Violence: A Call to Action

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We are confounded, once again.

Suppositions, stereotypes, generalizations, abstractions: these collide as we await the facts.

Apprehending  facts,  understanding shuns us.

We discern no single truth will ever revive the moment  that broke our world.

Narratives – colored by dogma; reenactments – suffused with pain; chronicles –  cold with science; reports – protective of particular interests; all emerge, and, in profusion, crowd the event itself.  Uncertainty and  shared vulnerability; guilt and shame; sorrow and loss; power and powerlessness; these are now the stuff of advancing legend and turgid conflict.

If it is a young white man with a gun, the surge to blame the bullies; invective on the doctors and the teachers who let that man-child walk unmedicated on the street.  Condemn the mothers, and the videos, and Hollywood. And, of course, the gun laws, our cowboy culture caused the crime.

If we face a  military mass murderer, our cries become less certain.  Again, the doctors, and the gun laws are to blame.  But we, also, shoulder shame:  we mistreat our “heroes.”  Those we trained to kill  for country, asserting a  just cause, conceiving war will leave no trace on the young psyche; the fragile soul  sent forth in isolation, sometimes desolation, and discarded on his return.

And if police personnel kill, our  bonds may fracture: this collusion that we all risk as much each day.  More splintered if the kill happens to be racial:  that this is not happenstance is suddenly exposed.

Certainly, not because white cops seek to kill black children.  And,  not because those of color commit more crime. But because how we deploy our civilian control resources puts those with less more at risk than those with enough.

But,  in the frenzy and the fury that follows the murder, in the necessary quest to grasp the moment, restore order, and prevent another kill, the seeds of fundamental change are never sown.

Nor is the ground prepared.

Individual justice may not  be possible.

And  the roar which follows, creates a tunnel of distortion.

Calls for basic education are silenced by talk of higher taxes. Pleas for jobs with living wages are termed disloyal and greedy. Proposals for representation of all races in government and industry  are discarded as “racist.”

We have entered a passage where shrilled voices  dissipate without communication.

Ours is a pornographic relationship with the gun.  The constitution did not guarantee private home military arsenals.  But in the days of 3D printers, the gun control lobby  cannot continue to fight the battle it did in 1985.

Violence occurs by gun. By knife, machete, fist and bean bag bullet. Drug overdoses and untreated viruses in poor communities deliver violent death.  Violence is imposed  through hunger caused by poverty, by disease, by inadequate housing.  Income inequality is violent.

Around the country, the brave are speaking loudly; some so clearly the great vacuüm of purpose may be filled.

Again, there are vigils which  mythologize the vibrant humanity of the dead.

Still, more are dying, more are killing, old refrains are repeated,  too few are listening.

If any one of us  succeeds in exiting the tunnel, perhaps change could be instigated.  Not through some major media event or  by savvy use of the internet, crowd-funding or any other modern, inspired, tactic.  Perhaps, the time has come for wholly “retro,”  and in that sense, “conservative” action:  perhaps the time has come when the only voice clearly heard is our own: the change we seek must begin within ourselves ,and, once seeded there, in our sphere.

 “Everyone thinks of changing the world, but no one thinks of changing himself.”
Leo Tolstoy
 

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The Mystery of “Crime Porn”

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Getting through it, catholic school felt alternately like suffocating in quicksand, routing the lurking ambush of a terror squad , or  expanding with sudden joy as when a hurricane approaching is preceded by brief but glorious sunlight and tranquility.

Experiencing life, I often credited that education for the rewards gained from the love of literature  acquired despite the cautious offerings but likely because of the scholarly approach and the appreciation of excellence:  pleasure in the written word, even more in the spoken; solace in time of sorrow; refreshment in time of leisure.  Taking my children to the now almost quaint institution of a bookshop in their adolescence, I could command attention, almost impress, with my deep knowledge of literature and experience of the classics.  What had been forbidden during school days, Lawrence, Woolf, Joyce,  Lessing, later  transformed into the emotional and intellectual affluence and security of  a well-read life.

Alas, one with its quirky rules….

“If one starts something, one must certainly finish…”   And I struggled to finish every book I read until  past my mid-century mark!  Imagine discovering new freedom after 50!

“Read at least one ‘classic’ every summer……”  Feeling, forever young!

And “some books are less worthy than others!”  Yes, the shame of reading trash!  Whole genres…. Like the Mystery novel!

Until about five years ago, the mystery novel, like  its film, dramatic or television adaptation was, for me, a lesser thing, not even a guilty pleasure!    Dorothy Sayres?  Patricia Highsmith? Serious fiction?  Surely, not.

