Category Archives: nature

Gold Rush in the Jungle by Dan Drollette, Jr. @ NYJB

GoldRushMy review of Gold Rush in the Jungle by Dan Drollette discusses  the “opposites, discovery vs. extinction, economic development vs. environmental devastation . . .” facing environmentalists and conservations in Southeast Asia.

Commonplace Book: April is the cruelest month …

I. Burial of the Dead
April is the cruelest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarden,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the archduke’s,
My cousin’s, he took me out to sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.

T.S. Eliot, The Waste Land (1922)

Mondays with the Supremes: Part VIII: Longrunners: Hugo Black, William O. Douglas, and William Rehnquist

A limited-run series where I review three books about the Supreme Court of the United States, exploring its historical and ideological conflicts, and the transformations it wrought upon law and society.

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The Supreme Court means lifetime appointment. The three cases below indicate the importance of a Supreme Court nomination. It remains a means for the President to extend his legacy, at least in theory. Unlike Congress, where the members campaign to get re-elected, the Supreme Court is removed from such tawdry scenes of glad-handing and throwing sops to the ideological base. In very real terms, the Supreme Court is freed from re-upping their terms like the commoners in Congress and do not have to follow the fickle spasms of public opinion. Supreme Court justices also have very little worry of getting thrown out of office.

black

Hugo Black
SCOTUS: 1937 – 1971
5th Longest Term.

Hugo Black came to the bench early into FDR’s second term. The President wanted to install justices more sympathetic to the New Deal and help the United States out of its economic tailspin. Black would to make decisions, good and bad, until he died during Nixon’s first term. Black, along with fellow FDR nominee William O. Douglas, were the liberal gruesome twosome for decades. They represented a left-leaning extremist bloc on the Court similar to the current Court’s ultraconservative bloc of Thomas and Scalia.

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Unlike Douglas, Black came to the Court with serious baggage. While the nomination process proved far less fractious and controversial than, say, Clarence Thomas or Robert Bork, Black had to answer for his involvement in the KKK. It was a truism in the South that the KKK smoothed obstacles to those seeking public office. Black told a skeptical public that the KKK was no more than a social club and he promptly resigned his membership once he became a Senator. He’s half-right. The KKK was a social club, while simultaneously acting as a Protestant extremist domestic terrorist group.

Once Black became a Supreme Court justice, he used his power to take a stance of civil rights absolutism. (The absolutism wasn’t complete, since he sided with FDR in the Korematsu case upholding the government’s case to imprison Japanese-Americans for national security reasons. But he also used the Korematsu case as precedent to overturn Brown v Board.) Throughout his career as a justice, the media and the general public saw his civil rights voting record through cynical eyes. Was this some mea culpa for KKK membership?

The Brethren chronicles Black’s civil rights absolutism, much to Chief Justice Burger’s chagrin and the annoyance of the pro-business conservative bloc. His decisions on Brown and other civil rights cases proisoned his legacy with certain generations in the South, but as a justice, he believed in personal honor, a literal interpretation of the Constitution, and freedom for all regardless of color. While his background with the KKK did have a role with his civil rights decisions, it is the opinion of this reviewer that one can read too much into this. But this opinion is tempered by the obvious fact that aspiring politicians will do anything and everything to achieve public office. Politicians are nothing if not expert opportunists with electorate consistently willing to satisfy this personal opportunism.

William_O._Douglas

William O. Douglas
SCOTUS: 1939 – 1975
Longest term.

To date, William O. Douglas has had the longest Supreme Court tenure, spanning his nomination by FDR and his retirement during the Ford Administration. A sprawling 36 years, 209 days. But like his liberal compatriot Black, Douglas had his share of personal misfortune and political opportunism. Unlike today’s Court, the Court of FDR relied on geographic representation to mirror the face of America. With its bevy of East Coast aristocrats, the foreign-born Austrian Jew Felix Frankfurter, FDR rounded out the Court with Black from the Deep South and Douglas from the Pacific Northwest.

