chief executive and the objectively reactionary policies of his administration.

A Tale of Two Professors

As an indication of the distance we still have to travel, it is instructive to focus on a single comparison between two Ivy League professors who made their views known on the Obama phenomenon during the 2008 campaign.

One of these is UPenn Political Science Professor Adolph Reed whose experience goes back to Obama’s much hyped days as a community organizer on Chicago’s South Side. Far from being favorably impressed, in a Village Voice column from 1996, Reed noted the latter’s “vacuous to repressive neo-liberal politics” and presciently described these as “the wave of the future.” This future would arrive in 2008 when right wing governance and ideology were successfully marketed to progressives by establishment liberals as “transformative leadership.”

Among those selling the Obama product most successfully was another Ivy league Professor, Melissa Harris-Lacewell of Princeton.     In increasingly high-profile appearances, Harris-Lacewell repeatedly compared the Obama campaign to iconic moments in the civil rights movement such as the Montgomery Bus Boycotts.  Once the Obama administration assumed office, apologetics for neo-liberal rhetoric smoothly transitioned to apologetics for the implementation of neo-liberal policies.  These required some logical contortions and more than a little cynicism.  Thus, in a stunning Martin Luther Day King posting at the Nation, Harris-Lacewell chose to focus on instances of King’s dealmaking, personal failings and sell-outs of core constituencies.  The conclusion, according to Harris-Lacewell, was that the comparison of Obama and King remained in force: “extraordinary change can be achieved even through imperfect leadership . . .  wholeheartedly groping toward better and fairer solutions for our nation.”

It would seem that very few leftists remain who are willing and able to accept the Polyannish equation of the current occupier of the Oval Office with the author of the Letter from Birmingham Jail.  Nor would many grant the benefit of doubt that Obama’s “gropings” are anything other than simple pay-backs to his primary constituency, the Wall Street brokerage houses, megabanks, insurance companies, energy consortia, and lobbyists who financed his campaign.  Given this emerging consensus, one might have expected that Harris-Lacewell’s commentaries would be seen as having a limited shelf life while Prof. Reed’s inconvenient truths would be recognized for what they are: as what we needed to hear then-and need to hear now.

But nothing of the sort has occurred. Prof. Harris Lacewell remains a guest frequently encountered not only on the liberal wing of the corporate media represented by MSNBC hosts Rachel Maddow and Keith Olberman but at seemingly authentic alternative left outlets such as Laura Flanders’s GritTV.  More disconcertingly, a continuing flow of Obamapologetics will likely be offered through Harris-Lacewell’s recently announced “Sister Citizen” to appear weekly in the Nation, an editorial decision which will reduce the contributions of iconic left columnist Alexander Cockburn to once a month.

In contrast to this upward trajectory, Reed remains at his post at Penn, his book on the Obama phenomenon eagerly awaited by a few followers but otherwise a largely invisible prophet undeserving of honor, at least as far as the establishment left is concerned.

An Honor Roll

These two academics are, of course, not the sole representatives of their respective positions with respect to the Obama phenomenon.  Harris-Lacewell, while perhaps more enthusiastically fellative than most was different only in degree from Michael Moore, Thomas Frank, Katha Pollit, Michael Tomasky, Barbara Ehrenreich, Bill Fletcher, and numerous others from whom one would have hoped (if not expected) to have asked the right questions and prepared the left for the outcome we are now facing.

Furthermore, while Reed was the earliest to sound the alarm, there were others attempting to do so, among them Paul Street whose widely ignored Barack Obama and the Future of American Politics anticipates some of the arguments which will appear in Reed’s forthcoming book.  Another was the trio of Bruce Dixon, Glen Ford and Margaret Kimberly at the Black Agenda Report, whose on the ground experience with Obama mirrored that of Reed and led to nearly identical warnings to the left. From his Washington perch, Sam Smith of the Progressive Review saw the light in the tunnel as the oncoming train which would materialize as did former NY Times correspondent, Chris Hedges whose views on this and other matters has by now relegated him to non-person status.  Finally, there was Nader’s Vice Presidential candidate Matt Gonzalez whose entry into the race was announced by an impressively researched bill of particulars published in Counterpunch.

These are a few entries deserving inclusion on an all-too-short honor role.  The point here is that, rather than being rewarded for being right, these figures remain on the marginal fringes of left discourse.

In other words, those who got it wrong dictate not only destructive neo-liberal administration policies from the inside, but how these are to be opposed (if at all) by a left which should have long since been on the streets as if our lives depend on it.

That they do, perhaps more than at any time in our history, should be obvious to anyone with their eyes open.

–John Halle

John Halle is a former alderman for the city of New Haven, Connecticut, and is on the faculty at Bard College in New York State where he teaches music theory and is active as a composer.

This piece was first published in Corrente on March 1, 2010.

To see other political writings by John Halle you can visit his website johnhalle.com.

PALESTINE & ISRAEL

Map of Palestine and Israel, 1948-2000, from Justice First!

Editor’s note~ This is an important event taking place in the Bay Area this weekend with some great speakers including our friend Anna Baltzer whose writings (from Witness in Palestine: A Jewish American Woman in the Occupied Territories, Paradigm Publishers, updated & revised 2007) we’ve reprinted here at AIOTB many times.

Btw, if you haven’t seen her recent appearance on The Daily Show with Jon Stewart, with Palestinian legislator Mustafa Barghouti, I strongly recommend that you watch it. You can see it here. — Matt Gonzalez

________________________________________

Bay Area Friends of Sabeel presents…

A Time for Truth, A Time for Action:

Palestine/Israel & the U.S. at the Crossroads


Mar 5th – 6th

First Presbyterian Church

72 Kensington Rd

San Anselmo, CA


Conference speakers will include:

Ziad Abbas is a Palestinian refugee from the Deheisheh refugee camp in the West Bank and cofounder of the Ibdaa Cultural Center in Deheisheh, where he has served as executive director since 1994. He is currently associate director of the Middle East Children’s Alliance (MECA).

Dr. Hisham Ahmed, professor of politics at St. Mary’s College, Moraga, California, teaches courses on Middle East politics, terrorism and nonviolence. He was born in Deheisheh refugee camp and served as a Fulbright scholar and on the faculty of Birzeit University. His book, From Religious Salvation to Political Transformation: The Rise of Hamas in Palestinian Society, was the first to appear in English on the subject.

Mohammed Alatar is a filmmaker and human rights activist from Jenin in the West Bank. He was nominated for the Martin Luther King Jr. Award for Humanity in 2002 in recognition of his work for human rights. His films include The Iron Wall and Jerusalem: The East Side Story.

The Rev Naim Ateek, the founder of Sabeel, is an Arab-Israeli citizen known to many as the ‘Bishop Tutu of Palestine.’ He served as the canon pastor of the Episcopal Cathedral of Jerusalem and is the author of numerous books and articles, including Justice and Only Justice: A Palestinian Theology of Liberation and A Palestinian Christian Cry for Reconciliation.