Ill informed, cheap pretension! –  my view that the mystery novel, or film, play or drama, is a lesser art.  Hawthorne, Green, Poe, Sayers, Tey, DuMaurier, Eco, Black. Surely, these are great writers, indeed.  Sherlock Holmes, Inspector Morse, Maigret, Montalbano, Comissario Brunetti, Wallander, Miss Marple, Miss Fischer:  investigators who delight,indeed.  Alfred Hitchcock, David Finchner, Carrol Reed, Francis Ford Coppolla, mystery genre directors who perfected an art form.

The good mystery engages the intellect in a complex puzzle, commanding attention to the most subtle detail.  Through this conceit, the skilled author lays bare and probes layers of the culture and society surrounding the characters: the physical landscapes, the interiors of the homes, offices and public spaces, the art, music, poetry of the day or of the past which supports the characters; the landscapes of the mind.  The mystery exposes the organization of the society, how it adheres, where it fragments, what it values and what, or whom, it discards.  Through the portrayal of crime, and the consequences of crime, concepts of justice are examined; issues of class, race, religion and gender  probed.  We  observe  equality and inequality, generosity and self-interest.  The mystery scrutinizes human motivation, often exposing the role of history in contemporary identity: the effects of emotional loss and the loss of power; the consequences of addiction, greed and mental illness.  The mystery can introduce the foreign and make it ordinary, whether it be the distant place or the idiosyncratic hobby or passion, such as collecting a rare bird or a stamp with a particular ink.  The mystery feeds the human hunger for an understandable world – where  chaos is tamed, action and consequences are predictable, if  only we go back and see the clues.  The mystery genre answers the quest for restored order, the search for social justice, a belief in connection and control.

Alas, in television, in particular, the mystery has been mutilated.    As one idea  so well presented in Gina Gionfriddo’s play Raptrue, Blister, Burn, television and film mysteries are toxic with sexplotation plots which are, in essence, modern “crime porn” masticated for the masses.  Not just a murder, we confront a plot of serial killers sexually abusing young women or boys, formalistically, securing trophies, eating , burning or mutilating them, or engaging in  some other perversely imagined amalgamation of male-commanding, female-submissive  scenario of  violence, gore and ritual, all available in prime time and cable for download and on the internet, 24 hours a day.  Fine actors, like Kevin Bacon or Viola Davis pollute the images of FBI agents or Law  Professors, indeed of human beings,  as they become these new tv “crime porn” stars (The Following, How to Get Away With Murder)  in dramas which do much more than merely coarsen public discourse: they pollute the national psyche.

The flood of “crime porn” in our theaters and on our screens fulfills none of these basic needs and aims at none of these aspirations.  Nor is the issue whether or not there is evidence to suggest that the violent degradation of women and children and the occasional man on the screen increases real life violence.  For even if this is not true, it is clear that ours is a society that is far too violent, far too toxic, and, certainly,  far too intolerant.  I recall my incredulity upon learning  that the crowds had hungrily  gathered to watch beheadings during the French Revolution.  Could this be the  impulse  which stimulates the greedy  creation and consumption of “crime porn” today?

The devolution of  “crime porn” provides us with no surrounding layers of culture,  (art, literature, music, landscapes) to cushion or surround the crime, to give a meaning, a context for the violence or a significance for the act or the actor.  Typically, in crime porn plots, the darkness of deranged criminal is only slightly less dark than some corrosive thing in the life or past of the detectives; the question of how society coalesces, what it values, how it is generous, is not often asked, much less answered.  Were it to be, the answer  would be as dark and ugly as the depiction of the crime itself.  Crime porn does not make chaos understandable, the unthinkable comprehensible; it does not provide a sense of justice and restored order.  Rather, crime porn seems to reflect our own anxiety that our world is intolerably out of control, craven, degraded, senseless and adrift.

The riddle is that we call this entertainment.  The puzzle is, we permit new, more lavish, star-studded performances every year.  Nationwide, we decry the many dangers of the media – cyber bullying, cyber crime, government surveillance – all while this “entertainment” violence propagates unimpeded.  The perplexity is our passivity.

As at other times in my life, I am grateful for the solidity gained from my classic, if confining and imperfect, education.  A screen can be switched  from images to words or a book picked up, and these, detective fiction included, can still transport to reaches where humanity and justice are examined, explored, considered.

The mystery, it seems, is how our culture, as a whole, can be moved to some place safe from this pandemic of “crime porn”.

And So The Tears Still Fall…

No shadow is remembered nor an echo recalled of the impassioned campaign the women waged, (year upon year, under purple, white and golden banners) that they be seen and heard and counted:  enjoy enfranchisement alongside men. Ideals propelled them: their voice would jettison poverty, inferiority, powerlessness, within the home and in other spheres for white and black, for wife and spinster.