He became the subject of two impeachment hearings (1953 and 1970), the first because of his stay of execution in the Rosenberg case, and the latter focusing on financial irregularities. The first case involved one of the most controversial treason trials in US history, the culture steeped in McCarthyism and anticommunist hysteria. The second time was based on pure political opportunism. Douglas did have his share of scandals, but by 1970 Nixon wanted to remake the Court in his image. The Brethren investigates the early Nixon years of the Court and the newly minted tenure of Chief Justice Burger. Scandal had driven the LBJ nominee Abe Fortas and Nixon figured he could boot out Douglas now that he had the chance.

Douglas drove a weed up Nixon’s ass because he was a strident social libertarian. Born in Minnesota, he grew up in Washington state and Oregon, imbuing him with a sense of environmental mission and a strong dislike for government meddling. His background makes him similar to fellow Westerner Sandra Day O’Connor. In the West, the bustle and reach of DC seems distant. Coupled with vast spaces and a different set of social problems (water rigts vs. civil rights), Douglas became one of the leading spokesmen on environmentalism.

His 36 year Supreme Court tenure was only one facet of his government service. He was a gun-toting head of he Security and Exchange Commission (back when the SEC actually meant something, not its present manifestation as the meter maid to deregulated kamikaze capitalism), a Senator, and a Vice Presidential nominee in 1944. The span from 1939 to 1944 involved an amateurish Douglas grandstanding to the crowds, using the bully pulpit of the Supreme Court as a means to curry favor for a successful VP campaign. It was not to be. Following the defeat, Douglas re-assessed the situation and instead decided to make his legacy the Supreme Court.

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During his time on the Court, he wrote revolutionary decisions on various topics including civil rights, free speech, and the environment. His political philosophy of civil libertarianism stems in part from his disastrous personal life. He had multiple wives and, prior to his death, had wed a young bride decades his junior. Because of his advanced age, chronic health problems, and difficulty communicating following a stroke, Douglas retired from the Court. Unfortunately, Douglas still wanted to participate. His tenure ended with a whimper, not a bang, as the Brethren illustrates. The last days of Douglas on the Court involved the frail elderly and incontinent Justice wheeled around by a young nurse. It was a tragic end to a magnificent judicial career.

william-rehnquist

William Rehnquist
SCOTUS: 1972 – 2005
8th Longest Term.
Associate Justice: 1971 – 1986
Chief Justice: 1986 – 2005

Rehnquist was a Nixon nominee who came to the Court seeking to reshape the rampant liberalism of the Warren Court. He begin his term as an associate justice and then was nominated by President Reagan for Chief Justice. Unlike other justices who gradually transition into their ideological niche, Rehnquist’s promotion from associate justice to Chief Justice required a different skill set.

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When he began on the Court as an associate justice, he was a hardline conservative from the Justice Department. He quickly established his conservative bona fides with hardline opinions and an intellectual brilliance in the decisions he wrote. In ideological terms, he belonged to the same hardline conservatism of justices Clarence Thomas and Antonin Scalia. Ironically, Rehnquist’s personal appearance offset his hardline ideology. Nixon and older jurists thought his longer hair and sideburns made him look like a hippie. “Cut those sideburns, Mattingly!”

In 1986, Rehnquist became the fifth associate justice to be promoted to the position of Chief Justice of the Supreme Court. Like Hugo Black, Rehnquist’s confirmation hearing sparked controversy, because he had written a memo for Justice Robert Jackson arguing upholding Plessy v Ferguson‘s separate but equal doctrine. As stated in previous installments, the Chief Justice faces a different set of challenges and tasks than an associate justice. The Chief Justice is part administrator and part caretaker of the Court’s historical legacy. Now it was the Rehnquist Court. Throughout his tenure as Chief Justice, Rehnquist nursed the usual conservative crusades: repeal Roe and Lochner, the latter associated with the role of government regulating commerce, and making it easier for law enforcement to prosecute criminals. The balance was a tricky one, since the shadow of Chief Justice Taney’s decision in Dred Scott and Chief Justice Burger’s bungling ineptitude meant the Supreme Court needed to a firm hand. Now Rehnquist needed to work as a strategist, not as an ideological tactician.

