Tuesday, August 31, 2021
Here we go again/The start of the end/and there's more
Wednesday, September 28, 2011
In the Zone (Slight Return)
August 5, 2007
In the Zone
Today I walked past the Fairmont Hotel on University Place and the back door was ajar. I stopped and leaned over the police barricades that still block the entrance and peered over the once red carpet on the steps--now a burnt umber--down the long lobby hallway into the dark. There was enough light to admire the first ornate arch in the long procession that divides the lobby, and I was fascinated at the lizardish dragon rampant on the gold colored span. The hallway was strung with a chain of work lamps that together with the receding arches gave the impression of looking into a mine works. It was difficult to see much past that first arch in the dim tunnel. A distant chandelier that still hangs between the arches winked faintly with refracted light.
I can't tell you the last time or reason I had to walk down the hallway of the hotel we all know as the Roosevelt, but I do have an almost visceral memory, like the recollection we have of dreams, of walking down through that lobby, stopping in at Bailey's on the Baronne Street side for a cocktail after whatever event it was that drew me there. Still, I can't remember the occasion. That glimpse into the past of Sazerac and the Blue Room (a venue I peered into once but never visited for a concert) sent me rummaging in long forgotten corridors of my own mind, dimly lit and little visited themselves, trying to recall the reason for my last visit without success.
In New Orleans we tend to live in our cherished past a lot of the time. For us history is not a marker on the side of the road, one notable building or a small district full of quaint shops to which we take visitors. Our past stands all around us, bears down on us like the towers of Manhattan on a first time visitor. It reaches up like a hand from the grave and tries to trip our ever step forward, the smoky ghosts of slavery blinding us and the afterbirth of the civil rights movement twisting every turn of public policy in ways we can not seem to stop. It is not just the the momentous events of the past we must contend with, but a thousand small things from the past that inform the way we live in the present moment the way water cups a swimming fish or the breezes lift a coasting bird. Our past may be monumental in spots and burdensome at some moments, but it is also as ever present as the humidity, a very part of who we are and how we live.
In spite of that awful moniker Big Easy, New Orleans has never been an easy place to live. Just ask my wife, who traded the Nordic efficiency of the upper Midwest for a turn in the south, a place where mañana and baksheesh are not just scores in Scrabble but instead the way we govern the machinery of our life. I won't rehearse the entire litany of woe involved in rebuilding a city from scratch. Suffice it to say that every few steps forward, as we watch the ground carefully for roofing nails or bits of nail-studded plaster lath, we walk forehead first into something hard.
In spite of the weight of history and the difficulty of the moment, I am not living in the past. Increasingly, I am living in a Richard Alpert Right Now, a locus in time informed by the landscape around me and my sense of its age, its rightness for the place, the uneven and green-occluded site lines of a city settling into the earth as perfectly as a Mayan ruin rising out of the jungle. The monumentality of the city informs the moment as you perceive it, but to truly live here is to walk through a series of present moments like cells in a film, the action is in front of you or inside of you and the great pillared oaks and moss-draped homes are just backdrop.
I think it is in part that very difficulty, as well as something in the climate, that leads me to find myself increasingly living in a present moment. More worrying is the feeling that here where it's After the End of the World, I am becoming like Thomas Pynchon's anti-hero Tyrone Slothrop in Gravity's Rainbow: inexplicably entangled with the ugly juggernaut of history as it unfolded in World War II until he disconnected from it altogether, withdrawing into himself, his "temporal bandwidth" approaching zero.
There is also the story about Tyrone Slothrop, who was sent into the Zone to be present at his own assembly perhaps, heavily paranoid voices have whispered, his time's assembly and there ought to be a punch line to it, but there isn't. The plan went wrong. He is being broken down instead, and scattered. His cards have been laid down... laid out and read, but they are the cards of a tanker and feeb: they point only to a long and scuffling future, to mediocrity not only in his life but also, heh, heh, in his chroniclers too..." (737-38)In New Orleans our way of life is as old as the oaks that brush the ground in the park near my house but for me it as timelessly in the present as a squirrel frozen on a branch of one of those oaks. It's neither as Zen as it sounds or as dark as Slothrop's fate, but after 20 years abroad in America Norte I find I am slipping into the easy, my horizon constrained by the familiar dinner litany what am I eating today, what last meal does it remind me of, and where do we want to eat next week.