Marching, publishing, explaining with practiced elocution, they stood in cold and rain, they endured the glass and rocks hurled at their heads, they suffered far too many days of unlawful confinement and vicious jailers’ blows struck in a rage fueled by lack of comprehension.  They yearned for sunlight or the feel of a fresh breeze and writhed with pain and disgust as food forced through their nostrils mixed with their own vomit. They suffered the mantras of their detractors:  “You are not fit to think or speak your mind. You are like an errant child, you who were born for these things alone: to breed and to obey.”

The goal achieved.  The tale forgotten. The marching women’s words erased from our collective memory.

A treasured text from ancient times, feared, revered, misunderstood.  Talking heads on the flickering screen lob phrases: “jihad,” “Quar’an,”  “religious imperialism.”

 On the city street, a young, raven beauty darts before the dark to don again the  hijab she secreted, its heft, its gloom not matched to  her spirit.  She spies her brother in his western dress, and is immobilized; thought quelled; breath quashed. She  ceases to apprehend what is before her.  Her heart  plummtes below ground.  The young man’s eyes lock  hers, then look away, black and beautiful  as her own, burning coldly inside her brain.  The thin young body breathes again, short, fractured, gasping breaths.  The silken hair yields to the cloth as she withdraws into the shadows of the football field now falling into night.

Silken hair spills from the cloth when her body is found days later stabbed twenty-three times.  A father claims it is his right, his duty, to uphold the honor so demeaned by his daughter’s defiance.

After-dinner theater for a highly select group.  The stage: institutional greens, glass and steel.  The script so secret, any miscue, all is chaos and the public show is cancelled.

Out of view, the family arrives, still mourning. They know not what they seek precisely, each or all: vengeance, retribution, finality. Can rage, now after fifteen years, still feed the just and eternal flames of sorrow that scorched the hearts and faces, the eyes that now look on, somewhere, behind the stage, in a quiet room apart. Do those dolorous eyes surveill the set, after all, or do they see again, her face, her wave, her disappearing image  on that last June night of her so cruelly truncated life.

Photographs pose a hardened man, reporters tell a tale of unrepentant evil. He seized a life at random,he dispatched it for no reason.  His state pronounces a right to life, a right to kill.  They have sent him to the place to die.  But his body is recalcitrant and taunts their secret script.  The actors scramble in disarray.  The curtain falls.  Did the man writhe in pain, call out and convulse ?

Reviews are omnipresent: a macabre  performance.

Crimson stream on pearly ground glistens in the cold below the January stars.  Air escapes hissing from the embers still smoldering in the fire pit but the frigid form remains still.  The pistol reflects the light of the blue and white police cars where the woman sobs under blankets.

Inside the stately home, the grey haired detective sits on the leather chair and smells the lemon oil that recently kissed the antique cherry desk.His deep sigh echos on the empty shelves, the papers, arranged in martial rows and columns, announce the imminent seizure of the home by the bankers.

White candles in the night illuminate uncomprehending faces, stricken with loss and fear and rage.

Colored plastic body bags obscure the faces of the students slain on that Freedom’s  Friday.  And so the fabrications begin, the quest to be included in the sorrow, or, surpassing that, to become the tragedy itself. A  ripple,  soon to reach crescendo in a worldwide wave.

So many reach in fatigue, in desperation, with  minds too full, too  severely throbbing to comprehend that no single answer will ever serve to the simple question:  Why.

Communicators tangle threads.  “Another mass school shooting  ” Six young students slain, three slashed and stabbed.  Horrible.  Intimate.  Full of  hate.  And personal. Three students gunned down in moments.   Two, pre-meditated killed in a hunt for female flesh.  One random shot. All  young lives extinguished as the young man preened in his sleek black car through the California college beach town with far too many guns, more ammunition, hoarded,  like a nation’ treasure.One suicide. A bullet to the head.

The chain of blame: a bullied child was he.  A bullied child in wonderland, in wealth and privilege, ancient parkland, grandmother’s tales.  His anguished parents questing until the moments  he lay dying,  speeding through the night to rescue others, to interrupt his action.

A lonely man living in the modern electronic world riddled with thoughts of hatred.  Young women  slaughtered in the morning of  joyous lives, blameless, strong, empowered. Their memory untarnished by his disordered mind.  To honor them we must not seize their tragic story. Nor fail to hear his loathing for the Asian, or see the slashing death he wrought on Asian men with whom he shared nothing more than perhaps a skin tone.

Their lives deserve full honor, not least to be remembered.

In light of day, by clear starlight, the tide returns in peace. Each will reach to touch a heart. Many times, we will succeed.


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