Under Rehnquist’s leadership, the Court handed down many 5-4 split decisions. In order to avoid the weak decisions (as opposed to a very strong unanimous vote), Rehnquist needed finesse and to corral fellow justices with “join memos.” But one should not be deceived by the position of power and the power to write a Court opinion. Again, recalling the Chief Justice’s administrative duties, it became Rehnquist’s job to decide what cases would be heard, in what order, and which justice to assign writing the decision. While Rehnquist achieved a lot to repair the Court’s reputation following Chief Justice Burger, the Rehnquist Court lost a lot of institutional credibility when the Bush v Gore decision fell along party lines. Unlike the Court’s self-created mythos of being above the political fray, the decision made the Court appear like nothing more than hired guns of the Republican Party. Public cynicism would only deepen when the Rehnquist Court acted as a legitimizing force to the morally questionable foreign and domestic policies of the second Bush administration. Then again, cynicism isn’t necessarily a bad thing, especially when the planners think liberating a Middle Eastern nation will be “a cake walk” and institutionalized torture and death squads were caused “by a few bad apples.” The public needs to keep a vigilant eye over its judicial interpreters and a heavy dollop of cynicism might be what is required.

Up next: Cass Gilbert’s Steps

CCLaP Fridays: Dire Salvation, by Charles Neff

 

This week, I review a mystery set in a small town in Washington state involving designer drugs, a Native American social worker, and a suspicious computer hacker.

Masters of the Planet, by Ian Tattersall

In the beginning, Ian Tattersall presents us with a common situation: a human staring into the eyes of a chimpanzee.  He reveals more details, since the chimpanzee is in a zoo cage and the human is a Victorian.  What happened afterwards were an inter-species collision and a descent into the Uncanny Valley.  The Victorian, once comfortable in his status as a member of the ruling class of a global imperial superpower, now had his belief system shattered in this one brief moment.  How different are we than chimpanzees?  Masters of the Planet: the search for our human ancestors, by Ian Tattersall, seeks to answer that question.  Along the way, he confirms the existence of hominid descendents who roamed the planet millions of years ago.

Written in a jaunty, descriptive manner, Tattersall traces the story of human evolution back to its roots.  But make no mistake, this isn’t a simple rehash of paleoanthropology, this book includes information on the latest discoveries.  Additionally, Tattersall gives the reader a kind of historiography of paleoanthropology.  Unlike other branches of archaeology, paleoanthropology possesses a peculiar history.  Our most recent ancestors, the Cro-Magnon and Neanderthal, were discovered first, sometime in the 19th century.  “Lucy” and our earliest hominid ancestors were discovered as recently as the 1970s.  On a few years ago, earlier specimens were discovered, along with the Homo florensis, the “Hobbit” species, complicating what was once perceived as a linear and progressive evolution from one hominid species to another.  At the beginning of the book, Tattersall provides a chart showing all known hominid ancestors.  It doesn’t look like one of those progressive charts with the chimp leading to the caveman leading to modern man.  Tattersall’s chart is, in a word, arborescent.  Hominid evolution had many branches, a few dead-ends, and a scattering of outliers.  The field of paleoanthropology is now locked in heated debates over how one species is related to another species, or if one is a sub-species of another.  And once a debate is settled, scientists doing field work discover another cache of specimens.  The book does a good job summarizing the present state of the field of paleoanthropology and the specific cases where interpretation is still very much “at play.”  (For those interested in further reading, Tattersall provides a generous bibliography of primary and secondary sources and sources pertinent to each chapter’s subject matter.)

The writing, while aimed at a popular audience, can get a little technical and clinical at times.  Rest assured, the terms and subjects discussed are given ample contextualization, making it easier to understand.  The book reads like a National Geographic or Learning Channel special, at least before both channels became devoured by reality shows about animal hoarders, storage wars, and whatever else TV executives can dream up between stealing ideas from European programs and scoring coke money.