Part of it is the need to focus on the task at hand. To me, it is the renovation of my bathroom to repair a leak and re-tile. It's not a small project. We had the room gutted to the studs, pulling out the archaeological layers of sheet rock and plaster from 50 years of construction and repair. The project is the recent history of the city in microcosm, and because of all of the demands of work and family, it is all of the reconstruction I am able to handle for the moment. The city will largely have to get on without me.
At work I am a project manager for large software efforts, and the tracks of several of them are converging at critical points this month. In my last job, where I had been long enough to have a core of good friends I worked with, I used to approach these moments by sending out an email with the Hitchhiker's Guide to the Galaxy "Don't Panic" logo, and an MP3 I had of "It's The End Of The World As We Know It". I'm not sure the guys at the new bank are quite ready for that.
Its important in these large endeavors not to lose cool in the moments of high drama, or to let the endless procession of problems grind you into the ground. Some days I feel like the number two on a ship attacked by Zeros in some World War Two movie. It's important I keep everyone focused on the task in front of them, in spite of the explosions and the strafing fire, if we're all going to get through this. Don't think about the sky full of planes trying to kill you. Focus on the one that actually has you in its sites, point the machine gun, and shoot back.
The reconstruction of the city around me will last at least as long as WWII. There will be long periods of boredom and routine punctuated by times of great excitement, much of that of the unpleasant kind. Yes, we will have shore leave for Mardi Gras and Jazz Fest but most of our time will be spent scrapping rust and paint knowing all the while that just over the ocean's horizon there is something threatening.
In this peculiar armada the officers are as useless as the French nobility. They look fine high up there in their crosswise hats and give marvelous speeches, but we know from hard experience that they are worthless. People mutter all around the city about mutiny of one form or another, but mutiny is a lot of damn work and it is awfully hot. I like to think we could yet rise up and have our storming of the Bastille moment but every passing day it seems more unlikely. No Fletcher Christian or Maximilien Robespierre has stepped forward to lead us, and every angry mob needs a leader.
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 Pynchon has given us the model for 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 Slothrop's harmonica, to disappear into the random noise in the signal.
Katrina NOLA New Orleans Hurricane Katrina Think New Orleans Louisiana FEMA levees flooding Corps of Engineers We Are Not OK wetlands news rebirth Debrisville Federal Flood 8-29 Rising Tide Remember Tyrone Slothrop Thomas Pynchon Gravity's Rainbow temporal bandwidth Roosevelt Hotel
Tuesday, March 03, 2009
Carry Me Home published
Ex-pat Orleanian Mark Folse’s decision to move back to New Orleans post-Katrina was featured on National and Minnesota Public Radio and in the Los Angeles Times. Now he tells his own story and that of the post-Katrina city in Carry Me Home A Journey Back to New Orleans, a collection of essays based on his popular Katrina blog Wet Bank Guide.
The Wet Bank Guide was featured by French National Radio as one of the unique voices of the post-Katrina disaster in New Orleans, and drew praise from readers across the nation. The Times-Picayune plucked two pieces from its columns, and Carry Me Home collects the best of that work, refreshed and expanded for publication.
Suspect Device cartoonist Greg Peters has called Folse "one of the best writers in Louisiana," and author Michael Tisserand, another regular reader of Wet Bank Guide, said of Carry Me Home: "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." The Chin Music Press Voices of New Orleans blog said, "it belongs on the bookshelf alongside the other worthy post-Katrina works. [His] heart is absolutely in the right place, and it is that heart — that passion — that the reader will ultimately remember from this book.”
The book is available at fine local bookstores in New Orleans and online at Lulu.com and other online book sites
Mark Folse majored in English literature as the University of New Orleans where he was editor of the student newspaper. He worked as a journalist for a decade, winning a New Orleans Press Club and a Jefferson Parish Medical Society award. He served as deputy press secretary and speechwriter to Sen. John Breaux in Washington, D.C., and has worked in the computer and banking industries since leaving the political life in the early 1990s.