Anna Baltzer, Jewish-American granddaughter of Holocaust survivors and award-winning speaker and organizer for Palestinian rights. Baltzer worked with the International Women’s Peace Service in Palestine and recently appeared on The Daily Show with Jon Stewart (watch here: www.thedailyshow.com/watch/wed-october-28-2009/exclusive—anna-baltzer—mustafa-barghouti-extended-interview-pt–1). She is the author of Witness in Palestine: Journal of a Jewish American Woman in the Occupied Territories.

Omar Barghouti, an independent Palestinian researcher, commentator and human rights activist, is a founding member of the Palestinian Campaign for the Academic and Cultural Boycott of Israel and the Palestinian Civil Society Boycott, Divestment and Sanctions campaign against Israel. Barghouti holds bachelor’s and master’s degrees in electrical engineering from Columbia University.

Kathleen and Bill Christison are former CIA analysts. Bill Christison was a senior official in the organization, and Kathleen worked on Middle East issues for 35 years. She is the author of Perceptions of Palestine and The Wound of Dispossession. Together the Christisons published Palestine in Pieces: Graphic Perspectives on the Israeli Occupation.

Dr. Jeff Halper, an Israeli-American peace activist, founded and coordinates the Israeli Committee Against House Demolitions. He is a professor of anthropology, author, acclaimed speaker and 2006 Nobel Peace Prize nominee. His books include Obstacles to Peace: A Reframing of the Palestinian-Israeli Conflict and An Israeli In Palestine: Resisting Dispossession, Redeeming Israel.

Remi Kanazi, a Palestinian-American poet and writer based in New York City, is the editor of Poets for Palestine, a recently released collection of poetry, spoken word, hip hop and art.

Mohammed Khatib is a member of the Popular Committee of Bil’in, a West Bank village. He organizes nonviolent protests against the barrier separating his community from its farmland and has been arrested and beaten for his activities. Khatib has challenged the barrier in Israeli courts and set up an alliance of West Bank villages to share his strategies.

A full list of speakers can be found at www.fosna.org/content/marin-countybay-area-conference-march-5-6-2010

Registration and more details at www.fosna.org/content/marin-countybay-area-conference-march-5-6-2010

PEACE PILGRIM

From 1953 to 1981 a silver haired woman calling herself only “Peace Pilgrim” walked more than 25,000 miles on a personal pilgrimage for peace. She vowed to “remain a wanderer until mankind has learned the way of peace, walking until given shelter and fasting until given food.” In the course of her 28 year pilgrimage she touched the hearts, minds, and lives of thousands of individuals all across North America. Her message was both simple and profound. It continues to inspire people all over the world: “This is the way of peace: overcome evil with good, and falsehood with truth, and hatred with love.”

She believed that world peace would come when enough people attain inner peace. Her life and work showed that one person with inner peace can make a significant contribution to world peace.

Peace Pilgrim: Her Life and Work in Her Own Words

CHAPTER 1: Growing Up

I HAD A VERY FAVORABLE BEGINNING, although many of you might not think so. I was born poor on a small farm on the outskirts of a small town, and I’m thankful for that. I was happy in my childhood. I had a woods to play in and a creek to swim in and room to grow. I wish that every child could have growing space because I think children are a little like plants. If they grow too close together they become thin and sickly and never obtain maximum growth. We need room to grow.

We begin to prepare for the work that we have to do and customarily we have no idea what we are preparing for. So as a child I had no idea what I was preparing for. And yet, of course, I was in many respects preparing. I was preparing for the pilgrimage when I chose my rule of ‘first things first’ and began to set priorities in my life. It led to a very orderly life and it taught me self discipline – a very valuable lesson, without which I could never have walked a pilgrimage. I carried it right into my adult life.

I received no formal religious training as a child. (It would be less that I would have to undo from my mind later on!) My first view inside a church was when I was twelve years old and I looked through the doorway of a Catholic church to watch janitors clean the cathedral. When I was sixteen I entered a church for the first time to attend a wedding.

When I was a senior in high school I began to make my search for God, but all my efforts were in an outward direction. I went about inquiring, “What is God? What is God?” I was most inquisitive and I asked many questions of many people, but I never received any answers! However, I was not about to give up. Intellectually I could not find God on the outside, so I tried another approach. I took a long walk with my dog and pondered deeply upon the question. Then I went to bed and slept over it. And in the morning I had my answer from the inside, through a still small voice.

Now my high school answer was a very simple answer — that we human beings just lump together everything in the universe which is beyond the capacity of all of us, and to all those things together some of us give the name God. Well, that set me on a search. And the first thing I did was to look at a tree, and I said, there’s one. All of us working together couldn’t create that one tree, and even if it looked like a tree it wouldn’t grow. There is a creative force beyond us. And then I looked at my beloved stars at night and there’s another. There’s a sustaining power that keeps planets in their orbit.

I watched all the changes taking place in the universe. At that time they were trying to keep a lighthouse from washing into the sea. They finally moved it inland and said they had saved it. But I noticed all these changes and I said, there’s another. There is something motivating towards constant change in the universe.

When I reached confirmation from within I knew beyond all doubt that I had touched my highest light.

Intellectually I touched God many times as truth and emotionally I touched God as love. I touched God as goodness. I touched God as kindness. It came to me that God is a creative force, a motivating power, an over-all intelligence, an ever-present, all pervading spirit — which binds everything in the universe together and gives life to everything. That brought God close. I could not be where God is not. You are within God. God is within you.

***

I was working in the five-and-ten-cent store between my junior and senior year in high school. I just loved the work, especially fixing up counters so they would look pretty. They even let me fix up the windows because I liked to do that. Well, you know, I was cheaper than a window decorator!

I had two registers at my counter. One day I didn’t have the proper change in one register so naturally I went over to the other and rang “no sale” and took out the change. Then I discovered I had committed a cardinal sin. I heard them whispering, “She rang ‘no sale’!” The male floorwalker came over and said, “Come with me.” He put me at a counter in a corner that needed fixing up. He left me there, and then came back and said, “Why did you do that?” I replied, “I still don’t know what I did. I just took change out of the register — I didn’t steal any money.” He said, “You were instructed never to ring ‘no sale’.” I answered, “I wasn’t instructed at all.”

Then he went to the female floor walker who was supposed to instruct me. I was reinstated. But, because of the incident, she then hated me. I knew that something needed to be done about it. Then I passed her desk and noticed a few faded flowers there. The next morning I brought her a beautiful bouquet of flowers from my garden. I said, “I noticed those faded flowers. I know you love flowers and here are some from my garden.” She couldn’t resist them. At the end of the week we walked out of there arm in arm!

I feel sure I was being prepared for the pilgrimage when I read the Golden Rule in history, “Do unto others what you would have others do unto you” — expressed in a lot of different ways and pointing out that every culture had one. It got an inner confirmation from me. It affected my entire life. In fact, there were certain offshoots of the Golden Rule which carried over even into the pilgrimage. When I was in high school I had a little saying, If you want to make friends, you must be friendly. If you analyze it, that is an offshoot of the Golden Rule. It is the recognition that people react according to the influences brought to bear upon them. I have it in my life today with my little saying, If you want to make peace, you must be peaceful.

