It’s After the End of the World December 21, 2012Posted by Mark Folse in cryptic envelopment, Dancing Bear, New Orleans, Toulouse Street, We Are Not OK.
Tags: apocalypse, calendar, Macha, Maya, Mayan, Pacha
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“It’s after the end of the world. Don’t you know that yet?”
– Sun Ra
I did not see the end of the world up close and personal, but I lived it with a vicarious survivor’s guilt seven years ago that was–for me–world shattering.
Shall we rehearse those memories, if only to put to rest the nonsense of millennial crazies? It is an exercise more appropriate to Good Friday than Christmas so let it pass. I will not mar your holiday with that old crown of thorns.
And yet it is fitting to remember as the great Mayan wheel turns from Macha to the Pacha that the elders of that race promise a transformation not of the universe but of the hearts of men. In New Orleans we live with peril the way the rest of America lives with Starbucks, ubiquitous and just around the corner. Men have gashed canals into the earth and sucked the black blood of the ancestors, collapsing geological into historical time and dooming the lands and cultures of the Creoles and Acadians to eradication. It is not possible to forget that the great cities of the Maya lasted centuries longer than New Orleans can survive. One can only hope that instead of the false apocalypse people remember the words of the Mayan elders, who tell us that the the new cycle, the Pacha, will be the end of man’s dominion, the lifting of Yahweh’s curse, and the beginning of a time of humanity’s cohabitation with the earth and with each other. A thousand years from now, let the broken towers of downtown rise up from the water to remind everyone of the foolishness of the past.
Here on Fortin Street, a dozen miles as the crow counts from The End of the World Marina, it is Solstice not Apocalypse. Here it is already after the end of the world. Tonight I will kindle a fire in the cold clear night and roast meat and drink strong ale as my German ancestors would have done. If tonight there are parties in New Orleans we do not mock anyone’s gods. We thank our own, the tangled saints of Africa and Spain and the gods of our ancestors, for another day and a year to come on this fragile land.
Come On Rise Up November 12, 2012Posted by Mark Folse in Bloggers, Federal Flood, hurricane, Hurricane Katrina, New Orleans, Recovery, Toulouse Street, We Are Not OK.
Tags: Coney Island, Hurricane Sandy, Long Island, Manhattan, New Jersey, Staten island
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My friend Sam Jasper’s post over at New Orleans Slate Unsolicited Advice to the Northeast in the Aftermath has gone viral in the Northeast. There are now 70 comments and dozens more private emails. Less than 1% of people who actually read a blog post (discounting those who drop in and leave) every leave a comment. You need to go read this wherever you are.
She starts off with a Bruce Springsteen Song Jersey Girl. The Springsteen song I can’t get out of my head is the one the NBC nightly news ran at the end of one of their broadcasts over a montage of the ruins of Sandy, the same song he sang to tens of thousands reduced to sobbing at Jazz Fest 2006: My City of Ruins.
When I could bring myself to watch the news the force fields went up. It is as if you have just had a minor stroke. The brain is empty, the body seems distant and alien, and the television a nightmare half remembered.
I only cried when I heard that song.
Come on, rise up.
You can do it. Your boots are on the pile in front of the house so you will somehow have to manage to lift yourself up by sheer will, above every gospel word Sam has written in her post. Some folks in the affected areas may not fare to badly. The government starting running dump trucks of money into Manhattan after 9-11 to repair utilities and such. Maybe you’ll be lucky, and your utility bill won’t double. Maybe you have stronger elected officials, who won’t stand for a property-and-casualty insurance bill larger than the principle on your mortgage. I hope so.
Come on, rise up.
We felt so abandoned after the Federal Flood a deceased friend adopted the term Sinn Fein, not a reference to modern Irish politics but to the origins of the party but to the translation: Ourselves Alone.
Sinn Fein, baby. But you are not alone. The people of the hurricane coast, who have done all this before in 2005 and again and again before this, stand at your shoulders like the ghosts of every soldier buried in a foreign land. The people of the south are a prayerful people, and right now millions of hands are clasped, a hundred thousand Saints’ candles burning, uncounted joss sticks lit to the Merciful Ones. Trucks are loaded. Checks are written. If you finally figure out what we’ve known down here since Camille in ’69 the mayor of Staten Island has figured out, and you will to, but one way or another help will come. It will come not from the insurance racketeers. It will come unsought from church groups. It will come in trucks from points unknown filled with cleaning supplies. It will come with all I see that remains of the America we were taught, and it will not come from the government. It will come from you neighbors. It will come up from the coast from those who stayed, from those who returned, by the heavenly intervention of the ghosts of the flood.
It will come.
“I pray Lord
with these hands
for the strength Lord
with these hands
for the faith Lord
with these hands
Come on rise up!
Come on rise up!”
South of 90 October 28, 2012Posted by Mark Folse in books, New Orleans, Odd Words, Poetry, Toulouse Street, We Are Not OK.
Tags: A Vein in the Gulf, Côte Blanche, Julie Kane, Louisiana Book Festival, Martha Serpas
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Martha Serpas holds enough degrees in creative writing to sketch the outline of a novel on and a Master of Divinity from Yale. She has a preface by Harold Bloom in her first book of poems. She explains the title of a new poem “The Diener,” a word with a German root meaning servant and applied to the person who runs the hospital morgue. The title stumped Bloom, the sort of accomplishment you want in your obituary, like the drummer acquaintance I had in DC who visited New Orleans with The Nighthawks for several months in the 1980s and was introduced by Zigaboo Modaliste to his table at Dookie Chase as a “bad motherfuckin’ drummer.” If I ever find my provincial ass trapped in a Manhattan cocktail party, I want to arrive with Martha and Maud Newton. They can dump me at the door, as long as I can nod my head toward them across the room and say, I came with Martha and Maud.
She surveys the small room of poetry readers at the Louisiana Book Festival with a leonine calm, exudes a gentle accessibility and level headedness necessary to someone who volunteers as a hospital trauma chaplain. She was born in Galliano and attended LSU and the University of Houston. She spent enough time at NYU and in New Haven to attract luminaries such as Bloom but also taught at the University of Tampa and now in Houston, and prefers to describe herself as “from the Gulf Coast.” You sense that beneath the sheepskins is a girl from Galliano done good, can easily see her standing at the saw horse table peeling shrimp, a brown long neck at her elbow, someone from the only place on earth you can stand south of ninety.
Her love for her home south of Highway 90 comes bubbling out when talks about a film project A Vein in the Gulf, which resulted from the idea of her friend Elizabeth Coffman than they take a van full of film students and poets to the Louisiana coast to document the impact of wetlands loss. There is also a natural, Catholic-school modesty when she speaks of writing about Lafourche Parish, especially after what she calls “the big event” of Hurricanes Katrina and Rita. “I struggled just writing about my home town,” she said of her first book of poems, Côte Blanche, the one with a preface by Bloom. “Who am I to write these poems about these folk and these places?” After the storm, she came to a realization with the help of friends. “If [I] don’t write it, if I don’t take that platform how does that help the people I love and the place I love . . . well, maybe one person will understand the culture, appreciate the culture, can be moved by the culture [then] why would I not want to reach that one person?”
It is in that conversation that she drops the bomb that leaves me flabbergasted, the acknowledgment most folks north of 90 have not yet admitted to. “We have to keep trying to save [the wetlands] even though we know it’s impossible to save it. It’s too late.” I have read the literature of coastal loss since I was a weekly newspaper editor in St. Bernard Parish in the 1980s, insist to everyone I know that they must read Mike Tidwell’s story of the slow holocaust on the coast Bayou Farewell: The Rich Life and Tragic Death of Louisiana’s Cajun Coast but few people are willing to speak that truth aloud. “It’s too late.”
At the end of the interview I ask her if she finds some confluence between her work as a trauma chaplain and writing about Lafourche, “The first image that popped into my mind is when I visit a patient that is dying, what we would call the death watch, and people look at the monitors as if that is going to tell us anything in terms of how long that process will take, and we’re all there…the family…most people want to be there. That is what flashed through my head when you say that. It’s death, and its beautiful. Even the destruction of the wetlands is beautiful because something will come out of it, some life will come out of it even though … I can’t see it. I don’t see anything life-giving come out of it even as I know intellectually that something will.”
I know at the end of the interview that Côte Blanche is the first of the stack of books I brought home I will want to read, and that I need to see A Vein in the Gulf. Interviewer Julie Kane, the poet laureate of Louisiana, concluded my question and the author’s answer with a quotation from an author whose name neither I nor my record catch, that “all poetry is elegy.” As I pack up to leave the room, I think that the hurricane coast may have found its elegist. She prefaces her answer to my question with a quote from rabbi I can’t quite make out on the recording: “You are not required to complete the work nor are you free to desist from it.” If not their elegist, the people of Lafourche and the whole coast have certainly found their chaplain.
The Glory That Was Home September 23, 2012Posted by Mark Folse in Federal Flood, Fortin Street, FYYFF, Memory, New Orleans, NOLA, postdiluvian, Rebirth, Recovery, The Narrative, Toulouse Street, We Are Not OK.
Tags: Rising Tide 7, Rising Tide NOLA, Rising Tide VII
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I thought I would share an email reply I wrote this morning, to answer anyone who asked after me yesterday at Rising Tide VII:
Thank you for the pictures and write-up. My absence from Rising Tide 7 is sadly more than a case of overbooking, but I won’t spread troubles except to wish them bon voyage. The NOLA Bloggers Movement, born out of a mailing list started by some guy in North Dakota of all places, baptized on an Ash Wednesday evening at a bar in the French Quarter, and which birthed the first Rising Tide was one of those bright shining moments of solidarity like the crime march or the first anniversary (who were those two young Black women at the 17th Street Canal bridge between Bucktown and lily-white Lakeview? I dared not ask that day) that is behind us. The rag-tag assemblage has, like so many things down here postdiluvian, reverted to form: the latent conflicts of purpose and personality reasserting themselves, paths parting, new projects taking precedence.
