February 7, 2015 § Leave a comment
This review was published at the Guardian.
“Arab Jazz” – already the winner of the English PEN award – is a brilliant debut, both from Karim Miské and the very capable translator Sam Gordon.
The setting – “between the Lubavitch school complex, the Salafist prayer room and the evangelical church” in north east Paris, home turf of the Charlie Hebdo and kosher supermarket killers – couldn’t be more topical.
And Ahmed Taroudant, the novel’s main protagonist, is in some respects a typical French Arab – religiously non-observant, confused about his identity, haunted by the past, and now set up to take the blame for murder.
Immensely likeable despite his neuroses, Ahmed aims “to lose himself by devouring the whole world in a single, uninterrupted story written by others.” The metaphor fits fundamentalists perfectly, but in Ahmed’s case it’s more literal: he’s a crime fiction fanatic who tries to buffer himself from reality with a wall of books. He’s reading on his balcony when blood drips down from the corpse of his upstairs neighbour Laura, whose love he might have reciprocated had he been clear-headed enough to notice.
Ahmed, of course, wants to understand what’s happening. He’s the book’s third detective; the first two are Lieutenants Rachel Kupferstein and Jean Hamelot, an atheist Ashkenazi Jew from the neighbourhood and a Breton of Communist heritage; both, like Ahmad, are well versed in crime fiction, and both are “intellectual, cinephile types”. Karim Miské, the French-Mauritanian author, is a film-maker himself; his book is crammed with genre, literary and film references. One scene is set in ‘Chaim Potok high school’, for instance; the title alludes to James Ellroy’s novel “White Jazz”; and – as if the book were already a film – there’s a playlist of songs at the back.
The characters are strong and various, from the young, second-generation Muslim and Jewish north African immigrants – the girls generally better adjusted than the boys – through such predictable figures as a Turkish kebab-shop proprieter and a Portuguese concierge, to the more surprising – an Armenian anarchist, for instance, or a Hasidic Rastafarian who produces a messianically-sanctioned MDMA-variant called Godzwill.
There’s an implicit commentary here on the new phenomenon of gangster-Salafism: “craving the validation of others … they were frequently tempted to reverse the feeling of stigma, to brand themselves proudly with the very religion which brought them such relentless contempt.” But the implicit critique of religion itself – of “those who clog up their depths, their inner space, with the concrete of certainty” – extends to political and social certainties too. Everyone’s been damaged by their heritage; everyone’s vulnerable to inner darkness and the explanatory narcotic of grand narrative.
“Arab Jazz” is a genre novel in the same way that “Pulp Fiction” is a genre film – superceding the form even as it pays homage. It’s a trans-continental identity novel, dramatising the painful contradictions and fertile syntheses of contemporary multicultural life, focussing on racial discrimination in Morocco as well as Paris. And it’s certainly a well-achieved literary novel, detailed with colours, tastes and flavours, sustaining a light and energetic comic tone even when the material is unrelentingly grim.
The settings are particularly rich, as Miské journeys confidently from his prime location as far as Crown Heights, Brooklyn, or to New York’s Watchtower, global HQ of the Jehovah’s Witnesses, and back and forth in time.
The dialogue can be somewhat clumsy, occasionally rendering the plot machinery too visible and the characters too obviously functional. In general there’s a little too much telling rather than showing – in the improbably self-revealing monologues of the police’s interviewees, for example, or the perfectly overheard street sermonising. Perhaps, as a detective story, the novel suffers a glut of too-easily-flowing information. This may irritate some genre readers, but it should be forgiven. “Arab Jazz” should be read charitably as a pushing beyond realism rather than a failure to achieve it. There’s something theatrical in Miské’s world; it’s as if the detective-readers witness performances, or discover texts, instead of teasing out meaning from an inscrutable and intransigent reality. Miské is a writer enjoying himself, playing on his scales, improvising sometimes, his subplots and walk-on acts fed deftly into the whole. The monologues are instrumental solos; the rhythms are propulsive. Like jazz, it’s complicated, but sounds beautifully simple.
This review was published at the Guardian.
February 6, 2015 § Leave a comment
INET Executive Director Robert Johnson talks with Journal of Post Keynesian Economics co-founder Paul Davidson about Davidson’s book The Keynes Solution: The Path to Global Economic Prosperity.
Davidson discusses Keynes’s oft-forgotten insights into the foundational assumptions of economics. Classical economists were treated as “Euclidians in a non-Euclidian world,” Davidson says. “When they saw parallel lines intersecting they rebuked them for intersecting.” Keynes saw that the problem with Euclidean economics was what he called uncertainty, meaning the idea that the future cannot be predicted from the past — an insight that modern economics too often ignores.
February 4, 2015 § Leave a comment
My friend Molly Crabapple uses her superb artwork to explain how “broken windows” policing harms people of color.
Last summer, a New York city police officer choked a black grandfather named Eric Garner to death. Garner was suspected of selling loose cigarettes. The arrests of people like Garner are part of a controversial policing tactic called Broken Windows. Broken Windows claims to prevent large crimes by cracking down on small ones. But it’s really about controlling and punishing communities of color, through police encounters that can sometimes be deadly.
Israelpolitik, the Neocons and the Long Shadow of the Iraq War—A Review of Muhammad Idrees Ahmad’s book ‘The Road to Iraq: The Making of a Neoconservative War’
January 30, 2015 § Leave a comment
This essay first appeared in The Drouth (‘The Thirst’), a quarterly magazine published in Glasgow (Issue 50, Winter 2014/2015). I wrote it in December 2014.