Tattersall makes a series of bold assertions in Masters of the Planet.  In his quest to discover what makes us human, he posits several theories: bipedality, brain size, and language.  It is with language that he sees the cause of what makes us human and how we came to dominate the planet.  The capacity for language is based on the concept of understanding symbolic representation.  This quantum leap in cognitive functioning put Homo sapiens far above other competing hominid species.  The cognitive leap also occurred relatively early, at least in terms of evolutionary time, roughly 60,000 years ago.  By harnessing language, we could name things and make paintings and count and numerous other tasks we take for granted.

Masters of the Planet is a fascinating book exploring the always controversial field of paleoanthropolgy.  Tattersall succeeds, not only in re-affirming and explaining previous work in the field, but also changing this reviewer’s perception of human evolution.  Evolution is a given, but the archaeological record, the latest discoveries in both fieldwork and genetics, and compelling gift for storytelling make Tattersall’s work as a must-read for those wanting to know more about how we got here.

CCLaP Fridays: On Being Human: An Introduction

My introductory essay to my themed essay series, “On Being Human” has been posted at CCLaP.

Republic of Words: the Atlantic Monthly and Its Writers, 1857 – 1925, by Susan Goodman

The history of the Atlantic Monthly is also the history of America.  Susan Goodman’s Republic of Words: the Atlantic Monthly and Its Writers, 1857 – 1925, traces the intellectual and editorial history of the magazine.  Conceived by luminaries including Oliver Wendell Holmes, Jr., Harriet Beecher Stowe, Ralph Waldo Emerson, John Greenleaf Whittier, and James Russell Lowell, the Atlantic began with an adamant pro-Union perspective.  Lowell, the first editor, brought together numerous contributors associated with the Abolition and Transcendentalist movements.

Goodman excels at bringing American history to life, charting the course of the magazine and the nation through the Civil War, Reconstruction, the Gilded Age, and the First World War.  Throughout the book a cavalcade of the famous passes before the reader.  These include novelists, humorists, poets, environmentalists, journalists, and philosophers.  With biographies of Edith Wharton (an Atlantic contributor) and William Dean Howells (an Atlantic editor), Goodman has a firm grasp on her subject matter.  The history of America proceeds either in lock step or in counterpoint with the history of the Atlantic Monthly.  The magazine undergoes periodic transformations with each successive editor.  As an example, Howells slowly changed the perspective of the Atlantic from a more East Coast, Boston-area, Harvard-educated milieu to one that looked westward.

The book ends in the Roaring Twenties, the Atlantic battered but enduring in its commitment to act as a purveyor of culture.  Two insurgent forces threatened its mission of mass appeal, the Crisis, the militant African-American magazine helmed by W.E.B. du Bois and the elitist New Yorker.

A final note, Republic of Words sports a playful cover by the artist Jonathan Wolstenholme.  Wolstenholme’s book-centric illustrations, like Republic of Words, will delight anyone with a passion for literature and American history.

 

What I Hate: from A to Z, by Roz Chast

The world is a scary place.  Roz Chast latest book, What I Hate: from A to Z, is her alphabetic exploration of her panaphobic panoply of paranoia-inducing pictures.  Her fears run the gamut of the familiar (heights, getting lost, and nightmares) to the unusual (spontaneous human combustion, balloons, and Jello 1-2-3).  Each entry has a short introduction opposite the illustrated page.  There are single panels and other pages cluttered with details.  In one introduction, she explains her fear of rabies originating in children’s literature.  She writes, “On an ideal planet, children’s books wouldn’t be censored for references to sex, but for illness.”  The opposite page shows a psychotic dog staring at the reader.  A man in the background offers tepid advice, “His bark is worse than his bite.”  A woman says, “He loves people.”

For those who enjoy a bit of schadenfreude, What I Hate is a quick fun read.  While Chast espouses an especially grim outlook, one needn’t possess her omnipresent anxieties to take pleasure in the witty cartoons.  One should handle the book carefully, since one might get a nasty paper cut or have one of its sharp edges poke an eye out.  That is, if one survives the trip to the local bookstore without getting hit by a bus, abducted by aliens, or trampled by zebras.