It is a parade I no longer ride, but sometimes finger the old doubloons thoughtfully when I come across them
I Am Not Alright, But I Am Upright September 22, 2012Posted by Mark Folse in cryptic envelopment, New Orleans, Poetry, The Narrative, The Odd, The Typist, Toulouse Street, We Are Not OK.
Tags: Illusion Fields, Moose Jackson, O'Neill's Lament, Raymond "Moose" Jackson, Treme, We are not alright but we are upright
Four people came to Toulouse Street looking for “new orleans upright tattoo” and all four clicked through to hear Raymond “Moose” Jackson’s “O’Neil’s Lament”. Some words have power beyond their simple human utterance, and Jackson’s words struck me so strongly as an epigraph for a place and time, an epigram for what others had already forgotten, that I will wear them on my right arm until the end. Bury me in a sleeveless shirt, right arm toward the room.
As I finish re-watching Season Two and prepare to read a year’s worth of Wet Bank Guide in preparation for Sunday’s premiere and the conversations to come on Back of Town I recall last season’s Treme teaser poem by Gian Smith, “Oh Beautiful Storm.” I think the refrain from “O’Neill’s Lament” on Jackson’s Illusion Fields disk gets as close to the wound inside the characters of Treme, a hidden stigmata that haunts them like a waft of church door incense on a lapsed Catholic, as an outsider can possibly get.
New Orleans or New Haven, first-time viewer or Treme Sunday devotee, give “O’Neill’s Lament” a listen before Sunday’s show.
We are not alright, but we are upright.
Remember August 29, 2012Posted by Mark Folse in Federal Flood, Fortin Street, Hurricane Katrina, je me souviens, New Orleans, NOLA, Remember, Toulouse Street, We Are Not OK.
Uncle Lionel July 8, 2012Posted by Mark Folse in Jazz, je me souviens, music, New Orleans, Remember, Toulouse Street, We Are Not OK.
Tags: bass drum, brass band, Frenchman Street, Jazz, Uncle Lionel Batiste
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NEW ORLEANS — Legendary Treme Brass Band leader and drummer Uncle Lionel Batiste passed away Sunday morning. He was 81.
Green is the Colour May 8, 2012Posted by Mark Folse in A Fiction, Toulouse Street, We Are Not OK.
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“Close my eyes so I can see you.”
– Pink Floyd, Green is the Colour
Studying has its own Odd diversions that have nothing to do with picking up the Hansel and Gretel fire hazard of papers strewn through the house, the one plate and cup you keep rinsing off for the next meal and putting in the dish drainer. You fill the coffee pot in the bathroom.
You realize you are supposed to read something you have entirely forgotten,a few chapters of a wonderful nature book written by Aldo Leopold back in the 1940s (1949, you are supposed to remember the year of publication by 10 a.m. tomorrow, fool) and you realize how much Edward Abbey cribbed from it but that’s not important. There is a section entitled Clandeboye about a marshy area in Manitoba.
You once live not too far from Manitoba. Winnipeg was about the same distance from Fargo as St. Paul but you never made it there in spite of the lure of legal Cubans. As It Happens on the CBC was about as close as you got. Clandeboye doesn’t ring a bell but Leopold’s description is intriguing.
One thing most of us have gone blind to is the quality of marshes. I am reminded of this when, as a special favor, I take a visitor to Clandeboye, only to find that, to him, it is merely lonelier to look upon, and stickier to navigate, than other boggy places. This is strange, for any pelican, duckhawk, godwit, or western grebe is aware that Clandeboye is a marsh apart. Why else do they seek it out in preference to other marshes? else do they resent my intrusion within its precincts not as mere trespass, but as some kind of cosmic impropriety?
I think the secret is this: Clandeboye is a marsh apart, not only in space, but in time. Only the uncritical consumers of hand-me-down history suppose that 1941 arrived simultaneously in all marshes. The birds know better. Let a squadron of southbound pelicans but feel a lift of prairie breeze over Clandeboye, and they sense at once that here is a landing in the geological past, a refuge from that most relentless of aggressors, the future. With queer antediluvian grunts they set wing, descending in majestic spirals to the welcoming wastes of a bygone age.
It is not 1941 but just over sixty years later. You launch Google maps and chose Clandeboye, MB over Clandeboye, New Zealand and Google in all helpfulness drills down on a tiny village of a dozen streets. If you zoomed close enough you could probably read the water tower, find the cafe and gas pumps, the silos on a siding that make it a place. You zoom out looking for this place of wonder and notice as you click the zoom bar in just a certain place the pixelation of the area, as if you had zoomed in 1000% in Gimp. This is Odd, so you zoom part way back in and notice the grid of fields, the Mondrian regularity of the various crops, the very thing Leopold railed against so eloquently in his book. Off to the side somewhere is a Canadian national park, a road snaking toward it. It is not named Clandeboye.
You cannot go back to reading Leopold. You take the pile of books and notes on the couch next to you and place it on the floor among all the others. You close the Kindle window and email and Google maps and open this page. The image of the pixalated fields won’t go away, like the green spots you thought were forever when you stared too long at the rising sun that last morning on the East Coast, saying farewell to the ocean before you moved to the interior, to Fargo, to a place a few hundred miles from Clandeboye.
Give up on studying. Everything you need to know from all those books from Thoreau on fills that one screen. Open a beer, close this page, go to bed. Try to make the pixelations go away. Remember the skies filled with geese one Saturday during your son’s peewee football game, a carrier pigeon armada honking south to Louisiana. You wanted to go with them.
Try to get some sleep. The world we have made for ourselves, sparrows on the blacktop, the starling whorl over Decatur, will still be there tomorrow. For a while at least.
Quiting the Paint Factory November 3, 2011Posted by Mark Folse in books, cryptic envelopment, New Orleans, Odd Words, The Narrative, Toulouse Street, We Are Not OK.
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“I have been wading in a long river, and my feet are wet.”
If the promised posts (for the blog, and for NolaVie who produced the credential letter that got me in the Louisiana Book Festival author’s party) do not appear today it is because I am on the couch reading this instead.
You should, too. If you’re reading this at work, you’re halfway there. Print this out, take it to the comfy couches in the elevator lobby and if necessary prop your phone against your ear so you look busy. Or find an empty conference room, close the door and pretend you’re on a meeting.
And read it.
H/T to TheRumpus.
They’re all wasted November 3, 2011Posted by Mark Folse in cryptic envelopment, Dancing Bear, music, Toulouse Street, We Are Not OK.
Tags: Lifehouse, Pete Townsend
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“There once was a note. Listen.”
–Peter Townsend, “Pure and Easy”
Below is the version of Teenage Wasteland originally written for Peter Townsend’s concept performance/rock opera Lifehouse, which in most of its versions is about a dystopic future in which everyone is living connected to The Grid, inside suits that isolate them one from the other. All of their experiences take place alone in tubes to which the suits can connect. Some of the lyrics are familiar, some you have probably not heard before. You can find them here. The antidote to this dystopia is the emergency of an old guru who remembers ancient rock-and-roll, and its cathartic, Dionysian power.
In some ways the prescient concept of Matrix (if not the rest of the story line) captures this moment perfectly.
I think of my own children, slaves of the Grid realized, the careful constructs of cable television and Internet. Controlled by media conglomerates, the Grid stands ready to package and sell them commoditized lifestyles of conformist rebellion suited to their particular taste, from the decadently preppy world of leering models at American Apparel to the depths of industrial goth. Come on in, kid, we have just what you need to rebel and conform all at the same time.
We of their parents generation still live in a personal era in which rock-and-roll is not the forgotten art of the Lifehouse or a carefully scripted commercial soundtrack, but in which the healing power of a song called on in a moment of distress is like that of prayer, with the promise of being born again not in the spirit of the Xianists but as cleansed and refreshed human beings, eyes and hearts open. That was Townsend’s concept for Lifehouse. At its best and before the media conglomerates absorbed the genre rock-and-roll was about not about unbridled freedom (an inverted nihilistic illusion) but about a genuine rebellion, a rejection of the past in favor of a future of possibility, a future still malleable to the hands of people (not just the children) seeking and ready to make the world their own place. It is an idea that must not be allowed to die.
The Bloody Hanktons October 19, 2011Posted by Mark Folse in Crime, New Orleans, NOLA, Toulouse Street, We Are Not OK.
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The murder of the brother of a witness in the murder trail of Gert Town crime scourge Telly Hankton led to another rush to the pages on the blog where there names were mentioned. It all began when I listed his Uncle George in my annual collection of the names of the murdered. That crime begat a retaliatory killing that eventually led to Hankton’s conviction in the murder of Darrell Stewart, whom Telly and his uncle Andres suspected in the killing of Andre’s brother George. It was that first listing, a follow up note in the next year’s list and finally this post which included the notes from the NOLA.Com crime reports that Telly and Andre were wanted in connection with Stewart’s death, that have made the name Hankton one of the most popular search terms bringing people to Toulouse Street.
It’s not the spikes that occur around news events like yesterday’s on the witness killing that give me the shivers but the routine visits I get week in and week out, wondering if members of the Hankton gang sometimes surf the Internet looking for their notices like a gang of actors waiting in a cafe for the morning papers. It is one thing for someone in a comfortable suburb to watch David Simon’s The Wire and feel a safe and guilty satisfaction when Omar Little and Brother Mouzone gun down Stringer Bell, to understand the Bushido beauty of the moment when Bodie refuses to abandon his corner. It is another thing entirely to see the frequent Hankton searches when you live in a city overrun by men with guns who have had their own funerals carefully planned since they were fourteen.