I put the Golden Rule into practice just beyond my student days. I was given a job that one of my girl friends wanted, and I was elected to an office in a community club that she also wanted. I thought she hated me. She said all kinds of mean things about me. I knew it was a very unhealthy situation. So I hauled out the Golden Rule — I thought of and said every possible kind thing that could be truthfully said about her. I tried to do her favors. It fell to my lot to do her a significant favor. And to make a long story short, when she was married a year later I was maid of honor at her wedding. See how a little bit of spiritual practice goes a long way?

I know I was being prepared for the pilgrimage when I made certain choices. For instance, I was in grammar school when I was offered cigarettes from a package, which I did not smoke but my friends did. In high school I was offered all kinds of alcohol, which I did not drink but my friends did. Then just after my student days I was faced with a kind of test because all my friends at that time used both alcohol and tobacco. There was such a push towards conformity in those days — they call it peer pressure now — that they actually looked down on me because I didn’t do these things. And gathered in someone’s living room I said to them, “Look, life is a series of choices and nobody can stop you from making your choices, but I have a right to make my own choices, too. And I have chosen freedom.”

***

I also made two very important discoveries as time went on. In the first place, I discovered that making money was easy. I had been led to believe that money and possessions would insure me a life of happiness and peace of mind. So that was the path I pursued. In the second place, I discovered that making money and spending it foolishly was completely meaningless. I knew that this was not what I was here for, but at that time I didn’t know exactly what I was here for.

It was really the realization that money and things would not make me happy that got me started on my preparation for the pilgrimage. You may wonder how in the world I got involved with money and things in the first place, but you see, we are taught these sets of opposites which are extremely confusing.

I was very fortunate in that I was only confused by one of these sets of opposites; most people are confused by both.

On the one hand I was trained to believe that I should be kind and loving and never hurt anybody, which is fine. On the other hand I was trained to believe that if so ordered it is indeed honorable to maim and kill people in war. They even give medals for it. Now that one did not confuse me. I never believed there was any time under any circumstances when it was right for me to hurt anybody.

But the other set of opposites confused me for awhile…

I was trained to be generous and unselfish, and at the same time trained to believe that if I wanted to be successful I must get out there and grab more than my share of this world’s goods. These conflicting philosophies which I had gathered from my childhood environment confused me for some time. But eventually I uprooted this false training.

[reprinted from the Friends of Peace Pilgrim website: “Friends of Peace Pilgrim is a 501(c)(3) non-profit organization devoted to spreading Peace Pilgrim’s message. In the tradition of her pilgrimage, all materials on this website are offered free of charge. Anyone working for peace, spiritual development, and the growth of human awareness has our willing permission to reprint non-copyrighted materials in whole or part.”]

IRAN

AP photograph by Shahabaddin Sheikhi.

NEW DAY

by Ms. Irani

Springtime in Iran usually is a blissful time, with the coming of the Persian New Year on the day of the vernal equinox, usually celebrated on March 20th or 21st. As an Iranian-American woman growing up in the U.S., I always wondered what it would be like to be celebrating this wonderful holiday known as “Norooz”, which means ‘new day’, with my fellow Iranians.  Usually I just take a day off work or school and have to explain to people why I celebrate a New Year holiday in the middle of March, instead of celebrating Christmas or Thanksgiving or any other “Am-rik-aee” holiday. Last year, I had the chance to visit my family in Iran during the Persian New Year holiday season, and with my own eyes finally got to witness the vibrant street markets and lively merchants selling the traditional holiday fixins for the annual Norooz altar…hyacinth flowers, garlic, gold fish; our equivalent of Christmas trees and ornaments. I also noticed a buzz in the air about the upcoming Iranian election in June.  Even though former Reform President Mohammad Khatami had just withdrawn from the election earlier that week, people still had hope that they were going to have an “Obama v McCain”-esque showdown, with Ahmadinejad on the radical right, and one of the (at that time) yet-undecided other candidates on the “reform” side (or really as it should be called, “the significantly less right but still very to-the-right by our standards” side). People had witnessed the power of the vote in the American elections, and were preparing to take to the polls in droves to vote for change. They were hopeful, as if they were on the brink of achieving progress peacefully and democratically through spectacular voter turnout, and challenging the authority of a supposedly ‘theocratic democracy’ which had not been tested anytime during the reign of the Islamic regime since it was ushered in during the bloody revolution of 1979. They needed a government that better represented their economic interests, to turn the attention to domestic issues such as unemployment and infrastructure problems, and also wanted some reprieve from the radical element of the regime that had taken over Iranian politics and brought such negative attention to the country for over 30 years.


Photograph courtesy of kavehfarrokh.com.

Flash-forward one year later to present day, March 2010. Preparations are yet again under way for Norooz, both amongst the Iranian population in the United States, and back with my family and fellow Iranians in Iran. But the mood is somber, one of frustration, anger, and resentment. The election was a sham, as everyone now knows. Hundreds of Iranian brothers, sisters, children, and elders have given their lives for freedom and to have their voices and votes heard, and have not, as of yet, even come close to attaining that precious freedom that we Americans take for granted every day. We captured the world media’s attention for just a moment (at least until Michael Jackson died), and had our voices heard on Twitter and You Tube, coining the term “Twitter Revolution”. All Iranian-Americans, including myself, finally felt sympathy from average Americans instead of the usual fear and disdain that has followed us since the hostage crisis. Freedom fighters, politicians, activists, musicians, actors, and citizens from around the world were both captivated and horrified with images of dying Iranian youth on the street; even U2 dedicated their disaffected-people’s anthem “Sunday Bloody Sunday” to the people of Iran. And politics and international policy once again became center stage with the Iran’s pending nuclear development, instead of those forgotten domestic issues that continue to affect regular Iranians on a daily basis. With regard to the election, most Iranians keep repeating a famous Iranian adage that says, “The fire is not over; it is still smoldering as embers beneath the dirt”, but that is become more and more difficult to believe as the situation grows bleak with each passing day. Just this week, the so-called Islamic government shut down two more prominent Iranian reform newspapers, and Supreme Leader Ali Khamenei has barred the opposition from running in the future, claiming THEY have lost their credibility and ‘their right to participate’ by not accepting the (doctored) results of the (falsified) election. To me, what is even more infuriating than the dictatorial oppression of this regime is this blatant hypocrisy that is so incredibly obvious to most everyone both in Iran and around the world…one wonders whether they have gone completely mad with power; even devout Muslims are questioning their religious legitimacy, and it has become a current topic of discussion amongst many scholars and policy makers alike. Mr. Mir-Hossein Mousavi, the “Green Revolution” reform candidate who has been in the spotlight of all the election pandemonium (and shockingly to me, has thankfully not been physically harmed by government supporters…yet), agrees:

    “This is the rule of a cult that has hijacked the concept of Iranianism and nationalism,” Mousavi said in an interview published on his Web site, kaleme.com. “Our people clearly understand the difference between divine piety and thirst for power in a religious style … our people can’t tolerate that (dictatorial) behaviors are promoted in the name of religion.”