In the fall of 2005 he convinced his family--then residing in Fargo, North Dakota--to try to move to New Orleans even as water still stood in the streets. Now he and his wife Rebecca Noack and their children Killian and Matthew Folse are settled in the Mid-City section of New Orleans. The Wet Bank Guide blog is now closed, but he continues to share his observations on Crescent City life online at Toulouse Street--Odd Bits of Life in New Orleans (http://www.toulousstreet.net).
Katrina NOLA New Orleans Hurricane Katrina Think New Orleans Louisiana FEMA levees flooding Corps of Engineers We Are Not OK wetlands news rebirth Debrisville Federal Flood 8-29 Rising Tide Remember Carry Me Home
Sunday, January 20, 2008
Goodnight and Good Luck
The last piece, Carry Me Home, seems a perfect book end to the story of my journey home, the story line that predominated on WBG at the end. That journey is complete, and what is before me is not a journey but something like a continuous arrival. Having reached this cultural Galapagos, it is no longer about the voyage: the rats and the hardtack and the bad weather. It is instead about the beauty of a life unimagined elsewhere.
I think I need a change of tempo and time to begin the next movement, and so we will leave this story here and continue elsewhere. Look for me at my other sites that have sprouted up over time, primarily at Toulouse Street -- Odd Bits of Life in New Orleans, and at Poems Before Breakfast. I plan to collect what I think is the best of Wet Bank Guide and publish it to paper sometime in the near future, and I will post that here when I do.
Beyond the book idea, I have other writing projects banging around in my head or in progress. There simply aren't enough hours in the day or days in the week to do all I want and need to do and I think Wet Bank Guide is what has to give. If you've been one of my loyal readers or one of those who have left kind comments or track-back links, thank you. You have pushed me indirectly to keep writing, and by doing so first to keep my head above water and then to grow as a person. I am forever indebted to you for that.
For Victoria and Annette, my some-time editors, thank you for your help. To all of the NOLA Bloggers who were my eyes on the ground when I was still in Fargo, and who have become friends since coming home, thank you as well. This blog is just one, tiny part of a huge collective and collaborative space that is telling the story of the rebirth of New Orleans better than any other media. It is a privilege to be in your company. And to my wife Rebecca, who blazed the trail home, and my children Killian and Matthew left the place they knew growing up and who made this city their home, thank you beyond the ability of words to express.
One last thing for everyone who comes here: Remember.
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Saturday, December 29, 2007
Carry Me Home
And I know that I'm going back to a place where I know who I am"
-- Susan Cowsill in "Crescent City Snow"
Last night I met the man who brought me home.
No, he didn't carry me on his back like St. Christopher or ferry me home in a boat or even loan me twenty bills. Still, it is because of him that I find myself here on the shores of my own personal Ithaca. The meeting that resulted was not as profound as it sounds. A sideman in the band I was listening to, he was introduced to the crowd and in the moment I knew who he was. Later, I spoke to him briefly like two men who discover they have a common friend or interest, as any two men in New Orleans, given time enough to talk, may likely find. And in that brief encounter, I closed the circle on a journey of 21 years.
My wife and a very old friend and I went to hear Ingrid Lucia sing at the d.b.a bar on Frenchman Street in the Farbourg Marigny just behind the French Quarter. For out-of-towners, this is where the locals hang, where the French Quarter of Tennessee Williams and William Burroughs still lives on just across Esplanade Avenue from the Vieux Carre. For the first set, we sat in a small window seat carrel and listened, having an animated conversation about this and that, a big trip to Europe we were planning. Every now and then, we'd fall silent and listen to Ingrid sing, or the quartet backing her wail. During the second set, we decided to move out into the main room and just listen to the music. My friend Eric and my wife grabbed some seats along the wall, and I settled in on the floor at their feet.
As we watched the group, I kept looking at the horn player. There was something so damned familiar about him, but I couldn't place it. This happens to me all the time since I returned to New Orleans. The city is full of people I knew in passing over twenty years ago, and I keep seeing faces I feel I might have known in the long ago but since forgotten. There was something about the trumpet players that told me: you know him from somewhere. Then the singer introduced him. And now, she said, we're going to feature Marc Braud on vocals.
