There are many reasons for the poor showing of Vladimir Putin’s party in Russia’s December 4 parliamentary elections, among them the way Putin announced earlier this fall that current president Dmitry Medvedev would step aside in the March 2012 presidential elections so that he could run largely unopposed. But there also seems to be an increasing sense among Russian voters that the Kremlin has done nothing to stop pervasive corruption and that its own behavior is often above the law. To understand the extent of the crisis, observers might do well to watch German filmmaker Cyril Tuschi’s provocative new documentary about jailed Russian oligarch Mikhail Khodorkovsky, which began showing in Russia and the United States just days before the elections and is now at New York’s Film Forum.
My own inordinate interest in what the lunatics are up to in every corner of our planet has to do with my childhood. When I was three years old, German bombs started falling on my head. By the time I was seven, I was accustomed to seeing dead people lying in the street, or hung from telephone poles, or thrown into ditches with their throats cut. Becoming a displaced person after that, one among millions, ending up in country after country, learning one foreign language after another, mispronouncing its words in school or when asking direction in the street, struggling to read and make sense of the history of the place, worrying about some war being declared and even bigger bombs falling on my head—all this contributed to my need to know what plans are being hatched behind our backs.
Few people I know in Cairo got much sleep last Sunday night. The voting stations were set to open at 8AM the following morning, and everyone was concerned that the day would be marred by the increasingly lethal violence we have witnessed in recent weeks. “I’m going to go as early as possible, before it gets crowded or anything bad happens,” my mother had told me. It seemed everyone had thought the same— by the time I reached my neighborhood voting station at 7:15AM Monday, it was already packed—there were at least 2,000 people there. A friend called me from her own voting station about 40 minutes away as I arrived, saying she couldn’t even see the end of the line.
As I went down the subway stairs, through the turnstile, and onto the darkened station platform, a sinking sense of fear gripped me. I grew alert, and looked around to see who might be standing by, waiting to attack. The subway was dangerous at any time of the day or night, and everyone who rode it knew this and was on guard at all times; a day didn’t go by without the newspapers reporting yet another hideous subway crime. Passengers on the platform looked at me, with my expensive camera around my neck, in a way that made me feel like a tourist—or a deranged person.
Let us remember our most intense experiences of poetry in our mother tongue, reading Eliot and Pound as adolescents perhaps, Frost and Wallace Stevens, Auden and Geoffrey Hill, then coming back to them after many years, discovering how much more was there than we had imagined, picking up echoes of other literature we have read since, seeing how the poet shifted the sense of this or that word slightly, and how this alters the tone and feeling of the whole.
Now imagine that, having a poet friend who wishes to translate these authors, you offer a literal translation of their poems in your second language. Maybe you read The Four Quartets out loud, line by line, to give him the cadence. But does our translator friend, who doesn’t know our language well, hear what we hear when we read aloud?
Clint Eastwood is now eighty-one, a mellow age that tends to breed a gentle tolerance, if not sardonic forgiveness, for life’s brutes and rogues. This may explain the curious lack of menace in the J. Edgar Hoover he conjures up in J. Edgar, his low-voltage cinematic speculation on the character of America’s most famous cop. J. Edgar Hoover without menace is like Boris Karloff without bolts in his head. Not an old softie, to be sure, but Eastwood’s Hoover—though a sly, neurotic, and occasionally vicious bureaucrat—is scarcely a patch on the real-life Hoover who, as creator and director of the FBI. from 1935 to 1972, once lurked in the nightmares of almost everyone with an interest in government and many more who simply went through life feeling guilty.
My wife and I have two sons, aged eighteen and twenty-two. Both have registered for the Selective Service, as the law requires. We don’t have a clear idea of Tommy’s or Nicholas’s views regarding military service; we hope that circumstances won’t force us to find out. None of us knows any men or women currently serving in Iraq or Afghanistan. They are someone else’s children. During the Civil War, in contrast, the mangling of young bodies was evident to all. Three million volunteers armed with advanced rifles, and firing at one another at point-blank range, fought on battlefields often not far from their own homes. American writers, many of whom had children in the war, were not insulated from the carnage.
The remarkable medical photographs of the Civil War surgeon-photographer Reed Bontecou—now published in their entirety for the first time and recently shown at The Robert Anderson gallery in New York—bring us closer still.
The PBS show Frontline, documenting harsh conditions in Department of Homeland Security (DHS) detention facilities, recently told the story of an immigrant whom it called “Mary.” During a routine traffic stop in Florida, police discovered that Mary’s visa had expired. They sent her to the Willacy Detention Center in southern Texas; there, over the course of three months, she was repeatedly raped by one of her guards. Finally, unable to endure further abuse and told by other detainees that she would face retaliation if she complained, she stopped fighting deportation and asked to be sent home to Canada, leaving behind four young children who were born in the US. It has now been two years since she has seen them.
Perhaps the worst part of this immensely distressing story is how unexceptional it is. There is abundant evidence that rape is a systemic problem in our immigration detention facilities—for women, for men, and, as the Women’s Refugee Commission has documented, for children.
I first met the designer Ray Kaiser Eames in 1977, when she showed me, my wife, and our son around the renowned Pacific Palisades house she and Charles Eames built between 1947 and 1949 from off-the-shelf industrial components. As she moved slowly through the high-ceilinged living room of the light-flooded, modular-paneled structure at the edge of an arcadian meadow overlooking the ocean, she reacted to the myriad possessions that crowded every horizontal surface as if she had never seen them before. “Oh my God, look at this!” she cawed like an excited mynah bird as she grabbed some pretty trifle, peered at it intently, and extolled its ravishing beauty. One could not help but love her unbridled enthusiasm, but also quickly understood how trying she might be to live with.
Over the past few years, the tiny Persian Gulf nation of Qatar has created—from scratch—one of the most important museums of Islamic art in existence as well as a distinctive collection of modern and contemporary painting and sculpture by artists from all over the Arab Middle East. Now it is building a National Museum so large and complex that the structural engineering alone will cost some half billion dollars. How did the rulers of this parched and featureless desert peninsula—a place that until recently was peripheral even to the politics and culture of the Gulf itself—come to take such a far-reaching interest in the aesthetic traditions of the Arab and Muslim world?