I couldn’t agree more with Mousavi’s eloquent manner of summing up the root of the problem in Iran. This ‘Islamic’ government, through its falsification of a legitimate election, and through its violent oppression and of a large group of voters and average citizens, has proven itself to be nothing more than a petty military dictatorship thirsty for political power and financial gain. With an Iran that is in the hands of the regime’s Revolutionary Guard, helmed by a truly delusional Mahmood Ahmadinejad, a Guard veteran himself, I am left to wonder what is going to happen for the next Norooz. Will we truly have a ‘new day’ in Iran? Will I live to see change happen in my lifetime? Will my family and cousins in Iran have to live through another vicious war, like those that are occurring in neighboring Iraq and Afghanistan? Will I even be able to visit Iran again? Or, as I sign this statement anonymously, must we Iranians fear crackdowns and retribution like that which has occurred to Professor Kian Tajbaksh, Bijan Khajehpour, or most recently renowned film director Jafar Panahi. A year later, Iranians are left with more uncertainty than ever about the direction our country will go in this next New Year, and what amount of violence, death, and sacrifice must those in Iran face before they have the basic right to determine their own leadership without interference from any dictatorial OR foreign power. My only hope and wish for this Norooz is that we will one day truly be able to celebrate a new day in Iran, one that will enshrine the values of freedom and liberty that all Iranians so passionately seek in the streets. On this March 20, I hope others think of Iran and will have the same wish for my country as well.

–By Ms. Irani

Ms. Irani is the pen name of a writer who lives in the Bay Area, California.

CRAIGSLIST AD

Humanistic documentary script, 1568.

MY LAW DEGREE (SERIOUSLY)

by Unknown

My Law Degree (Seriously) – $59250 (lower pac hts)

Date: 2010-02-24, 8:56PM

After several years of practicing law with a bunch of nerds in Silicon Valley I have come to the conclusion that my law degree is useless and I don’t want to be a lawyer anymore. Though I spent over $100,000 on it I am willing to sell it for the bargain basement price of $59,250, which is the current value of my remaining student loan balance. This priceless collectible will permit you to be surrounded by hobby-less assholes whose entire life is dictated by billing by the hour and being anal dickheads. Additionally, this piece of paper has the amazing ability to keep you from doing what you really want to do in life, all in the name of purported prestige and financial success. Finally, girls in the Marina will swoon with retarded thoughts of sugar daddy when they hear you went to XXX prestigious law school and are a lawyer.

Act now as supplies are limited and this crap takes three years to make. DISCLAIMER: this piece of shit isn’t even written in English. It’s in Latin or something, but I have the translation. It says “Haha. We took your tuition money bitch, now suck it. Sincerely, President of the University”

Added Bonus: It’s from one of those elitist BS institutions that accept people like George W. Bush cause their daddy donated $20 million. Instead of donating $20 million you can have it for the low low price of $59,250 or best offer.

This is actually a serious post. I will really sell this piece of shit.

Original URL: http://sfbay.craigslist.org/sfc/clt/1616836329.html

–by Unknown

Unknown is a graduate of XXX prestigious law school.

ITALIAN FUTURISM — BALLA

Chicago-Electric-Iron, c. 1910, made by C.F.S. Co. Chicago. Photograph and information courtesy of Vintage Electric Irons.

THE FUTURIST UNIVERSE (1918)

by Giacomo Balla

Any store in a modern town, with its elegant windows all displaying useful and pleasing objects, is much more aesthetically enjoyable than all those passeist exhibitions which have been so lauded everywhere. An electric iron, its white steel gleaming clean as a whistle, delights the eye more than a nude statuette, stuck on a pedestal hideously tinted for the occasion. A typewriter is more architectural than all those building projects which win prizes at academies and competitions. The windows of a perfumer’s shop, with little boxes and packets, bottles and futur-color triplicate phials, reflected in the extremely elegant mirrors. The clever and gay modeling of ladies’ dancing-shoes, the bizarre ingenuity of multi-colored parasols. Furs, traveling bags, china—these things are all a much more rewarding sight than the grimy little pictures nailed on the grey wall of the passéist painter’s studio.
–Giacomo Balla

IMMIGRATION REFORM

Binational couple Shirley Tan, Jay Mercado, and their two sons.

COMPREHENSIVE IMMIGRATION REFORM MUST INCLUDE LGBT EQUALITY

by Dave Bennion

Prerna Lal, pro-migrant LGBT rights activist and blogger, recently expressed her frustration that the mainstream immigration reform coalition Reform Immigration for America (RI4A) appears willing to exclude LGBT immigrants from comprehensive immigration reform (CIR) in order to keep the faith groups on board.  RI4A should not simply attempt to paper this conflict over as that would damage its credibility with liberals/progressives who support CIR and ultimately undermine the group’s efforts to promote immigration reform.

RI4A is an umbrella group formed last year by the main institutional coalition partners pushing for immigration reform: faith groups, business, and labor.  Immigrant rights nonprofits, the American Immigration Lawyers Association (AILA), and local communities and individuals have also been working with RI4A to promote comprehensive immigration reform, but as far as I know, most of the money and organizational support comes from the three institutional partners.

RI4A has been confronted with serious obstacles like the recession and the emergence over the past several years of immigration as a culture war issue.  Furthermore, RI4A’s formation itself is something of an achievement, as it is the first time in recent memory that all the major unions joined together to support a common platform on immigration reform.  I believe the unions agreed to set aside their differences to better push for workers’ rights against business interests as immigration legislation is negotiated, which in turn has alarmed the Chamber of Commerce and AILA.  However, for now, as far as I know, all the disparate groups are still under the umbrella.  RI4A’s leaders understand that one sure way to lose the CIR debate is through infighting.

But despite RI4A’s best efforts, cracks are emerging in the coalition along the lines where interests diverge.  I won’t speak today to the longstanding conflict between labor and business on immigration—Duke at Migra Matters is a better source for that analysis.  And there is a widening fracture between immigrant activists concerned about widespread violations of human rights by the Department of Homeland Security and politicians who can’t say anything about immigration without assuring the public that the border will be defended from the gardeners and nannies who would do us harm.

But RI4A—and the immigrant rights community more broadly—shouldn’t ignore the split between the faith groups and LGBT immigrants.  In my view the two paramount social justice struggles in America today are immigrant rights and LGBT equality.  As people invested in social justice, we cannot support one cause to the detriment of the other.

RI4A needs to figure out how to maintain the churches’ support while not selling out LGBT immigrants.  That is no easy task.  But my takeaway from Prerna’s report on the recent LGBT Immigration summit in New York City is if RI4A wants to ensure that a wedge on CIR forms between liberals/progressives and the faith groups, they are doing all the right things.