This is not Hell. This is the Street September 28, 2011Posted by Mark Folse in New Orleans, Poetry, Toulouse Street, We Are Not OK.
Tags: Frederico Garcia-Lorga, Occupy Wall Street, Red Hand of Ulster
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First posted Oct 13, 2008. Reposting in solidarity with OccupyWallSt.org. The first General Assembly of Occupy New Orleans occurs at noon Sunday, Oct. 2 in Washington Square Park. It is time to throw the bloody fist onto the shore and claim this land as your land, as our land.
I work for a bank I choose for years from discretion to call Moloch, which is moving all it’s New Orleans jobs to another city: mine included. Perhaps by posting this or showing up Sunday I will never work again. Perhaps it is better to stand in the rubble of what America has become roasting pigeons on a stick that to continue as we are. I don’t have much faith in the political proclivities of New Orleans. We can be quick to anger but nothing burned here in 1968. Still, a century ago a few men of color conspired together, purchased a forbidden railroad ticket, and set in motion the events that ultimately toppled Jim Crow.
I was lucky enough to see with my own eyes the recent stock-market crash, where they lost several million dollars, a rabble of dead money that went sliding off into the sea. Never as then, amid suicides, hysteria, and groups of fainting people, have I felt the sensation of real death, death without hope, death that is nothing but rottenness, for the spectacle was terrifying but devoid of greatness… I felt something like a divine urge to bombard that whole canyon of shadow, where ambulances collected suicides whose hands were full of rings.”
– Federico Garcia Lorca
Under the multiplications,
a drop of duck’s blood;
under the divisions,
a drop of a sailor’s blood;
under the additions, a river of tender blood.
A river that sings and flows
past bedrooms in the boroughs-
and it’s money, cement or wind
in New York’s counterfeit dawn.
I know the mountains do exist.
And without wisdom’s eyeglasses,
too. But I didn’t come to see the sky.
I’m here to see the clouded blood,
the blood that sweeps machines over waterfalls
and the soul toward the cobra’s tongue.
Every day in New York, they slaughter,
four million ducks,
five million hogs,
two thousand pigeons to accommodate the tastes of the dying,
one million cows,
one million roosters
that smash the skies into pieces.
It’s better to sob while honing the blade
or kill dogs on the delirious hunts
than to resist at dawn
the endless milk trains,
the endless blood trains
and the trains of roses, manacled
by the dealers in perfume.
The ducks and the pigeons,
and the hogs and the lambs
lay their drops of blood
under the multiplications,
and the terrified bellowing of the cows wrung dry
fills the valley with sorrow
where the Hudson gets drunk on oil.
I denounce all those
who never think of the other half,
the irredeemable half,
who raise their mountains of concrete
where the hearts of little
forgotten animals beat
and where all of us will fall
in the final fiesta of jackhammers.
I spit in your faces.
That other half hears me,
eating, pissing, flying in their purity,
like the supers’ children
who take their flimsy palettes
to the holes in spaces where
insects’ antennas are rusting.
This is not hell, this is the street.
That is not death. That is the fruit stand.
There are broken rivers and distances just out of reach
in the cat’s paw smashed by a car,
and I hear the song of the worm
in the hearts of many young girls.
Rust, fermentation, earth tremors.
You yourself are earth drifting among numbers in the office
What am I going to do, put the landscapes in their right
Put in good order the loves that soon turn into photographs,
that soon become pieces of wood and mouthfuls of blood?
No, no: I denounce,
I denounce the conspiracy of these deserted offices
which erase the plans of the forest,
and I offer myself as food for the cows milked empty
when their bellowings fill the valley
where the Hudson becomes drunk with oil.
Federico García Lorca, 1929-1930
(translation of the first half of the poem by Greg Simon and Steven F. White)
(translation of the second half of the poem by Galway Kinnell)
I am suspicious September 24, 2011Posted by Mark Folse in New Orleans, NOLA, Toulouse Street, We Are Not OK.
Fortunate mortal! the tide of Time has turned for you! But remember that her all is enchantment,–that you have fallen under the spell of the dead,–that the lights and the colors and the voices must fade away at last into emptiness and silence.
– Lafcadio Hearn, “Strangeness and Calm: from Lafacadio Hearn’s Japan
It seems at times that we have fallen not just into the habits deep rooted as City Park Oaks but from some high place where the color of the comment that greeted me in my too-early morning mail seemed inconceivable. Discussing the City’s decision on a new development at the site of the old Canal Street Walgreens someone I respect suggested that the high end retail the City Council suggested appropriate would have to wait for the urban removal of “the trash retails, the trashy people…” at that end of downtown Canal Street.
This came from one of the reasonable people on this neighborhood mailing list, someone I have come to respect. Perhaps it was the time it was written–2:44 a.m. when insomnia or an evening’s drinking leaves us in the company of the monsters of the Id. Or perhaps it was one of those black moments when no one on the sponsor list returns your call, the night is blinding dark and that bottle of Old Jim Crow somehow falls into the shopping bag. Perhaps she meant something entirely different: the homeless and drifters who people Canal Street, something else.
I have shocked a few people when discussing race when I borrow a line from AA and announce, “my name is Mark, and I am a rascist” but the curse we carry in this town and all across the south is an almost genetic propensity for the views we were simmered in all through our childhoods, from the screaming white women of Ninth Ward railing against desegregation on the television fifty years ago to the genteel way my grandmother would say the world “nigra.”
There was a brief window in 2005 and 2006 when it seemed things might be different. We all gathered together in church halls and unflooded cafeterias, people of all races and incomes, renters and homeowners, babies of Charity and Hotel Dieu, as optimistic as the liberated citizens of the first soviets. We seemed poised on the edge of something revolutionary, a people ready to take back our city from the forces that had run it into the ground for a century, anxious to build a bright and shining city on the hill out of the ruins of the flood, one made in our own image, out of our imaginations.
Our Menshevik innocence and naivete would soon enough be dashed.
There was a fantastic universal sense that whatever we were doing was right, that we were winning…
And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave ….
So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark-—that place where the wave finally broke and rolled back.
– Hunter S. Thompson, Fear and Loathing in Las Vegas
I was the housing chair of the loose collective called the Mid-City Recovery Group, and the fact that the established neighborhood organization would not lend their name to the proceedings should have been a clue. There was something afoot that could undermine the power structures built over centuries, something full of dangerous possibilities. One of the problems we faced was a lack of rental housing. The Road Home program (for what is was worth) was finally coughing up some money for home owners but nothing was being done for the small landlords, the owners of doubles, that made up much of the housing stock of Mid-City, at least not in a proper way. I stood in a small store buying cigarettes one morning and listened to a few tradesmen dressed in the motley colors of the houses painted yesterday, complaining how people were slapping up coats of Zinzer over the mold so as to cash in on the skyrocketing rents.
There was nothing on the horizon that promised better until some ambitious individuals, the sort we were quick to call carpetbaggers, stepped in and proposed to renovate several buildings into apartments, among them the old Crystal plant everyone in town knew from the sign that rose above the Pontchartrain Expressway. They planned to leverage tax credits that would require the set-asides by income. We did our research carefully. We had the architects assigned to our group by the city check into these developers and the answer came back they were first rate. The New York Housing Authority, we were told, never speaks–even off the record–about their development partners but this particular group had won their private praise for the work they did. The construction was first rate, their screening of tenants and management after the fact were stellar. These were not some “Section 8 OK” landlords but people who still believed they could make an honest buck off of urban redevelopment and be proud of what they did.
The group required some approval from the neighborhood before the tax subsidies could be released and the old-line neighborhood group would have none of that. A letter from our ad hoc group, however, would suffice. My own ad hoc committee was divide but I convinced them we needed to bring it to the full group for a vote. They did not approve, but I was allowed to go forward.
The tension in the church sanctuary that night was palpable as I made my arguments: there is no money in sight for the small landlords who made up much of the neighborhood, the city was starved for affordable housing for the low-wage workers that make our economy work. These people were first rate, would take an abandoned building in a blighted corner of our neighborhood and make something good of it, provide the affordable rental housing the city desperately needed.
As the evening progressed into its second hour I felt like Lawrence of Arabia in the film scene in which the victorious tribesmen of Arabia argue over what to do with Damascus after taking it from the Ottomans, wondering if this is what it was like to organize the first parliament in a newly minted country that had only known the authority of the village and the clan. I heard the word “Section Eight” spoken in a way I had heard before in our prior deliberations but never with such incendiary force, as if it were a synonym for al-Qaida.
I won that battle after those two ugly hours but fell away from the recovery group soon after, more worn out than disillusioned. We had, after all, carried the day. But somewhere inside a naive idea died: that the flood had washed away the old divisions, made us all the children of Katrina, wandering through the desert on our way to the promised land.
“The Bitch didn’t care. Her waters came up the MRGO and took the paint-bare, black-eyed-pea shotguns of the Lower Nine the same as it took the Bunny Bread, virgin-in-a-tub brick ranch houses of Chalmette. Claiborne Avenue or Judge Perez drive, they cried and struggled and drowned just the same. The waters that swept up Canal Boulevard and Paris Avenue didn’t stop in at the Hibernia to check anybody’s balance. They took everyone in their path, no checks accepted.”
– Mark Folse, “Talking with the King”, Wet Bank Guide
I believed that once, when I was willing to stick my neck out and defend our crazy mayor’s Martin Luther King day speech of 2006, mindful of having heard similar things said when I stood outside Black churches while working for politicians (us white staffers left outside to leaflet cars but I would often stand by an open window and smoke a cigarette, listening to the glorious preaching and music). But the disillusionments came fast and furious: listening to Stacey Head’s mocking of housing activists bent on preserving the craftsman-built old housing projects so people could come home, listening to the assembled ministers defend the right of a black contractor to charge ridiculous rates for garbage collection and calling out as racist anyone who questioned why we would pay twice what neighboring parishes did for the same service.