The Road to Iraq: The Making of a Neoconservative War
By Muhammad Idrees Ahmad
Edinburgh University Press
Reviewed by Danny Postel
I was reluctant to review this book. With all the dramatic developments in the Middle East today—the ISIS crisis, the siege of Kobanê, the deepening nightmare in Syria, the escalating repression in Egypt, the fate of Tunisia’s democratic transition, the sectarianization of regional conflicts driven by the Saudi-Iranian rivalry—delving back into the 2003 invasion of Iraq seemed rather less than urgent. It’s hard enough just to keep up with the events unfolding day-to-day in the region. Reading—let alone reviewing—a detailed study of the internal processes that led to the United States toppling Saddam Hussein over a decade ago seemed remote, if not indeed a distraction.
But I’m glad I set these reservations aside and took the assignment. This forcefully argued and meticulously researched (with no fewer than 1,152 footnotes, many of which are full-blown paragraphs) book turns out to be enormously relevant to the present moment, on at least three fronts:
- ISIS emerged from the ashes of al Qaeda in Iraq, which formed in the immediate aftermath of the 2003 invasion and occupation of Iraq. Without the 2003 invasion, there would be no ISIS as we know it—and the region’s political landscape would look very different.
- The US Senate report on CIA torture has brought back into focus the rogues gallery of the Bush-Cheney administration—the same cast of characters who engineered the 2003 Iraq invasion. This book shines a heat lamp on that dark chapter and many of its protagonists.
- There is talk of a neoconservative comeback in Washington. This thoroughly discredited but zombie-like group are now angling for the ear of Hillary Clinton, who might be the next US president. Ahmad’s book provides a marvelously illuminating anatomy of the neocons, which has lessons that apply directly to this movement’s potentially ominous next chapter.
The central question Ahmad attempts to answer is: Why did the 2003 Iraq War happen? In one of the book’s most valuable sections, felicitously titled ‘Black Gold and Red Herrings’, he goes through several prevalent explanations/theories and takes them apart one by one: « Read the rest of this entry »
Solidarity is not a Crime: Statement from the Minnesota Committee in Solidarity with the People of Syria (Minnesota CISPOS)
January 29, 2015 § Leave a comment
As members of an organization committed to peace and justice, the Committee in Solidarity with the People of Syria (CISPOS), it was disheartening for us to see an article in Huffington Post that falsely alleges that we are working “in sync with neocon warhawks to produce and sustain a perpetual state of U.S. war.” Coleen Rowley and Margaret Sarfehjooy’s article “Selling ‘Peace Groups’ on US-Led Wars” does not provide insightful analysis and is constructed on unfounded claims.
The article is fallout from the widespread controversy in the peace movement over how to respond to the brutal war in Syria.
Many anti-war pundits and activists have bought into U.S. propaganda that the U.S. is actively supporting the Syrian rebels to overthrow the Assad regime in Syria. They point to the 1997 Project for a New American Century plan for regime change in Afghanistan, Iraq, Libya and Syria. They believed Hillary Clinton in 2012 when she said the Assad regime must go and that the international community stands with the Syrian people. In fact…the U.S. has given very little training, small weapons, and funds to very few rebel groups. Congress recently dropped $300 million for the Syrian rebels from the defense bill, almost completely cutting what the Syrian opposition already saw as paltry support from the U.S. On the other hand, the CIA has long had a working relationship with Assad, sending him numerous terrorist suspects to torture as part of their rendition program. Assad has provided Israel with a secure border.
January 26, 2015 § Leave a comment
Adam Curtis has released another brilliant film, perhaps his finest. Bitter Lake is long, but it’s worth it. It’s visually stunning and examines history in Curtis’s usual manner, with a focus on incompetence, irrationality, complexity, the surreal, the absurd, and the macabre. He’s perfected his form of storytelling and woven together strands from previous films into one epic.
Adam Curtis’s latest film is available on the iPlayer, for Brits, for another 29 days; but for those outside Britain, you might want to watch it quickly on youtube before it’s taken down.
If the video is down please try here at the Daily Motion site.
January 21, 2015 § Leave a comment
By Naomi Foyle
From the moment someone writes with foreign blood
they begin to write with their own
from ‘From the Moment’ by Ihor Pavlyuk (translated by Steve Komarnyckyj)
If your heart has lost its way, your feet are sure to also.
Hryhorii Skovoroda (translated by Naomi Foyle)
Going to Oxford would have been highlight enough. It was a bright March day, I was staying with old friends and reading at a poetry gig in the evening – the perfect mini-break from a dreary winter in my Brighton basement flat. Jonathan Meades’s abrasive defence of Brutalism still scouring my perception of urban space, I insisted on a cycle tour of the monstrous grey jewels in the university’s crown of gargoyles and spires, further amusing my hosts by bursting into phrasebook Ukrainian whenever we sat down for tea. No linguist, I simply hoped my pronunciation was not too atrocious. Invited to join the English PEN launch tour of A Flight Over the Black Sea by Ihor Pavlyuk, I wanted to at least try to say dobryi vechir – good evening – to the poet and our mutual translator Steve Komarnyckyj. That night, my apparently singular preoccupations converged in an image that haunts me still: Ihor, clad in a traditional black and red embroidered shirt, reciting his pagan poems of sea and steppe between the slender concrete pillars of St Antony’s College. What at first seemed an elegant coincidence soon started to resonate rather more unnervingly. As Steve’s translations scattered blood and thorns into the room, the ecclesiastic, Brutalist-lite columns began to ghost a painful history, their slim grey trunks and ceiling branches evoking the dark forests of Russian Orthodox and Soviet repression that subtly shadow Ihor’s poems. An inescapable synchronicity was at work: looking back I’m not surprised that before the year was out I had been compelled again from my writer’s bunker, this time straight to Ukraine.