Ali Noorani of the National Immigration Forum had the unenviable task of explaining to the LGBT bloggers in attendance that CIR will not include an LGBT component permitting citizens or permanent residents to sponsor their same-sex partners for immigration benefits because of the staunch opposition of the churches.  From Prerna:

To his credit, Ali Noorani was brave to show up to weather the storm of anger and have a conversation that should have happened long ago. He admitted that there were no LGBT organizations on the Reform Immigration for America management team, allegedly to appease conservative religious organizations — the same community that queer advocates have been fighting against to gain equal rights for so long. Noorani also went out on a limb to say that the Uniting American Families Act (UAFA) was not a winning strategy for the campaign to adopt, which made little sense given that UAFA has more cosponsors than even the popular DREAM Act and the tanked Gutierrez CIRASAP bill.

But Noorani failed dismally when he ranked oppressions, especially in the case of the Trail of DREAM students: “they won’t be detained for being gay, they would be detained for being undocumented.” This blatantly ignorant statement demonstrates a complete and utter failure at understanding intersectional oppression: Felipe is still undocumented because Juan is queer male and they are in a same-sex relationship — these multi-dimensional identities are so intrinsically linked that it is hard to elevate one over the other, let alone rank them.
 

Ostensible champions of the oppressed shouldn’t so easily overlook the interests of the most vulnerable members of the communities they are tasked with protecting.

The biggest problem, though, is the churches themselves, and primarily the Catholic Church.  I don’t know of a single Catholic immigration legal services organization that would refuse to represent a gay asylum applicant who walked through their doors.  Maybe this has happened somewhere, but my experience working for the Catholic Diocese of Brooklyn and Queens for two years as an immigration attorney leads me to believe that Catholic organizations will fight as hard as the next nonprofit to defend LGBT immigrants whose claims of relief rest upon sexual orientation.

So why, then, has the Catholic Church decided to fight to categorically exclude LGBT immigrants from the family-based immigration system?  Do the leaders of the church know what is going on in their own legal services organizations?  Have they recently attended a training on the intricacies of LGBT asylum law by one of CLINIC’s excellent attorneys?  Have they taken the time lately to listen to a CLINIC attorney argue a gay asylum case in immigration court?  Their actions lead me to believe they haven’t.

As someone who grew up in the LDS church and got my start in the field working for the Catholic Church, it saddens me that the churches are this ready to (1) hurt their own LGBT constituents and family members and (2) risk the success of CIR over marriage equality.

Advocates of immigration LGBT equality may hear the converse of argument (2) above: Why are you in the immigrant rights community willing to risk CIR over LGBT rights?  I will just point to everything Prerna has ever written and her life story as the best refutation of that argument.

So what can be done to keep faith groups and the LGBT community under the CIR umbrella?  Here are a few initial thoughts:

(1) LGBT-friendly faith groups like HIAS, the Lutherans, and the Methodists should lean on the Catholics to moderate their position on LGBT equality.  The other primary coalition partners—the unions and business—should also weigh in on this point.  How many major corporations today could afford to endorse the Catholic Church’s position on LGBT rights?  How, then, can they afford to remain silent in the face of the Church’s intransigence on LGBT immigration equality?

(2) We in the immigraton legal community can start speaking up for LGBT rights to our partners in the faith communities.  Past AILA president Charles Kuck is a great example of this—he is one of the only active LDS I’ve seen publicly defend LGBT rights in his own faith community.

(3) Pro-migrant liberals/progressives need to draw a line in the sand as the Catholics have done: Without an LGBT component, we will not support CIR.  We’ll take piecemeal and our integrity instead, thank you very much.  If RI4A takes its role seriously as peacemaker between coalition partners, it will work to find a compromise that both the pro- and anti-LGBT groups can live with.

The power of the Catholic Church in the immigrant rights movement is immense, and so far it seems that RI4A, when driven to choose between LGBT immigrants and the churches, will choose the latter every time unless the other coalition partners push back.

 
 —David Bennion is an attorney in Philadelphia, PA, where he helps immigrants to the U.S. navigate the complex immigration legal system.
 

Sunday Literary Series Presents: Sofia Starnes

.

ONE BODY

by Sofia Starnes


The earth is our great mother and the stones

Within earth’s body surely are the bones

The oracle intends.

(Metamorphoses: Ovid. Trans. A. D. Melville)


Let us suppose for once,

in our intimate illusion, the metaphor

is true.  The ant, nervate, exhausting, vexes


through flesh-fields, into earth’s

fragrant udders for its milk; the spigot

pours an ocean into pail, the evening


falls on metal ears, light treading

lifelike in this shell.  All flutter, wink

of wings, must snap out of the strong,


peculiar outbreak of a leaf,

a single spit of wind; the odd kiss mating

March to April year to year.


The worm partakes of this;

the gopher frets and burrows under skin

we must call ours: brown, humid, slug-


filled—quelling throbs as crust

of a secluded heart we recognize.

Thus would we soak in one soft tissue


the day’s outpouring of pain,

downfall of pears and peaches at the edge

of half-crazed beds. Thus would we


explain the squeezing, tightening

lungs in chase of air, long-taken, gulped

by others with our breath.


There may have been no other foot-

prints in our trek from quietness to quake,

from nothingness to whimper, bang


or bubble, whisper swelling into roar.

One naked, mute amoeba prior to clear

voice; yeast plugged into a moist


desire and gestured….

Be food, risen as auburn challah to consume—

Be that consuming body tumbling down to seed.



Sofia Starnes is the author of The Soul’s Landscape, selected by Billy Collins as a winner of the Aldrich Poetry Series Prize (Aldrich Museum Press, 2002); A Commerce of Moments (Pavement Saw Press, 2003), Editor’s Prize in the Transcontinental Poetry Award competition and subsequently named Honor Book in the 2004 Virginia Literary Awards; and Corpus Homini: A Poem for Single Flesh (Wings Press, 2008), winner of the Whitebird Chapbook Series Prize. Her next full-length book, Fully Into Ashes, is forthcoming, also by Wings Press.

The earth is our great mother and the stones

Within earth’s body surely are the bones

The oracle intends.

(Metamorphoses: Ovid. Trans. A. D. Melville)

MARK VAN PROYEN

Jack Stuppin, Mt. Tamalpais, oil on canvas, 2009.