I belong to multiple neighborhood mailing lists (the one I am an administrator of in the place I no longer live, the one where I am now renting an apartment on the Stalling Park end of the fashionable precincts near the Bayou, on what I call the Fortin Frontier. There are days when I am more comfortable with Gentilly Boulevard than with Esplanade Avenue, and if asked where I live I will say Gentilly.
Another early morning email was a discussion of some police action just a few blocks over, a prowler in a back yard, which ended with one writer saying if you see anything suspicious call 9-1-1. Good enough advice until the last line: “and you get to decide who is suspicious.” While my neighborhood mailing lists come no where near the tenor of the comments on NOLA.com, there are days when I am tempted to sweep all of that email into the delete folder unread, or even to unsubscribed. My revolutionary days are behind me, and as I go through my files I sometimes wonder if I should stick that Mid-City Housing folder up in the same box where my copies of Bakunin on Anarchy and Trostky’s Transitional Program for Socialist Revolution quietly crumble with age.
I keep coming back to something I wrote years ago at another nadir of enthusiasm, something that stands for me along with a few other quotes by better writers: Sun Ra’s “Its after the end of the world. Don’t you know that yet?” or the words of poet and playwright Raymond “Moose” Jackson that are inked on my arm around my fleur de lis, the ones I think said in so few words everything I tried to say in my own thousands of words written on what it is like to live list in postdiluvian New Orleans: “I am not alright, but I am upright.”
I may never give up entirely, surrender completely to the insular tribal loyalty of “the friends I have gathered together here on this thin raft” and will come back and write another post like this, triggered by some event or remark that seems to call out for an answer. Or maybe not. Until then I will leave you with this:
“Perhaps I ask for too much. If history and the city consumes us all one-by-one but the city lives on, that perhaps what was always intended, why were were all lured home. In the end, perhaps [author Thomas] Pynchon has given us the model to surviving it’s after the end of the world. If history has gone too wrong for any one of us to stop what is happening around us, maybe it is better to amble down a shady street in New Orleans without a particular thought in my head except the distant sound of what might be [Pynchon's anti-hero character Tyrone] Slothrop’s harmonica, to disappear into the random noise in the signal.”
At the Diagnostic Center September 21, 2011Posted by Mark Folse in Toulouse Street, We Are Not OK.
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somebody may die tonight
& nobody knows when
pour a little whiskey
turn off CNN
the sky is full of stars that float
like candles in a field
surrender up the gravity
let your body yield.
tomorrow you may wake up
to some alarming news
the coffee pot, the ticking clock
the office socks and shoes
tonight there are no messages
nobody’s making deals
surrender up the gravity
let your body yield.
some think they’re the masters
but everyone’s a slave
dig your share of treasure
& make yourself a grave
you buy your weekly ticket
but you know your fate is sealed.
surrender up the gravity
let your body yield
the system’s full of sickness
& someone’s going to die
’cause the cure is much too painful
let the sleeping dogs all lie
swallow all your medicine
& pray you will be healed
surrender up the gravity
let your body yield.
The Wrath of Achilles September 10, 2011Posted by Mark Folse in New Orleans, Toulouse Street, We Are Not OK.
Tags: 9-11, 9/11
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I was going to write something about 9/11, but I think this says much of what I had to say and I have to get up at 4:30 am for a flight out of town. So read this instead.
Ars Longa, Vita Brevis September 5, 2011Posted by Mark Folse in je me souviens, New Orleans, NOLA, Remember, second line, Toulouse Street, We Are Not OK.
Tags: Micheal Showers
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Cross-posted at the Treme blog BackOfTown.com
The tragic death by drowning of actor Micheal Showers, who played New Orleans police Capt. John Guidry in “Treme,” has an eerie resonance both for fans of the show, echoing the death of John Goodman’s character Creighton Bernette. Showers’ death has been ruled a drowning, but in the missing persons report filed by his girlfriend she indicated he was suffering from depression, anxiety and had been diagnosed with multiple sclerosis. There is no official report that his drowning was other than accidental.
While I suspect most New Orleanians have put such thoughts behind him, his death should register beyond the confines of a television show. Official suicide rates tripled in New Orleans in early 2006, the period represented by Season One and Bernette’s fateful ferry ride. Mortality rates spiked by one third, based on a study of Times-Picayune death notices that included displaced residents who died elsewhere. (Conflicting studies focusing on official, local deaths poo-poohed this notion but disregarded that in that period over half the city’s residents remained displaced). In the evacuation trailer parks to the north, fifty percent of residents met the criteria for Major Depressive Disorder, and the suicide rate in the parks was 17 times the national average.
Some (many) may think this post disrespectful of the dead, to speculate on how Showers met his death by drowning, but a diagnosis of multiple sclerosis echoes the experience of so many of those who made up the spike in post-Katrina mortality, the sense that they had lost the life they had before with no prospect of recovery. Bernette was, like most Treme characters, a composite, based both on Ashley Morris and documentary filmmaker Stevenson Palfi, who took his own life post Katrina Palfi lost not only his Mid-City home but files, photographs and film that helped produce his documentaries “Piano Players Rarely Play Together” and an unfinished film on Allen Toussaint.
Whatever brought Showers to the edge of the river, a breath of fresh air to clear his head after a night of drinking, or an ultimate moment of despair, something about his death resonates in a way most people in New Orleans would rather not contemplate but then I’m not most people, spent too many months in 2005 and 2006 tracking and cataloging the dead, too many hours each January compiling an annual list of all the victims of murder. In my own space at Toulouse Street (and formally on Wet Bank Guide), we remember.
Treme is ultimately about the resilience of the people of New Orleans, their insistence to save not just a bit of real estate but a culture and a way of life, and that resilience is more powerful and poignant against the unspoken backstory that Creighton Burnette’s death hints at, a tripled suicide rate, thousands dead from lack of medical care or just the loss in the elderly of the will to live. It is important to remember not only the 1,753 official Katrina deaths but the over 4,000 carefully cataloged by journalist Robert Lindsay five years ago.
Treme is about the Last Battle of New Orleans but the casualties are mostly off screen, like the millions of Civil War dead that haunt the soul of every bushwhacker turned Western gunslinger, and Showers’ brings that back to mind. RIP Micheal Showers, and I’m sorry if you and yours think I have hijacked that particular and personal sorrow but it so clearly brings back the desperation and loss that makes the triumphs of survival depicted in Treme more noble. You were a small part in the great machine of a film that reminds the rest of America–long since moved on–that we in New Orleans second line for our dead and why we do so and for your part in that, in every snap of a tourist’s camera as the band and joyful mourners pass, every second line from now on is in some small way for you.
Lucky August 28, 2011Posted by Mark Folse in 504, cryptic envelopment, Federal Flood, Hurricane Katrina, NOLA, The Narrative, Toulouse Street, We Are Not OK.
Tags: W, Waiting for Godot
Survivor guilt is a peculiar condition. I am one of a small handful of avid New Orleans partisans who lost nothing in 2005 except our minds. Two of us moved home, the third completed his interrupted relocation to New Orleans. To this day I ask myself (as every man who has not served does as he scatters popcorn on the floor watching an old war movie): what if I was there? What would I have done? Would I be equal to the task.
If I knew the answer to the question I would have grabbed Ray by the lapels and slammed him to the wall until I could tell him, and I expect he would have done the same. The third of us died never knowing the answer. I think of Ray gutting house after house in the miserable heat, of Ashley always in the front rank banging his spear against his shield, taunting our enemies. Did Ashley die in part because of that lingering doubt, the drive to prove himself not just the equal but of the first rank? Did they do this because of that survivor guilt, because (as Ray once explained eloquently) we were not at Bastogne?
What did you ever do? I was once asked in anger. Did you gut a house? Did you volunteer for habitat? All you did was write, she said, and that’s true: all I did was write, vaporous words that amount to what? Perhaps that is why I am haunted by this video, why I was heart-broken when the original poster took it down from You Tube (and perhaps some copyright holder will be on my case in the morning, demanding I do the same).
I missed the production of Waiting for Godot in the Gentilly Lakefront in 2006, unable to drag a collection of friends away from drinks in the back yard in time to get in, and I have been disappointed about that every since. What better place to watch Godot than in the Ninth Ward or in the brown fields of broken Gentilly, but perhaps there was a healing in that evening I missed, people too busy lingering as we will over cocktails to be on time. I look back and I understand it was better that way, ending up at the Circle Bar listening to Gal Holiday instead of experiencing the existential angst of Godot on a flooded lot.
On good days Radiohead’s Lucky runs through my head. Those are the good days. I feel my luck could change. Its gonna be a glorious day.
Still, I am haunted by this video. When I was searching for another post on Wet Bank Guide I was reminded it was gone from the Internet, and I went searching, finally finding the entire Beckett on Film version in slices online, finding the complete set on Amazon and spending a hundred dollars I don’t have to order it, spending more money on an online service that let me scrape this off to edit down to what is for me the essential speech, the question I will spend the rest of my life answering.
Was I sleeping while the other ones suffered?
In all that what truth will there be?
The air is full of our cries.
Requiem August 28, 2011Posted by Mark Folse in 8-29, Federal Flood, ghosts, Hurricane Katrina, je me souviens, New Orleans, NOLA, Remember, Toulouse Street, We Are Not OK.
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In the dark night of our soul Your shattered dreamers Make them whole O! Mother Mary find us where we’ve fallen out of grace Lead us to a higher place/Mary…
I almost didn’t republish this video I first put up last year on Aug. 28.
This week I was on WWNO and Susan Larson asked me to read a few lines she had selected from the book Carry Me Home, which first appeared as a blog post Ghosts of the Flood on Wet Bank Guide.
