“For once in my life I didn’t feel like the nigger. As I sat comfortably at a coffee shop, gawking at a group of Israeli soldiers harassing a Palestinian teenager, it was clear who was the nigger. My American passport, ironically, had awarded me a higher position in the social hierarchy of Jerusalem than it did in my hometown of Chicago.”
His debut album The Autobiography is pretty stunning, too.
By way of background to what nowadays passes for politics in the United States (or should I say United Shitholes?) of America.
The U.S. foreign-born population reached a record 43.2 million in 2015. Immigrants today account for 13.4% of the U.S. population, nearly triple the share (4.7%) in 1970. However, today’s immigrant share remains below the record 14.8% share in 1890, when 9.2 million immigrants lived in the U.S.
Useful data from the Pew Research Center. In snowflake Canada, by way of comparison, the foreign-born population was 20.6% in 2011 Census. The sky hasn’t fallen yet (and the food choices get better by the year).
“After the 10th or so person sent me the stunningly silly anti-#MeToo letter signed by Catherine Deneuve and a hundred other French women (the actual authorship of which we’ll get to), informing me that I’d love it because finally someone was standing up for sanity, I considered a form letter response: ‘If the question is whether #MeToo has gone too far or not far enough, the answer is obviously BOTH. Putting yourself on one side or the other is politically obtuse.'”
Thank you Laura Kipnis. Pissing off all sides, as usual. Both/and rather than either/or. Courage, subtlety, and intellect, very well worth the long read.
But Frankenstein is no memoir. The question it asks, “How far is too far?”, is at the very heart of modernity. The Romantics, Mary among them, “leaned in” to progress … Published early in this classical era of modernity, Mary’s novel still helps us define its terms today. Shorthand for the way we experience ourselves within a world of increasing man-made complexity, “modernity” is both positive and negative, signalling hope for progress as well as our fear of change. Frankenstein identifies the mismatch between human experience and what we are expected to become as technology and science advance. (Fiona Sampson, on her new book on Mary Shelley).
“It is the migrant, the refugee, and the Muslim that have become the poor lone impossible monsters abhorr’d of our time, the nameless figures of terror against whom we must circle our wagons and strengthen our walls. It is salutary how quickly Helena’s sympathy for the robots [in Karel Čapek’s play R.U.R.] turns to disgust once she learns they are not “just like me”—once, that is to say, they have been convincingly Othered, cast outside the pale of the League of Humanity. “Oh, stop! At least send them out of the room!” she begs. In this respect R.U.R. is a more pertinent text for our times than Frankenstein, because of its grasp of this dialectic of resemblance and alterity, attraction and repulsion, fascination and fear. We can send them out of the room but the suspicion of their humanity can never be exorcized. It eternally returns to haunt us, pricking the collective conscience—in the image of a three-year-old Syrian boy in blue shorts and red top lying face down, drowned, on a Greek beach, for instance, or in the blank, uncomprehending face of a black man who cannot believe he lost all his fingers to frostbite while trying to walk from North Dakota to Manitoba. The more we can’t get them out of our heads, the more we wish they would just go away. Make it stop! Do I hear murmurings of a Final Solution? We have been here before, and it wasn’t in 1816.” My take on why Shelley’s astonishing novel still matters.
London’s oldest strip club, the Windmill Theater in Soho, has lost its license after a women’s rights group hired private detectives to gather evidence that the venue broke a ban on physical contact between dancers and clients. Stacey Clare is a stripper, performance artist, writer, activist and co-founding member of the East London Strippers Collective. She writes:
“Closing down a venue may feel like a victory to those who champion the abolition of the industry, but taking work away from women relying on it is tantamount to taking food from our mouths. Thousands of girls who otherwise have less value in the wider job market (foreign nationals, single mums, anyone with any sort of disadvantaged background) are turning to stripping and other forms of sex work to survive. According to the English Collective of Prostitutes, record numbers have moved into the sex industry under austerity, which disproportionately affects women, particularly single mothers. In fact, putting women out of work is about the most un-feminist thing possible …
Their [feminist anti-strip club campaigners’] cloak and dagger tactics reveal the kind of attitude women’s rights campaigners have towards us, the women at the centre of this issue – that we, the ‘victims’, cannot be trusted to have a say in the matter so decisions must be made on our behalf, rather than consult with us directly.”
The infernal problem of false consciousness, aka I know what’s good for you better than you do, dear.
The English surrealist and documentary filmmaker Humphrey Jennings explained the intellectual project of his book Pandaemonium as to “present, not describe or analyse” the “imaginative history of the Industrial Revolution … by means of what I call Images. These are quotations from writings of the period in question … which either in the writing or in the nature of the matter itself or both have revolutionary and symbolic and illuminatory quality. I mean that they contain in little a whole world—they are the knots in a great net of tangled time and space—the moments at which the situation of humanity is clear—even if only for the flash time of the photographer or the lighting.
These “snippets” are intended to function in the same way. Click on the headings to go to the original articles, which are mostly from the mainstream aka fake news media.