EBULLIENT INHABITIONS: JACK STUPPIN’S EXHILARATING LANDSCAPES

by Mark Van Proyen

“In landskip, inanimates are principal:
’tis the earth, the water, the stones,
and rocks which live. All other life
becomes subordinate.”
An Essay on Painting, Shaftsbury (1713)

During the final decade of the 20th century, it was fashionable to view the entire idiom of landscape painting in terms of its representation of civilization’s “imperial” power over the land, casting it as the means of conveying a kind of pseudo-historical myth and idealized proof of the rightness of civilization’s dominion over nature. Witness W.J.T. Mitchell’s claim that “landscape might be seen more profitably as something like the dreamwork of imperialism,” … if Kenneth Clark is right to say that “landscape painting was the chief artistic creation of the nineteenth century,” we need at least explore the relation of this cultural fact to the other chief creation of the nineteenth century — the system of global domination known as European imperialism.(1) Of course, statements like this can also be taken as the artifacts of a another kind of dreamwork; that being the casting of academia’s relationship to late 20th century history as a wishful attempt to re-determine the corporately controlled present via an exegetical framing of the not-so-mythical past. As such, it can be said to evade the important — indeed, the crucial issue of our time, that being the one which asks how we might most fully inhabit our own moment in our own time, disengaged from the pull of superordinating presuppositions and in un ambivalent possession of a psychically self-sufficient moment of temporary isolation from an insane world overdetermined by policy mandates and the rote groupthinks which are bred from an endless and irresolvable contest of cultural politics.

Jack Stuppin’s landscape paintings are remarkable for the directness and clarity with which they address themselves to this issue of spontaneous psychic inhabitation, and because of this, they take us to places where the angels of anxious sanctimony fear to tread. Not that they do anything wrong; on the contrary, theirs is the most innocent and uncontroversial of artistic tasks, that being the capture and alignment of the momentous confluence of time, place and atmosphere which memorably comprises the irrepressible psychic scenery which cultural politics always seeks to deny and drown out. And yet, it cannot and will not be denied, because all of the abstract information in the world cannot even begin to compete with the tangibility of actual experience in terms of real impact on human memory, however precise, coherent and well-ordered such information might pretend to be. In the end, memory will of necessity trust experience over hearsay, and observable pattern over even the most logically consistent of speculative possibilities. To state the same thing in plainer words, we can say that the meanings that memory makes always places experiential moments in its forefront, emphasizing them as vivid markers for expedient recovery as well sustaining them as keynotes and catalysts for further investigations. This stems from the fact that we are all fated to be haunted by images even as the will to self-protection makes us skeptically suspicious of sermons and diatribes, and images are of necessity always located in some kind of place.

Stuppin’s landscapes address themselves to exactly this notion of perpetually-present memory in that they always seek to collapse and cement the difference between time-present and time-past, re-making them as one-and-the-same as an all-at-onceness which reminds us of the popular truism stating that time is God’s way of keeping everything from happening all at once. Open-minded yet decisively assured, Stuppin’s paintings lift us to the Olympian vantage of geological time where everything pretty much does happen all at once, again-and-again, and they are remarkable for the different paths that they take to carry us to the threshold of that vantage, giving us both its complex topographic texture and well as its eternal panoply of elements — the difference-within-wholeness that is the very essence of the long tradition of landscape painting as it continues to exist in Europe, Asia and North America. If we ascertain within these works a once-upon-a-time magic, then we are also reminded of the delightfully inescapable fact that said time and place is our own here-and-now. Stuppin’s paintings remind us that it is the land itself that is the place which contains all possible places (as both Ur-source and final teleological destination), so they make a perfect, almost heroic sense in that they portray, and thus contain the thing that is destiny tells us will finally contain everything else.

Laboring within the long shadow of both Kantian and Hegelian Idealism, the German art historian Max J. Friedlander stated what has since become a truism for the modern reception and practice of landscape painting: land is the thing-in-itself, landscape the phenomenon.(2) Even though Stuppin’s paintings always take a specific geographical location as their point of departure, their “landscape-ness” should primarily be understood as a model of the mind in so far as they reveal themselves to be idealized imaginings of an a temporal perpetuity. In this, they are demonstrations of the rigors and vigors of an everymind which seeks to wrap itself around the complexities of any given situation that strikes its fancy. To be a bit more precise, we should probably say that Stuppin’s ebullient landscapes are models of being which the mind has chosen to inhabit with a set of specific temperamental priorities and consistent attitudes: obstreperous, playful and perhaps a little impatient to reach a pictorial conclusion about a subject that can never be concluded. Perhaps this recognition casts the repeated effort to reach such a conclusion as a kind of repetition-compulsion giving way to momentary Phyric victories which provide a quick and essential glimpse of that larger-than-lifeness which can only regard the so-called drama of our own existence as a short and rather brutish epiphenomena. But it also gets us closer to how the land can become a site for the projection of a wealth of subliminal meanings which reflect the whole array of styles-of-experiencing which we call life.

Other writers have alluded to some of these meaning in vivid and provocative terms: for John Fitz Gibbon,(3) Stuppin’s “primitive” landscapes are condensed cornucopias of nature’s delectable abundance … paeans to the benevolent vision of plenitude symbolized by the many-breasted goddess Diana of Ephasus. Sounding an almost diametrically opposed note, Donald Kuspit has pointed to how they reveal the fact that “the American landscape is no longer a demonstration of Emerson’s spirit in the fact of nature, but rather of the harsh facts themselves, in all their pristine indifference to human existence. Where spirit once spread over the vast panorama of America’s unspoiled nature like a benign morning mist, making every detail of plant and mineral and sky and cloud glow with sublime intensity, in Stuppin’s pictures the mist has been burned away by a ruthlessly bright sun, leaving behind the raw facts of nature uncontaminated by either divine or human presence.”(4) Even though we might think that these statements are at odds with each other, we should take pause to consider the fact that they take different individual works, or at least different clusters of Stuppin’s typical subject matter as their respective points of literary departure. Clearly, Fitz Gibbon is thinking of the perfervid spring and summer moods of pastoral works such as Mesa on Ghost Ranch (1999), or Hill at Wharton Hollow (1998), where rude bursts of sumptuous foliage impinge upon successive ranges of undulate hills and pillowy valleys which are typically regarded from an elevated panoramic vista. Kuspit’s assertion of the immutable remorselessness of nature is revealed in the upsurging rocks and barren crags pictured in paintings such as Main Top from Lighthouse Hill, Farallon Islands (1995), or perhaps in the sun-scorched hills pictured in Fog and Coastal Mountains, Sonoma County (1996), Both of these paintings take the dramatic confrontation of sun, sea, and land all pounding hard against one another as their subjects, and they remind us of the fact that Herman Mellville’s grim vision of nature as a place where all creation “be tooth’n and fang’n one another” is just as characteristic of the American spirit as are the meditative idylls of transcendental nature mystics such as Thoreau and Emerson.

Other epiphanies are revealed for our viewing pleasure in Stuppin’s paintings. Blossoming fruit trees of the type pictured in Three Plums (1997) and Almond Trees, University Farm (1997), are painted in a way that typically emphasizes their brilliantly efflorescent chromatics, all-the-while laboring to suppress excessive detail in a way that makes them seem more like the idealized remembrances of a particular moment rather than the specific pictorial recollection of a given location. These works literally pop into our visual word, seeming almost improbable in their convulsive bushiness. At first glance, their picture-spaces appear to be flattened in the distilled, economic manner of those painters which we associate with Modernist movements such as Fauvism, Die Brucke Expressionism or the Nabis. This flatness, combined with these work’s electric colors (which never become sour or overripe) quickens our eye, making us remember what it was like to be particularly alive to a particular moment in a particular place that is in itself particularly alive. This is accomplished by the way that the paintings prompt us to achieve high speed in our apprehension of the interrelation of complex pictorial incidents as they coalesce into the general view. It also beseeches us to savor the exhilarating chromatics of that view, forcibly re-acquainting us with the omnipresent epiphanies that are always lurking amid moments of everyday perception.