Crow: From the Life and Songs of the Crow, by Ted Hughes

Roberto Bolaño’s novel The Savage Detectives chronicled a literary movement named “the Visceral Realists.”  Crow: from the Life and Songs of the Crow by Ted Hughes offers the reader a kind of visceral realism.  The poetry cycle recounts the life and times of Crow, a folkloric character, comedian and trickster.  The collection ranges across various types of poems: fairy tales, lullabies, legends, comedic shtick, and parody.  Like the crows one sees everyday, Crow scrabbles in waste, carrion, and garbage.  He is a scavenger, appropriating things, a collector of junk.  The poem titles bear this out, “Oedipus Crow,” “Crow Tyrannosaurus,” and “Crow Tries the Media.”

Crow sleazes amidst a corrupted version of Biblical events from Adam and Eve to the Crucifixion; he struggles to exist against the merciless attacks of a Sadean Mother Goddess.  As Camille Paglia wrote in Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, “Sade’s demonic mother nature is the bloodiest goddess since Asiatic Cybele.  …  She is Darwin’s nature, red in tooth and claw.”  Hughes masterfully balances brutal violence with dark comedy.  Crow is poetic anarchism, raw and unflinching.  The literary equivalent of a sternum punch or the opening riffs of the Sex Pistols “Anarchy in the U.K.,” Crow acts like Johnny Rotten, attacking respectable idols and traditional institutions with an amorphous insatiable rage and glee.  Harpo Marx as re-imagined by the Marquis de Sade.

In addition to the volcanic poetry within, the Faber edition includes seven poems not in the original 1970 edition.  The front cover of this short book has a marvelous illustration by Leonard Baskin, Crow rampant, legs muscular trunks supporting an obscene mass with a beaked head peeking out.

80sSFF: Apocalypse Now (1979) and Apocalypse Now Redux (2001)

The first part in a series dedicated to examining the science fiction and fantasy films from 1979 to 1989.  The series will investigate whether these films possess certain ineffable qualities missing from today’s films of the same genres.

Kurtz: I expected someone like you. What did you expect? Are you an assassin?
Willard: I’m a soldier.
Kurtz: You’re neither. You’re an errand boy, sent by grocery clerks, to collect a bill.

Why are we beginning a series devoted to the science fiction and fantasy films of the 1980s with Apocalypse Now?  Francis Ford Coppola’s epic Vietnam War film holds the key to unlocking what made Eighties science fiction and fantasy films so great.  It’s an unlikely beginning, especially since John Carpenter’s classic horror film Halloween, was released the previous year.

Apocalypse Now, while still a War Movie, has several characteristics that make it closer akin to the Fantasy genre.  There is a Knight on a Quest in search of a Mythical Object guarded by a Monster.  In the film, the Knight is Captain Willard (Martin Sheen), accompanied by the crew of a small patrol boat.  They travel up the Nung River in search of Colonel Walter P. Kurtz, at once the Object and the Monster.  In addition, Apocalypse Now is a visionary film.  To be a visionary, one has to look at the same thing but in an entirely different way.  While the War Movie has a long and storied history, Coppola created a unique cinematic experience, cobbled together from a script by the conservative scriptwriter John Milius and narration written by war journalist Michael Herr.  What resulted was a depiction of the Vietnam War as a hallucinatory carnivalesque nightmare.  The effects of the Vietnam War on the domestic side would not be covered with this extended unflinching hallucinatory nightmare until Terry Gilliam’s Fear and Loathing in Las Vegas (1998).

At the time of its release, the closest antecedent to Apocalypse Now was Jean-Luc Godard’s Weekend (1967), itself an extended indictment of the ravages and excesses of industrial capitalism.  In terms of science fiction and fantasy film, Apocalypse Now’s title is telling.  Unlike, say, Mad Max Beyond Thunderdome or The Dark Crystal, which are both post-apocalyptic films, the apocalypse is now.  The soldiers in the film seem morally adrift and numbed to the world, only attuned to finding sex or the next drug fix.  Chef reads a newspaper article about the Charles Manson murders, the murders mirroring the actual atrocities of My Lai.  Surrounded by madmen, murderers, and mayhem, the world seems at an end.  The apocalyptic setting and the horrific montages make the film much more than a faithful transcription of a Southeast Asian conflict.