“We need to honor these dead and respect them, not with the weight of Confucian ancestor worship but in the simple spirit of the pre-Confucian Japanese who venerated odd stones, in the ways inherent in our own Latin roots mingled with the traditions of Africa, where the community of saints and the loa of Africa intersect. We don’t need an exorcism. We need a conjuration, a ritual that calls up the ghosts and honors them, that welcomes them in the way the way the devotees of Vodoun welcome the possession of the loa.
“Perhaps next August 29, we should all tie a brown cord on some pillar or post of the house at just the point where we have carefully painted over the water stain. Just above that, we should mark in dust of ground gypsum the rescue symbol that is now as much a part of our selves and our city as the sign of the cross. We will do this to tell whoever is listening—Our Father, Oshun, Mother of God, ghosts of the Flood—we remember. We have suffered, and we will never forget the Flood and those who did not come through. We are the people who came through and came back. We remember the lost. We remember you. Je me souviens.
“When we accept and embrace this spirit, perhaps the haunting will end once and for all, will not be a permanent pall over the city, a fearful sound in the night like a howling in the wires, or an unpleasant knotting in the stomach as we pass an abandoned house. It will cease when it becomes instead like the glinting of the sun on white-washed stone above the neat green grass of the cemeteries, just another comfortable part of who we are.”
Today there is a second line down Rampart to celebrate the opening of the new Healing Center in the Bywater. My son isn’t interested in going so I guess I’m going to miss it. It is time for us to look around and notice that our troubles are now often of our own making, the same curse of class and the lash that has troubled us for generations. Some days I wonder if we are no more capable of of overcoming ourselves than the Balkans, that we are too long practiced in our judgements by race and place. I have to hope not, to think that in every generation we here in the city grow a little better.
“We are the ones who came through and came back”, back to wrack and ruin, taxes and Entergy bills that would break a weaker people. We are the ones who did not flee to Metairie and Chalmette or to the East. My neighbors are the strongest people in America, and all I can think of is sitting on my stoop all the days of Jazz Fest and yes, there were tourists but there were many of us as well, those who could afford a ticket and the artists listening like me from across the fence hoping to see a bit of jewelry, and those hawing water at days end to pay the water bill, all milling about on Fortin Street in the joy and excitement of the moment.
Tomorrow is a solemn day, and I am going to post this piece because from the earliest days of the Wet Bank Guide, from the speculation on the dead through the first posts of All Saints Day 2005, all of my posts about those events have centered on one theme: Remember. Je me souviens. But simply to post this without recognizing it is only half the story is false. It is funereal in a way that does not fit New Orleans. Before this long weekend of remembrance is over, it is time to kick the dust of the grave from off our shoes and remember the city as it was, the way we would make it again. Ashes to ashes and dust to dust, if the women don’t get you then the liquor must, bass drum going one, two, one two three four and fast military tattoo of the unmuffled snare and at last the first trumpet notes of Oh, Didn’t He Ramble.
I think I will post that later today. For now, it’s Eliza Gilkyson’s Requiem which I first heard on NPR in early Fall of 2005, a song written for the victims of the Christmas Tsunami but which someone at NPR wisely picked up again after the Federal Flood. The audio on this is poor. You can hear the song still on NPR if you prefer, as this video contains disturbing images of the dead. I remember that moment clearly, driving down 16th Street South in Fargo to pick up my daughter at junior high. Before the song ended I had to pull over to the side of the road. I was late.
You Must Say These Words August 9, 2011Posted by Mark Folse in New Orleans, Toulouse Street, We Are Not OK.
Tags: Alabama, British Petroleum, Orange Beach, Platoon, The Day the Earth Stood Still
“You must say these words: Klaatu barada nikto”
– The Day the Earth Stood Still
A few days before I headed off with the kids for a long weekend at Orange Beach, Alabama, I found myself watching the remake of The Day the Earth Stood Still with Keanu Reeves as Klaatu. I did this because I have at least eight books I should be reading, submissions to prepare for the fall opening of literary journals, a trip to pack for, vacation days to “make up” for and a filthy apartment. What else should I have been doing?
If you haven’t seen the remake of the 1951 classic, the twist is that we are a danger not to other life in the universe, but to one of the handful of planets capable of supporting complex life. Klaatu commands a fleet of globular arks that are collecting all the life forms available prior to unleashing Armageddon on the human race. I found myself rooting for Klaatu to relent and listen to the Jennifer Connelly’s character’s plea to not destroy the earth. We can change, she kept telling Klaatu. Really we can. I mean, what else should I have been doing?
Then I drove to Alabama. There are an awful lot of British Petroleum-branded gas stations in Alabama, not far from where local fisherman rose up last year and blockaded Bayou Le Batre when they were not hired by BP for clean up. The Gulf Coast was perched at the very edge of a genuine Armageddon last year, and while I found the water clear and full of fish it is not certain what the long term affect of all the Corexit spread in the water will be, or where that sunken oil slick the Corexit was intended to create to keep the magnitude of the spill keep out of site is and what that hidden oil will mean to the future of the Gulf. Take away tourism and fishing and the coast will die. We would see a forced displacement of populations that would dwarf Katrina’s millions, and be for all intents permanent.
And I found myself wondering how to say in Klaatu’s language: “kill us all and let god sort it out.”
The trip to Florida was a last minute affair: the realization I had a couple of empty days on my work calendar, the weekend before school starts for my 16-year old son, a desire to get the hell out of town for a few days and do as little as possible. I wound up booking a place across the highway from beach, a room thankfully in the back away from the Perdido Beach Boulevard.. As I sat on the balcony to smoke, looking out southeast over the highway and the ocean beyond, I could not hear the breakers the way I could in the past in a beach-front room. Instead I could hear a perverted echo of it, the doppler effect of the incessantly passing cars on as they moved out of my sight and behind the building, a sinister sonic twin to the sound of a breaking wave and its hissing retreat down the sand.
All those cars, so many pulling sports fishing boats on a weekend afternoon, and god only knows how many gassed up at the local BP station. Barada nikto my ass.
Still, I managed to have a good time. I felt the fish tickle my feet and laid in the sun until I was a pleasant Zatarain’s red. We ate a couple of good meals, watched movies, talked. It was a good weekend. Underneath it all, however, were all those BP signs I passed, the cars lined up at the pumps. My faith in the human race continues to dwindle every time I find something like a coastal county full of unburned BP stations. My own personal disaster film begins to resemble one of the zombie movies: a small band of people I genuinely care about and respect against a world gone monstrous.
The first time I saw Day of the Dead I thought it had an almost happy ending, at least the promise of survival for those on the boat. This weekend I caught the last five minutes (my son loves zombie moves) and watched the credits, which sneakily offers an alternate ending of zombies on the island. I walked back out onto the balcony to smoke and listen to the whizzing cars, frantically spinning the wheel on my Ipod looking for something uplifting, perhaps Woodstock or even Wooden Ships, without luck. Instead I discovered I have three different songs with Down in the Hole in the title. I settled for the Eighties Stones song. “Will all your money/Buy you forgiveness/Keep you from sickness/Or keep you from cold?/Will all your money/Keep you from sadness/Keep you from madness/When you’re down in the hole?”
I saw a sunbow the last day at the beach, something I often saw in cold weather up north but don’t see very often down here. As I walked along the shore, looking for interesting bits of shell but thinking Plastic is Forever and imagining dark variants on the old diamond jewelry ad the appearance of the sunbow seemed a marvelous miracle, for a moment lifted me out of a dark reverie. I remembered the promise to Noah and thought of the water thick with fish and only one dead on the beach. Then I remembered that god lied and the waves of last year blood red as Exodus.
To mungle up yet another movie reference: You must say these words, “Dump everything you got left ON MY POS. I say again, I want all you’re holding INSIDE the perimeter…”
We Shall Gather by the River July 4, 2011Posted by Mark Folse in 504, 504ever, Federal Flood, FYYFF, je me souviens, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: July Fourth
Freedom’s just another word for nothing left to lose
It is another July Fourth here in New Orleans, the largest of the United States’ Minor Outlying Island. I am not sure what to say on these national holidays of the Central Government. I have long ago publicly declared my sole allegiance to the City of New Orleans, forsaking all other. I shall live out the rest of my days here and die here, and any who care to dispute that had best come prepared to join me.
I won’t rehearse the litany of woes behind that statement. Today I shall concern myself with the doneness of the steaks, the sweetness of the corn and the icy chill of the beer as the temperature climbs toward 100. I will ride over to Gretna and buy some fireworks, not so much in celebration but as the Chinese use them, because as Jorma Kaukonen observed in the liner notes to the Jefferson Airplane’s Volunteers, the pentacles in their flag do not keep the evil spirits away. And when the dark comes I will find a place to gather at the river with the citizens of this city for the public fireworks, remembering there is no finer or more honorable place on this planet to stand than in their company.
Bon Mois de Messidor, Décade II, Jour de Quintidi.
Silence is Violence 2010 January 11, 2011Posted by Mark Folse in Crime, je me souviens, Murder, Remember, the dead, Toulouse Street, We Are Not OK.
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I began listing the murder victims of New Orleans from 2007 in early 2008, partly because I could not make a Silence is Violence march. I did it again the following year because of the number of people I discovered go searching for their loved ones (I hope, and not gloating over their victims). I didn’t do this last year because I started a writing project (unfinished) called Murder Ballads instead, but I feel bad I did not post a list last year. Since NOLA.com now has a database of murder victims with links to the news stories on that site, I may go back and do 2009, but for now, here are the victims of 2010.
I have copied liberally from NOLA.com, giving more detail than I have in the past.
What I wrote in a piece about one victim still about sums up the reason for this exercise best:
Everyone person on that list, even if they had gone down that dark path and died with a handgun in their waste band and an empty look in their eyes, all of them were once as Chanel once was, as my own children once were: as innocent as a lamb in the lap of Jesus.