It is at this point that we realize that there are specific particulars inhabiting these scenes, uniquely memorable ones at that. These are revealed in the form of seemingly improbable details that seem somewhat insignificant in themselves, but in fact are the telltale giveaways to the actuality of the scenes portrayed by these works. To those who are familiar with the Napa, Sonoma and Marin County backroads that Stuppin most often uses as his en plein air studio, the shock of recognizing these details creates a kind of credibility of remembrance in that we can compare our memory of these locations with Stuppin’s fanciful rendition of it — thereby allowing entry into *seeing* that location in the specific frame of mind and perhaps even the specific imaginary moment in which the artist initially viewed it. For those who are not blessed with such geographic familiarity, those details offer themselves up as contributing textures which again remind us that landscape is always more than a mere geological parable. Rather, it is the disclosure of a cyclic narrative of becomings and diminishments which locate both as the polar points of some perpetual cosmic respiration, to which we are all connected regardless of whether we recognize it or not. But the momentousness of this recognition is enhanced if we are also able to recognize the precise moment from which it stems

It is in this use of specific incident to anchor and apply texture to the general scene that we see the true character of Stuppin’s art. His paintings neither seize the topical nor insist on the authority of the general view as an exclusive procrustean province, opting instead to unite these disparate polarities into a flexible, almost paradoxical continuum. They are “down to earth” even as they are never mired in it, always choosing to be unabashed in partaking of whatever pleasure are offered by time and place without making any kind of a moral issue over the powers which shape those moments, which at their essence are always indifferent to the anxieties and conceits of such powers. Once that indifference is noted, the land comes out from behind its passively picturesque shadow and shows itself to be a frisky Poseidon frolicking with the shy creatures of his endlessly fascinating dominion, revealing its supple musculature while remaining confidant and relaxed, unpossessed by any crippling tension bred of an apraxic self-consciousness.

Throughout the past two centuries, many painters have returned to working in and with the landscape to partake of the rejuvenation and spontaneity that goes hand-in-hand with a momentary liberation from the enforced miserablism that is bred from seemingly endless and ever-more arduous quotidian routine. Some, like Gaugain, have never looked back, and in fact they made it their business to stay as close to the land for as long as possible, knowing that it would take much longer than an ordinary lifetime to unlock its knot of secrets and exhaust its many pictorial possibilities. I suspect that Stuppin can rightfully count himself among those artists who have taken the land’s temptation to the point of almost going native with it. He certainly continues to find new vistas to inhabit and respond to, and the work seems to grow ever-closer to revealing what the Taoists call “the living breath of land and rock.” In this, Stuppin’s work can be said to respond to same vitalist impulse that motivated and inspired the scholar-painters of the Sung dynasty almost a millennium ago:

“Landscapes are large things. He who contemplates them should be at some distance; only so is it possible for him to behold in one view all shapes and atmospheric effects of mountains and streams.

“It has been truly said, that among the landscapes, there are those fit to walk through, those fit to contemplate, those fit to ramble in or to live in. All pictures may reach these standards and enter the category of the wonderful; but those fit to walk through or to contemplate are not equal to those fit to ramble in or live in … the wise man’s yearnings for woods and streams is aroused by the existence of such beautiful places …This may be called not losing the fundamental idea.”(5)

It is in the way that Stuppin’s paintings embrace “the fundamental idea” of psychic inhabitation that we see their importance and value. These are works that prompt us to that inhabitation, and in so doing, “do something for us,” that is, they facilitate our understanding of connectedness to the living onement that is both time and place. They prompt us to stop pretending to believe in the reality of the speculative and the intangible by reminding us of the tangible albeit unfathomable mysteries which lurk in that which is immediately at hand.

–Mark Van Proyen


NOTES

(1) W.J.T Mitchell, Imperial Landscape, in W.J.T. Mitchell (ed.) Landscape and Power, University of Chicago Press, 1994. p. 10.

(2) Quoted in Jed Perl, Earth, (1997) in Eyewitness: Report from an Artworld in Crisis, New York, Basic Books, 2000. p. 171.

(3) John Fitz Gibbon, A Barmecide Feast, Barmecide Feast: Landscapes and Figures by Jack Stuppin (exhibition catalog) Fairfax, CA. Bradford Gallery/Pegasus Press, 1996; pp.2-3.

(4) Donald Kuspit, At the Edge of the World, (exhibition catalog), New York, Nieman Gallery, Columbia University, 1998. pp. 4-5

(5) Kuo Ssu, The Great Message of Forests and Streams, (c. 1050 C.E.), in The Chinese on the Art of Painting, edited with an introduction by Osvald Siren, New York, Schocken Books, 1963. pp. 43-44.

A Movie That’s “About Something,” or Why “Creation” Isn’t a Great Movie, But You Should See It Anyway

Creation still photo

A Movie That’s “About Something,”
or Why “Creation” Isn’t a Great Movie,
But You Should See It Anyway
By John Unger Zussman

I was ambivalent about “Creation” even before I saw it. On the one hand, we desperately needed a movie about Charles Darwin in his bicentennial year. Evolution has become a religious and cultural flashpoint, and Darwin himself has been demonized. Only about 40% of American adults say they accept the truth of evolution. Our schools shy away from teaching it, and a raft of BBC and Nova documentaries haven’t been able to pick up the slack. We needed a movie that would humanize Darwin and explain evolution in a way that ordinary people would say, “Hey, wait a minute. That’s all it is? That’s not so bad.”

On the other hand, my wife Patti and I are screenwriters, and we had written our own Darwin screenplay which we hoped would do just that. We conceived it in 2006 and finished a reviewable draft (no screenplay is ever “final” until the movie is made) in 2007, in time (we hoped) for production and release in 2009. We called it “Origin” and it placed highly in several screenwriting contests. It won us a manager—representation in Hollywood is a big deal for screenwriters—and he submitted it to production companies both in the U.S. and Europe. Although it got some “good reads,” no one was willing to spend two years of their life raising money, attracting talent, making the movie, and getting it distributed. Then we learned that British producer Jeremy Thomas had bought the rights to Annie’s Box—a book about Darwin by Darwin’s own great-great-grandson, Randall Keynes—and watched as he recruited a screenwriter (John Collee) and director (Jon Amiel). When we heard that “Creation” had been financed and green-lit, we knew “Origin” was dead, at least in its current iteration. And I was jealous.