The End is the Beginning is the End

Apocalypse Now came at the end of Francis Ford Coppola’s unrivalled critical and commercial success.  The film also represents the terminus of the American New Wave, Coppola belonging to a membership that included Martin Scorsese, Steven Spielberg, and George Lucas.  Coppola’s success began in 1972 with The Godfather and continued with The Godfather: Part II (1974) and the Conversation (1974).  Marlon Brando gives a landmark performance as Colonel Walter P. Kurtz, his presence a potent admixture of military and intellectual genius, Nietzschean amorality, smoldering sexuality, and tribal godhood.

The release of the film came during a revolution in the world of cinema.  Gone were the days of the freewheeling director and hands-off producers.  Apocalypse Now came two years after Star Wars (1977, George Lucas), a film that redefined the Hollywood blockbuster, and the Empire Strikes Back (1980, Irvin Kershner).  While not a cinematic flop, the film’s cost overruns and numerous other issues would make produces much more reluctant to give a visionary like Coppola massive budgets and little creative oversight.  The Eighties would see the rise of empty spectacle, family-friendly pap, and marketing juggernauts.  Apocalypse Now is a self-contained epic, not a node in a massively orchestrated marketing and merchandising operation.

Apocalypse Now vs. Apocalypse Now Redux: a Defense for Both

In criticism, especially film criticism, an overarching trend exists where “the director’s cut” has more credence than a film released by the studio system.  The phenomenon exists because of the Auteur Theory championed in academic circles and the larger trend of the search for Authenticity™.  When discussing Apocalypse Now, fans, critics, and audience members become divisive regarding which version is better.  Many see the original Apocalypse Now as the better film and Redux as a travesty.  (Thankfully, Coppola’s film was about the Vietnam War and not a Jedi insurgency, thus giving the world a Director’s Cut without CGI dewbacks and Greedo shooting first.)

My opinion splits the difference.  I enjoy both, but both versions are radically different films.  Even at nearly three hours, the original Apocalypse Now possesses an insistent pacing and momentum.  It is the more economical, pared-down film.

I enjoy Redux because it delves deeper into this nightmarish world.  Characters are expanded, entire set pieces are added, and Captain Willard comes across as a different person.

The issue of pacing becomes more pronounced with Redux.  Even the original is lacking in traditional battle scenes.  After Lieutenant Colonel Kilgore’s (Robert Duvall) aerial assault on the Vietnamese village, the only military “action” are isolated skirmishes and the Do Long Bridge stalemate (less a battle than a siege).

The majority of the film is Captain Willard reading the Kurtz’s dossier.  The normal narrative trajectory of a war film is the reverse: skirmishes leading up to a climactic battle.  The film operates under a series of anti-climaxes.  In the end, Willard finally reaches the Kurtz Compound to realize the Colonel is not there.  When he does return, there are several conversations and finally Willard taking down Kurtz at the very end of the film.

Redux includes two extended scenes which were cut from the original: the crew meeting the Bunnies and the French Plantation Scene.  In the latter, Willard tells Roxanne Sarrault (Aurore Clément) that he doesn’t intend to return to the United States following his mission.  It’s a major difference and the film narrative becomes altered, since this throws into question why he should continue his mission?

The longueurs and anti-climaxes heighten the viewer’s sensitivities.  The waiting, the meditation, and the visuals combine to create a cinematic experience both hypnotic and excessive.  The artificiality of Carmine Coppola’s score plays off against the claustrophobic and ruthless nature of the Cambodian rainforests.  The score becomes integrated into a whole by the editing, cinematography, and sound design.

The film is a non-traditional candidate for a science fiction or fantasy film, but it excels in its fantastic visuals and the meticulous worldbuilding.  Standing at the crossroads of the American New Wave and Eighties Action Spectacle, Apocalypse Now prepares the way for films set after apocalypses (Mad Max Beyond Thunderdome, the Dark Crystal), those indicting the inhumanity of bureaucracy (Brazil), and the organized madness of modern existence (They Live, Buckaroo Banzai, Bladerunner).