The list is long so I’ve placed it on a page here.
Begging Your Indulgence January 10, 2011Posted by Mark Folse in New Orleans, NOLA, Poetry, Toulouse Street, We Are Not OK.
Tags: Allen Ginsberg, The Sick Rose, William Blake
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Nothing says “cheer me up” like Allen Ginsberg growling over his harmonium a bit of William Blake. There is some secret key in these words, perhaps in part Ginsberg’s ululating tremulo and the howling of the harmonium, that distills the sad impulse to listen to this into a moment of beauty, the flash of hopeful light in the eyes of a tubercular Covent Garden flower girl holding out her basket of violets. You purchase a bunch, and that simple act is worth more in the eyes of death than a hundred indulgent scapulars of St. Jude.
The Brink January 8, 2011Posted by Mark Folse in New Orleans, Rebirth, Recovery, Sun Ra, The Narrative, Toulouse Street, We Are Not OK, Writing.
Today’s literary tidbit is courtesy of Marco who sent this on to me as an example of Something Not To Read while I was posting something else indicating I was perhaps less than cheerful. F. Scott Fitzgerald’s public recounting of his “crack-up” isn’t the typical confessional piece of someone who’s gone completely over the brink. This isn’t William Styron’s Darkness Visible, a chronicle of the descent into near madness. No white coats or shock treatments or pill cups from Nurse Ratchet; just a withdrawal from it all and a deep peer over the brink that lies inside all of us. And some quiet time to think about it all.
I’ve hesitated to post this essay but it would seem to answer a private question from one reader who wishes to know how I’m doing, or rather what I’m doing. Like Fitzgerald, I’m trying to figure it all out somewhere on this side of the brink, and not in the monstrous way Fitzgerald resolves it. My problem, or rather my solution, is quite the opposite.
I wrote a lot in college and right after (somewhere I have a poetry manuscript, alas, but there’s always hope the cockroaches and mildew have gotten to it), but as I fell into journalism I wrote less and less and typed more and more. I wrote perhaps a half-dozen poems over 10 years when some line stuck itself in my head, only because I never stopped reading poetry. I wrote a theme for the Washington Mardi Gras that led my co-worker to ask me what I was on in college, but they used it anyway because it was good. I started a novel but didn’t get far. Mostly, I read and went about the business of life: small children, a series of houses, rungs on a Jacob’s ladder to the conventional American heaven on earth.
Then something happened one afternoon August 29, 2005. Something literally snapped and it wasn’t just a string of Mardi Gras beads hanging from my rear view mirror. The experience of Katrina and the Federal Flood, witnessed from 900 miles away, didn’t so much break something as steal something away from me. Call it faith: faith in anything. I looked at the social contract and it appeared to have been written in another language with its own alphabet. All the threads that tie us into society from the family up to the nation state snapped at once. All bets were off and the rules became as bizarre of those of Calvin and Hobbes’ ball game, made up on the spot to suit the situation.
And somewhere in all that I lost the ability to lie to myself.
I could no longer convince myself that what I witnessed was an anomaly and not the way the world worked. When all of your assumptions about life and society, even those one mocked (religion, the government) were proved to be made of thin tissue that could not stand up to the flood waters, when confronted with all of the lies required to live as a decent, respectable human being in this place and time, it was more than my mind could handle. I struggled to assemble some new organizational scheme, some way to make sense of the world and myself.
This isn’t the same as suggesting I could not or cannot today deceive myself. We’re all much too good at that. It’s as deeply wired into the survival instinct of modern man as any carry over from our days with sticks and skins. It just became impossible to keep up for long. Eventually all such attempts—societal, professional and even personal–fall apart. It’s a personal, interior version of the film Liar, Liar, and it is not particularly funny.
It also doesn’t suggest that I’ve lost the ability to lie to others, to put on the mask appropriate to the situation. I still have responsibilities I can not just walk away from. I have to hold onto a job and pay all the bills that come with decades on the treadmill. It’s just that over time things start to leak out, especially once you’ve started writing in a public forum like this. Not just the piece about the broken beads, suggesting some extraordinary connection beyond coincidence, which someone–say a future employer–might find disconcerting. There is the piece long ago where I announced I am (as almost everyone in this town is) a racist, but one who has recognized the disease I inherited from my family and city and from which, like an alcoholic, I will spend the rest of my life in recovery. Then there are my occasional posts expressing my obvious dissatisfaction with my current career and carefully never-mentioned-by-name employer, the Counting House.
What the Hindu’s call the veil of Maya was torn away, the illusions proved not to be something mystical, a natural by product of our creation from some greater soul but rather the cheap tricks of a casino lounge magician, the chicanery of politicians we agree with. We were all having such a good time; it wasn’t worth trying to puzzle out how it was done and spoiling the moment.
When the underpinnings of your world suddenly shatters, when even the convenient fictions of every day life prove to be just a drapery in front of something more monstrous that you imagined in your darkest moments, something is going to happen. One in a million people becomes the Buddha. Sorry, not me; not this time around. Most become suicides, substance abusers, or aimless drifters standing on the corner all day with a stare fixed on some distant point but no idea where to go.
Some become writers, madly cataloging their thoughts and creating fictions knowing that is what they are doing but knowing it is of their own creation, an extension of the preservation impulse that raised the gods up out of the muck and gave them names, the stories told around the fire that animated the stars. The author and editor of TheRumpus.net Stephen Elliot has an excellent essay titled “Why I Write” in which he talks about “the scream,” the sudden realization that you have something you must say, a impulse so powerful it comes out (must come out) as a shout. This is my shout, not a cry for help but something like the fierce, instinctive howl that came out of my throat once when cornered by a pack of feral dogs that scared them away.
I should probably be writing this privately as a journal entry somewhere, or as a letter to some specific individual who will (or will not) understand. That’s how things like this are handled, right? Except that as with the alcoholic or other twelve-stepper, if you’re going to succeed at healing yourself you need to stand up and announce to the world: I am a terrible liar. And given the path I’ve gone down, once I decided to post the story quoted above about the broken beads and all that has followed, what is the point of writing to myself or an audience of one when there’s a whole world out there to remake, millions of pieces to rearrange until they make sense and become something beautiful?
I am very fond of the jazz and performance artist Sun Ra, who used to speak about “the shield of beauty” which I have come to understand as something like the shield of Perseus held up to the Medusa. Writing is my shield of beauty, without which the monstrosity of the world would destroy me. It’s that simple. And that complex. And if I don’t spend the rest of my life at this, well, there’s always the bottle, the razor, the silent man sitting in the chair in the corner thinking and doing nothing, but who—once you are this conscious of the decision involved—would chose those?
So, that’s why I’m here. Why, curious reader, are you?
The Eye of Moloch December 9, 2010Posted by Mark Folse in 504, 8-29, cryptic envelopment, Dancing Bear, New Orleans, The Narrative, Toulouse Street, We Are Not OK.
Tags: Howl, Moloch
watches over us in our labors.
“Moloch whose soul is electricity and banks!”
— Allen Ginsburg in Howl
Village Ghetto Land December 8, 2010Posted by Mark Folse in Dancing Bear, music, New Orleans, NOLA, Rebirth, Shield of Beauty, Toulouse Street, We Are Not OK.
Tags: Songs in the Key of Life, Steve Wonder, Village Ghetto Land
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It has probably been 20 years since I last heard this song. I think I still have my vinyl but it’s somewhere I’m not, as is the turntable, or I might have played that record to death last night instead of climbing into bed at six to sleep off a burgeoning cold. It puts me in mind of Sun Ra’s words about lifting the Shield of Beauty against all the ugly of the world. I think of Stevie Wonder and Rahsaan Roland Kirk but the image of the blind seer has been with us since humanity first learned to tell stories. Just ask Tiresias should you be (un)lucky enough to find yourself in a position to ask.
I have very eclectic taste in music, but when I offered my son a copy of spoken word artist Katalyst’s CD he told me he’d been listening to gansta rap, something I have no use for. I was a professional propagandist too long to not take seriously the impact of glorifying violence, misogyny and death, and the evidence can be found all to often on the streets of New Orleans,sometimes lying cold in a pool of blood. This song is taken from the same mean streets, changed only since the 1970s by the drugs of choice and the efficiency of the weapons and the demolition of everyone’s momma’s house in favor of Urban Renewal (remember how well that worked in the Sixties and Seventies).
So somewhere here at the midpoint between Thanksgiving and Xmas, when most people are too busy at the orgy of shopping and parties to consider what these holidays are about, too deeply enmeshed in their traditional Xian faith to see the turning of the solar year as a time to stop and think about what those holidays tell them about the world, about the cyclical rebirth of the world and what opportunities that presents (think New Year’s resolutions), to sated by celebration to think back on all the parables of the Carpenter they’ve snoozed through the rest of the year, along comes this song and perhaps if they hear it, it will hopefully stop them in their tracks for a minute and give them pause.
I think I may buy a stack of those mini-CDs and give everyone I know this Christmas a single (with an A and B side of course) of this song and The Rebel Jesus (which I’m bound to post up here before too long).
Remember 8-29 August 29, 2010Posted by Mark Folse in 504, 8-29, Federal Flood, Hurricane Katrina, je me souviens, levee, New Orleans, NOLA, postdiluvian, Toulouse Street, We Are Not OK.
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Requiem August 27, 2010Posted by Mark Folse in 504, 8-29, Federal Flood, Hurricane Katrina, New Orleans, NOLA, postdiluvian, Remember, the dead, Toulouse Street, We Are Not OK.