We knew it had been a long shot. Period dramas are notoriously difficult to get made, at least in Hollywood, and biopics (biographical movies) are especially problematic to write. People’s real lives do not often reflect the drama and story arc necessary for a good movie. That’s why successful biopics are usually heavily fictionalized or restricted to a brief but critical period in the subject’s life. We ourselves had used that tactic in a previous (and also, so far, unproduced) screenplay, “Trio,” about the love triangle between young Johannes Brahms, his mentor Robert Schumann, and Schumann’s wife Clara, a famous pianist. “Creation” used it as well, focusing on Darwin’s struggle to come to terms with the death of his beloved daughter, Annie, at age 10.

But for “Origin,” we decided we needed to portray the bulk of Darwin’s life, from his voyage on the Beagle, when he was a callow 22, until at least the great debate at the Oxford Museum when he was 51, after On the Origin of Species was published. Only a tale with such broad scope would trace Darwin’s own evolution, from his beginnings as an unpromising, upper-class youth, who studied for the ministry and believed the bible was literally true, yet was blessed with an overpowering fascination with nature—to the proponent of the best (and most subversive) idea in the history of science. Charles would be our proxy, a young creationist who nevertheless kept his eyes open and did not shy away from what they showed him. And so would his devout wife Emma, who abhorred the thought that Charles’s theory would prevent them from being together in heaven, yet who loved him too much to deny him his life’s work. It would be about a scientist and his theory, but really it would be a love story. We wanted it to be the “Brokeback Mountain” of evolution.

When we finally attended the San Francisco premiere of “Creation,” it fulfilled both our hopes and our fears. It succeeded in humanizing Darwin, and Paul Bettany was quite wonderful in the role. It found drama in Charles’s struggle to publish the work that he knew would polarize Victorian society and “break Emma’s heart.” And I had to admit that some of the scenes milked more conflict out of that struggle than ours had.

“Creation” was rather light on the science of evolution. This is understandable, since people go to movies (as our screenwriting coach keeps reminding us) to experience vicarious emotion, not for academic learning. It is even forgivable, especially from a British point of view, since I’d bet that British schools (and the BBC) do a better job educating the populace about evolution than our American counterparts.

But “Creation” was also light on what Darwin called the “grandeur” of nature, and that is more of a problem, for that is what made him tick. And in bringing out the drama, portraying Charles as an angst-ridden neurotic and Emma as his stern, disapproving wife, it made them unsympathetic. Charles and Emma came across as human beings, but not necessarily ones you’d want to spend two hours with, when by all reports they were both interesting, likeable, and generous people. “Creation” ended up as a domestic drama, at times dreary, that happens to be about a scientist. It was far from what we’d tried to write—a heroic drama about a scientist who stumbles on a revolutionary theory and struggles to publish it despite the condemnation of his wife and his society. We wanted a movie that would engage both heart and brain.

Jon Amiel, the director, conducted an hour-long Q&A after the screening. Despite our issues with the film, we were impressed with his intelligence and craft. When I asked whether he thought “Creation” would change any minds, he said he hoped it would at least open them.

To do that, of course, people who don’t accept evolution will have to see it. There’s the rub. Big studio movies open across the country (and world) on thousands of screens—it’s called “opening wide.” “Creation” opened in January on seven screens in five of the most progressive cities in the country. It is gradually rolling out more broadly—it’s on 14 screens as I write this in early February, and will play 15 more in the next month, again mostly in cities. This is the narrowest of openings for an important movie.

In fact, “Creation” was almost not distributed in the U.S. at all. After its premiere at the Toronto Film Festival, the producers expected it would be picked up for major distribution and released during “award season.” But no one bit. Finally, a smaller distributor, Newmarket Films, courageously rescued it and chose its distribution schedule.

Amiel called movies like “Creation” “an endangered species” and cited two strikes against it from the beginning. One reason is that it’s a period drama, a difficult genre to sell in Hollywood (as mentioned above), despite the success (and awards) of movies like “Amadeus” and “Shakespeare in Love.”

But more importantly, Amiel said, “it’s about something,” and that sets it apart from studio fare, which seems primarily to be based on comic books or video games or toys. Studios these days are all about making “tentpoles”—movies that will hold up the heavy tent of their businesses—and building “franchises” (like Spiderman, Transformers, Shrek, Harry Potter, Twilight, Batman, and Saw) that will not only attract viewers to movie after movie, but also sell plenty of cross-licensed merchandise.

Of course, movie-making is a business as well as (one hopes) an art. We can’t begrudge the studios a profit on their work, or ask them to make or distribute movies they expect to lose money on. Moviegoers these days tend to be young, in their teens or twenties, and at the end of a long school or work week, they don’t seek out heavy dramas or movies that make them think. They want to be entertained, they want to laugh or be aroused or frightened. They want to have fun.

You’d think there would be plenty of older moviegoers, too—boomers like me, and other ages too—who grew up on great movies and might prefer period dramas. But our viewing habits are different (despite the efforts of my early-retired friend Dan, who singlehandedly raised the curve by seeing 139 movies in theaters last year). We tend to wait for movies to be released on DVD or television, which is not nearly so profitable for filmmakers or distributors. That’s why they cater to younger audiences.

A year ago, the buzz in Hollywood was that intelligent movies, movies aimed at adults— “adult movies” has another meaning, so the term I prefer is “movies for grownups”—were dead. Serious films with major stars like “State of Play” and “The Soloist” disappointed at the box office. Even 2008 Oscar nominees like “Doubt” and “Frost/Nixon” struggled. The studios were shuttering their specialty divisions like Warner Independent and Paramount Vantage.

Of course, Hollywood is fickle, and trends may be reversed in weeks. These days, the mood is slightly more upbeat, with grownup movies like “Up in the Air” and “The Blind Side” racking up decent box office and surprising many with their staying power. But audiences are fickle, too. Even “The Hurt Locker,” which some critics consider the best movie of the year, barely made back its modest $13 million cost in theaters—the latest in a line of Iraq war movies to disappoint. And the bodies are still falling; just last month, Disney closed its Miramax division. Amiel said that he doubted “Creation” could even get financing today.

Which is why I’m urging you to go see “Creation,” despite its flaws, if it’s playing in a theater near you. If we want to see quality movies, we have to vote with our feet.

In fact, if you can, see these grownup movies the weekend they open. (At posting time, “Creation” has now opened in most U.S. cities, but debuts in Phoenix and Tuscon are scheduled for March 5.) By some arcane calculus, Hollywood counts opening weekend box office results disproportionately. As I understand it, the distributor takes a greater cut of the gross on opening weekend than on subsequent showings. Or maybe Hollywood just wants its marketing budget to play a larger role in a movie’s success, before word gets around that it sucks. (A vain hope, in the age of Twitter and texting.)

This may seem like too much “inside baseball,” and you may not care how the movie business works. I can relate. But one thing we’ve learned from politics is that making changes to a system depends on understanding how the system works and how to get a message through. And the way to encourage more movies for grownups to be made is for grownups to go to the ones that are—however imperfect.

So I’ll see you at the cineplex. Or—since Patti and I are currently adapting “Origin” into a stage play—maybe at the theater.

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