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In the dark night of our soul Your shattered dreamers Make them whole O! Mother Mary find us where we’ve fallen out of grace Lead us to a higher place/Mary…
I remember where I was when I first heard this song, on an NPR broadcast. The NPR archive reminds me it was Sept. 14, 2005. I was driving through South Fargo to pick my daughter up at junior high school. I had to pull over because I could not see. I was late.
This video contains disturbing images of the dead. Here on Toulouse Street, as on the Wet Bank Guide, above all we Remember them:
…”[All] Father, Oshun, Mother of God, Ghosts of the Flood—we remember. We have suffered, and we will never forget the Flood and those who did not come through. We are the people who came through and came back. We remember the lost. We remember you. Je me souviens.”
Thank you to songwriter and singer Eliza Gilkyson (who sings in duet with her daughter on this piece). When You Tube sent me a nasty gram about me stealing someone’s audio, I wrote to her and she intervened to allow it to remain. Thank you and apologies to all of the photographers who’ve worked I’ve liberated for this.
Birmingham, 35 miles June 20, 2010Posted by Mark Folse in Toulouse Street, We Are Not OK.
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It all comes down to this: if the blood red ocean comes to poison us all, brings in the end a slow and broken confederate retreat from the coast, I will sit on my porch and watch them pass, spoon the last of the cold, looted food out of the can, sick with twitchy dog dreams of cigarettes and burning the last of my batteries playing this song…
Uncomfortably Numb June 4, 2010Posted by Mark Folse in New Orleans, NOLA, The Narrative, Toulouse Street, We Are Not OK.
Tags: BP, British Petroleum, catastrophe, Gulf of Mexico, oil flood, oil spill
For years after the levees broke and my city flooded I raged and wept at Wet Bank Guide, naked as an Old Testament prophet in our ruined temple and praying as best I knew how for New Orleans. At some point, I felt that part of my life had reached an end. I stopped posting there, and collected some of what I thought worthwhile as Carry Me Home — A Journey Back to New Orleans. I learned to live (through my writing) not in grief or anger but in the pure joy of New Orleans.
Now I stare for hours at the oil flooding into the sea and rolling onto the coast, scroll past picture after picture of things dead and dying, a pelican black wings half-raised and bill open as if to scream, read endlessly about the simmering anger and the broken blankness of the people of our coast and the flailing of incompetent government, powerless to protect it’s people. I cannot live in anger for ever. Someone I know, a fellow blogger, died in part from anger. Now I try instead for a calm something like numbness but it’s not working; the slow drill grinds against the rotten tooth and I’m yelling Stop! Stop! It’s not enough. It’s not working.
Black Anger May 31, 2010Posted by Mark Folse in 504, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: BP, British Petroleum, Gulf of Mexico, oil flood, oil spill
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An accidental silhouette of the speakers at the BP Gulf Oil Spill protest rally at Jackson Square Sunday, May 30 in New Orleans.
Now, go read this un-bylined summary of just how dire our situation is. I wish this story had a byline so I could find the writer and thank them for this. Instead I am left to lament that a story that should have moved in time to run in every Sunday paper in America will be lost among the Monday holiday shopping ads.
If you think the timing of this story–led by the timing of the announcement that top kill had failed–is an accident, I have some Gulf-front property in Louisiana I want to talk to you about.
UPDATE: Credit for the story, from someone at the T-P who reminds me they pull the bylines and credits off of wire stores. The linked piecewas written by Mary Foster, the AP person in La., and Ted Anthony, who wrote from New York. Included contributions from Ben Nuckols, Seth Borenstein, Matthew Brown and Melissa Nelson. Matt Brown used to work for the TP, but left for AP in Montana a couple years ago
Trading blood for oil May 9, 2010Posted by Mark Folse in 504, Acadian, Cajun, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: BP, Deepwater Horizon, Gulf of Mexico, oil spill, Transocean
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“We’re all of us, all of us, stained with this blood. These wetlands were once holy, full of the bounty of God.”
– Sebastian Couteau
In Raymond “Moose” Jackson’s powerful play Loup Garou, Sebastian Couteau’s transformation into the loup garou, the Cajun version of a werewolf, is a powerful metaphor for the deal all of coastal Louisiana made with devil oil, welcoming the work and money even as it destroyed the land beneath their feet–compressing 5,000 years of geologic subsidence into a century of erosion as the marshes were slashed by exploration canals.
The offshore rigs were often seen as a bountiful addition, unnatural reefs favored by sports fishermen, and the explosion of employment allowed a people who had long lived on the margin to have some of the things they saw on their new TVs, to participate in the America scheme.
Today’s Times-Picayune offers a glimpse into the relationship of the coastal communities to the oil industry. It seems a fair enough story, given what I know of the history. Too many people have prospered by trading their time between oil work and their traditional fisheries. The anger in the coast so far has been limited to the inept and bureaucratic response of BP and their contractors, their slowness to hire the people who once led them to the in-shore oil because they didn’t have the proper HazMat training required by the government and the insurance companies (familiar villains to everyone on the Hurricane Coast).
I have to wonder how long that comity will last. Here is another story from today’s paper, the consequence of the oil’s steady drift to the west. If it will truly take two, three, maybe four months to put a relief well in place and the entire coast is poisoned with oil, when the oyster beds and shrimping and wild crawfish seasons are closed for years, then BP follows the Exxon model and fights any compensation for 20 years, will they still feel the same?
Another story from today. I think I need to take a break and go read the funnies:
“Two decades after the Exxon Valdez spilled almost 11 million gallons of crude oil into Alaska’s Prince William Sound, the herring still have not come back.
Without that cornerstone species, the commercial fishing season now starts two months later, in May instead of March. Oil still wells up in the little pits dug by sea otters as they forage for clams. “
“Oil accident Gulf” brings up 6,770 Google News hits but what happened here was not an accident. It was inevitable. Just look at this map and imagine the odds. Throw in our blind devotion to corporate capitalism, where every decision must be weighed carefully against the bottom line, trusting the lawyers to protect the stockholders from their agent’s bad decisions for production over safety, and it was going to happen. When, not if.
Perhaps BP will finally get one of their emergency fixes to work, but no one has tried any of what’s being done at 5,000 feet before. We may have to wait months for the relief well while the oil slowly migrates on shore and fouls the fishing grounds that feed not just Louisiana but a quarter of the nation’s appetite for seafood. Still, this will not be the whole story, not even an act but just one small event–something Shakespeare would have left off-stage for the characters to discuss like the great battles of his histories–because it is not the main story. This is just one more nail in the coffin the United States has been building for coastal Louisiana for years.
To quote myself once again in the piece from 2006 I just reposted here last week: I recommend you take the time to read Mike Tidwell’s Bayou Farewell or Christopher Hallowell’s Holding Back the Sea. Within this generation it will all be gone, not through an inexorable process of natural erosion–that would take another thousand years or two–but by a combination of
choice greed and willful ignorance of the costs of what man has wrought.
And when the fisherman begin to realize that we are drilling in 5,000 feet because the world’s oil is playing out, that their grandchildren will have neither fishing nor oil to rely on and that the land they grew up on and around will be open water, will they still bite their tongues and hope for clean-up work? Maybe not. Man is a voracious and ambitious predator, the one species that managed to colonize every niche of the world save Antarctica. When the game and forage is gone, we pack up and move on to the next valley.
Perhaps all we will leave behind of what was once Louisiana will be the equivalent of Cherokee gift shops and the penned bison at stops along the highway in North Dakota, along with some dusty books in the library no one checks out any more. In the next Acadian diaspora will the children will have no more clear recollection of their ancestor’s lives than I have of the plantation lifestyle of a few of my own long-gone elders? I think of the two pictures that hang in my house of men who came to Louisiana from Haiti from after the slave uprising. I know their names, and at least a tiny bit of their story. My children look at their frock coats and one’s wig and call them Louis and Clark.
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Beyond The Pale May 2, 2010Posted by Mark Folse in NOLA, Toulouse Street, We Are Not OK.
Tags: BP, Gulf Coast, Gulf of Mexico, oil spill
“BP’s print and TV ad campaign, which is winding down this month, represents one of the most dazzlingly high-profile corporate P.R. efforts in recent years. Created by Ogilvy & Mather Worldwide, it aspires to a conversational, almost confidential voice that suggests, You know what oil companies do to the environment, and we do, too, but honestly, we’re not like that at all. “
– The New York Times Magazine
Dead sea turtle at Waveland, MS Sunday May 2, 2010. Photo by Jenny Lindsay Bell
The Black Plague May 2, 2010Posted by Mark Folse in 504, Federal Flood, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: BP, British Petroleum, Gulf Coast, Gulf of Mexico, Louisiana, oil spill
“We will armor the levees with their skulls”.
I wrote that once on this blog, but someone else said it first. I won’t remind you who that is, as there are people in the government who might find that statement provocative in ways that I’d rather not contemplate. It’s not like I’m some tea-bagger firing my AK-47 at Obama targets or some other acceptable American sub-culture. I am a citizen of New Orleans and a descendant of our neighbors in Acadiana, and I have learned by experience that I don’t count as a first class citizen of the country of my birth. Three-fifths, perhaps. If you think I’m exaggerating, wait until you see the response when the pristine tourist beaches are black with oil (sand much more easily replaced than an entire mash ecosystem).
I am too angry to write fresh words at length about the massive river of oil British Petroleum has let loose. Please don’t call it a “spill”. A spill is what you do to your shirt with red sauce. This is another flood–like 1927, like the one that followed the storm when the Federal levees failed below their specified load–this one of oil. They have no idea how to stop it, short of a relief well, and that will take more than a month, an oil field engineer acquaintance tells us.
We are urged to be calm. “This is not the apocalypse” say two Mississippi congressman after their helicopter overflight and briefing, one eye on the oil slick and another on the lucrative casinos that line their waterfront. Mary Landrieu, the Distinguished Senator from Big Oil takes to the floor and delivers for those campaign dollars, reminding us that we should not panic, endorsed President Obama’s view: “…when he said we want the industry to move forward [with offshore drilling]. We do not want them to retreat.”
It’s Jazz Fest but maybe I should stay in today. If I see a Hummer or an F-350 Crew Cab that has clearly carried nothing but groceries, I will be hard pressed not to run them off the road into a tree.
“We will armor the levee with their skulls.” There are probably not enough BP executives to go around. We will have to widen the pool to get enough skulls. As satisfying as that sounds, that will not save St. Bernard and east Plaquemine fisherman from a second disaster of biblical proportion in five years, or if the winds spread it west of the river.
Until then, from a time when anger seemed as natural a state as sleep and consumed almost as much time, from my retired Katrina blog Wet Bank Guide:
Thursday, December 27, 2007
Tootie’s New Suit April 12, 2010Posted by Mark Folse in 504, Debrisville, Federal Flood, je me souviens, Mardi Gras Indians, New Orleans, NOLA, postdiluvian, Remember, Toulouse Street, We Are Not OK.
Tags: David Simon, Treme
Last night America saw a ghost and they don’t even know it.
It spoke a language they did not understand, took a stand, gave a command: Won’t bow. Don’t know how.
When that spectral yellow figure stepped out of the darkness with that downtown sparkle and spoke, the spindly cemetery trees all across this town moved in the windless night and the hairs on the back of a ten thousand necks stood up like the feathers in its headdress.
Won’t bow. Don’t know how.
The last night Tootie Montana spoke he died at the microphone, defending his culture to tone deaf politicians and against a hostile local police force, demanding respect for a century old tradition with roots in in the bead work Yoruba and a strange and never clearly explained solidarity with the American Indian, something I think similar to the identification of the Black Christian church with the Isrealites in bondage.
Won’t bow. Don’t know how.
That ghost wasn’t speaking to me, or to any of the people in the room with me on Toulouse Street. It wasn’t even speaking to New Orleans. It spoke to all of America, to the entire planet. It stood amidst a desolation the American continent has not seen in a hundred years, one only those who came home with nothing to nothing, and the few privileged tens of thousands who came to volunteer, can understand. That ghost said all you need to know about the people of New Orleans.
Won’t bow. Don’t know how.
If that phrase still seems cryptic to you, try this: watch a repeat of Pacific that leads into a repeat of Treme.
Won’t bow. Don’t know how.
5 – 0 – Forever April 11, 2010Posted by Mark Folse in 504, 8-29, Corps of Engineers, Debrisville, Federal Flood, je me souviens, New Orleans, NOLA, St. Bernard, Toulouse Street, We Are Not OK.
Tags: David Simon, HBO, Treme
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The Tragedy of St. Bernard [excerpt]
Wet Bank Guide
September 01, 2005
….I want to show my children the beauty in a place they don’t understand, growing up in the Midwest. I want them to see people who live with the water the way people in Fargo live with air; people who shrimp and crew towboats and work on rigs in the Gulf and, when the refinery lets out for the day, go fishing; people who chose to live on an island in the middle of a swamp, and not in Kenner or Fargo, ND; people who worked hard and set aside a little and built a place for themselves out of a swamp, a place they would not willingly let go.
I want them to know why I am crying at my keyboard for people who’s views on issues of race I could never understand, and teach my children to abhor; people who took me into their homes and fed me sweet tea and told me stories until the stars and the mosquitoes came out; people who chose to live apart, surrounded by capricious waters, an island; people who would not willingly surrender their island back to the waters.
I want them to understand why some people stayed , and why they would come back and start over again
Carry Me Home April 10, 2010Posted by Mark Folse in 504, Debrisville, Federal Flood, je me souviens, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: Ashley Morris, David Simon, Treme
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Since I’m getting all this traffic courtesy of David Simon and Ashley Morris, no reason not to remind visitors that some of the essay originally posted on Wet Bank Guide are collected as Carry Me Home, A Journey Back to New Orleans, available direct at Lulu.com, the usual online locations, and the best New Orleans Independent bookstores. It’s a journal of the time that frames the Treme story and one man’s journey back to the town nicknamed Debrisville. In the end it is an odd genre of my own inventing–the geo-memoir–because it is not really a journal. As I did on the original Katrina blog, I serve mostly as narrator. It is ultimately about the city and it’s people and our long journey to make once again a place recognizably New Orleans.
“Mark’s writing is about skill and heart. A blend of reporting, memoir and analysis, [the book] is as immediate as it is reflective. It’s more than a love letter to New Orleans—it’s a survival guide for post-Katrina America. Mark shows how to go through a disaster with your soul intact”
• Michael Tisserand, author of Sugar Cane Academy and The Kingdom of Zydeco.
So if Treme leaves you wanting to crawl into the heart of New Orleans, here’s another chance to get you some.
“It belongs on the bookshelf alongside the other worthy
• Chin Music Press
Treme too authentic for the New York Times April 9, 2010Posted by Mark Folse in Debrisville, Federal Flood, fuckmook, FYYFF, New Orleans, NOLA, We Are Not OK.
Tags: David Simon, New York Times, The Wire, Treme
Cross-posted from Back Of Town.
I am struggling to figure out what precisely offended New York Times TV Reviewer Allessandra Stanley about Treme. The gist of it seems to be that it is not didactic or angry enough, that is “is more an act of love, and, odd as it sounds, that makes it harder to embrace…
“[Treme] is a tribute to the “real” New Orleans by filmmakers who have become connoisseurs of the city, depicting its sound and ravaged looks with rapt reverence and attention to detail…
“The effort to get New Orleans “right,” to do justice to the city’s charm, its jazz tradition, and now its post-Katrina martyrdom, is at times so palpable it is off-putting, a self-consciousness that teeters on the edge of righteousness.”
Let’s start with her use of the phrase “its post-Katrina martyrdom.” I want to know when New York plans to get over it’s post-9/11 martyrdom. If Allessandra gets back to me on that one, you will read it here first.
She is also disappointed that Treme is “an elliptically told tale, and it takes a few episodes for the plot and the characters to pick up steam.” I’m sure you’re quite busy up there in New York, but it is kind of hard to tell a story of this sweep and depth in a way that you can watch episodically on your I Pod while waiting on the platform for your train. MTV is shooting a Real World New Orleans episode. Maybe you should wait for that.
On balance, she manages a good job of retyping the material that came with her review copy, giving a basic idea of the plot outline and characters, sort of a TV Guide snapshot for people who would not be caught dead reading the TV Guide. With some tight editing, bits of it might make for decent jacket copy for the boxed set but I suspect most of it was written up the first time by Simon’s staff.
In the end, she casts the show (I presume she saw the first one or two episodes most reviewers got) as a reflection of the snobishness of some locals toward the outside world (keying in on the scene when the visitors ask to hear The Saints), that the film is taken with that attitude and is too reverential towards its subject.
One wonders what she expected. Perhaps she is a die hard Wire junkie and was just itchily waiting for that new package. As she points out, Treme ain’t that. If I went looking for analogies I wouldn’t think of Simon’s prior oeuvre, or Spike Lee’s move or even Trouble the Water. If I hope for anything, it is precisely achingly reverential treatments Ken Burns gave to subjects like the Civil War and Jazz, mingled with strong and representative characters (because at one level, New Orleans is all about the characters), characters who tell the story of one of the great cataclysms of American history, a story that attempts to convey what Ashley Morris and all the New Orleans bloggers have been talking about since 8-29: it’s not just about saving not just the real estate, but about saving something recognizably New Orleans.
I don’t expect everyone to love Treme, anymore than I expect everyone to love New Orleans. Some people are only happy in their own tightly constrained milieu and are never going to be happy outside of it. If they travel, they go to all inclusive resorts and tell every one they went to Jamaica when they really went to a fucking Marriott and never set foot outside the door. New Orleans is different, and not just in the way Idaho is different from New Jersey, but rather z a place with a unique local culture that has evolved over three centuries, longer than most of America has even been settled by Europeans. If you don’t like it, that’s OK. I’m not too fond of Phoenix, but then I haven’t heard anyone nominating Phoenix a world heritage site.
If Allessandra Stanley doesn’t understand what she calls our chauvinism, if she doesn’t understand why someone of Simon’s talent would want to reverentially recreate New Orleans, she’s entitled to her opinion. She’s a reviewer, that’s what she does, but a reviewer who approaches their subject with a closed mind or one that snaps shut like a trap at the first whiff of something that does not fit some preconceived notion, well that’s a waste of perfectly good trees.
I think most New Orleanians are like the people I met traveling to New York, people who would gladly stop and give us directions or swipe my wife into the subway with their own fare card when my wife couldn’t get her to work, people who were glad we came to share in one of the great cities of the world even as they carried deep inside a profoundly chauvinistic conviction that New York is one of the great cities of the world, and that it was perfectly natural we should want to be there.
– wet bank guy
Irony Puked All Over the Back of My Car April 6, 2010Posted by Mark Folse in New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: Alex DeLarge, fuckmook, Scott Cowen, Treme
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While we are discussing Irony’s slow demise let us consider Scott Cowen, President of Tulane University, who was awarded the Times-Picayune Loving Cup for outstanding community service by the Times-Picayune newspaper this past Sunday.
Then let us contemplate Cowen, strapped into a chair with his eyelids pried open in the manner of Alex DeLarge in A Clockwork Orange, forced to watch the loop that starts at 8:12, over and over and over again. I will, in Ashley’s memory, volunteer to apply the eye drops.
Fuck You You Fucking Fucks April 2, 2010Posted by Mark Folse in FYYFF, New Orleans, NOLA, We Are Not OK.
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Once a man as generous as Jesus with half a loaf, who loved his wife and doted on his children, wrote these words because to fail to do so would have been a sin of omission with mortal consequences.