It was then I knew. The name triggered a flood of memory that washed over me like the warm air from a brightly lit doorway opened onto a cold, damp alley. I was transported briefly from the floor of a small, dark nightclub in the Marigny to an auditorium at the University of North Dakota in Fargo, to late September of 2005 and the first days after the Federal Flood. My wife and I were alone in front. Most of the crowd sat to the back of the room, tentative and polite as any crowd of North Dakotans will mostly be. Like characters from a monologue by Garrison Keillor, they huddled like a herd against the back and side walls: none was going to push up to close to the bright lights in front and call attention to themselves.
My wife is from North Dakota, and we raised our children there. I had lived in that area for over a decade and away from New Orleans for almost 20 years, but remained deep down a Crescent City boy. Clad in a Mardi Gras-colored rugby shirt and clutching a large purple, green and gold golf umbrella, I had brashly marched down to the front and plopped myself center, just one row back from the empty front. In the cold and dark of the north that dreadful September of 2005, I went to this concert like a lost soul stumbling into a church, desperate for some redemption. If there were to be any splash of holy water or waft of incense from the altar, I was going to be close enough to catch it.
I had spent the prior weeks like a man adrift, had been struggling not to drown in tears or burst into flame with anger ever since 8-29-05. I was desperate to escape the television and Internet news, was anxious to hear the sound of a voice with a certain, familiar timber and turn of phrase; to be in the company of people who had moved from rice gruel to gumbo before they could properly say the word; to feel the insistent rhythms of the second line, to witness fingers doing that peculiar boogie-woogie dance that is New Orleans piano, to hear a horn by turns plaintive and brash trumpet the familiar songs. At a time when it was not clear that home would ever be there to go to again, I wanted to be carried home.
The affair was a Red Cross benefit for the victims of Katrina. Someone in the Red Cross had managed to put the Troy Davis Quartet on the road doing benefits, raising money for the cause and giving these displaced musicians a role to play doing what they knew best, playing the music of New Orleans. Somewhere I have a clipping from the Fargo Forum newspaper reviewing the show. Sometime I will pull it out and read it again, but not today. There was only one moment in the show that will remain with me until the day I die and they carry me less than a mile from Toulouse Street to Schoen funeral home, then a few blocks down Canal Street to Greenwood Cemetery.
At a point late in the show Marc Braud spoke briefly, looking not at the crowd but at the horn in his hand, of how the Red Cross had arranged for him to get in and out of the city and recover his instrument. Tonight was the first time he would play it since the flood. He said some more words about the city and its predicament, spoke of the losses of so many, but I was lost after he spoke of recovering his trumpet, transported into sorrow, all of the pathetic scenes from TV and the Internet rushed back at me like sudden flood waters. When I focused again, he had called the song and the band began to play "Do You Know What It Means to Miss New Orleans".
They played it just a bit slower than the usual tempo, the drummer on brushes playing the soft and respectful cadence of a jazz funeral marching out. Between singing the verses and playing his horn Braud looked not at his audience but down at the stage, rubbing away what I knew were tears in his eyes, the same that clouded my own view of the stage. When he lifted his horn to his lips he played that song with the same sad joy musicians of his father's and perhaps his grandfather's generation had played it. Unlike most of the polite audience, I heard not one but the voice of a hundred trumpeters from New Orleans who were, that night in September 2005, somewhere other than home; I heard them like a chorus of the sanctified in heavenly white robes blowing draped horns to call all the children home; I heard in it the wobbly wail of a late night busker somewhere in the quarter playing the Lincoln Center in his head.
I quietly wept. I don't know about the audience. I couldn't turn my head to look, as I might have with the training of a journalist to sweep the situation and look for the bit of color to add to the story, the picture in words of the crowd that might make the scene. That night I was that bit of color, one of the five men in that room for whom that song on that night in the Fall of 2005 was not just a song but was like the wailing of the apostles after the Crucifixion and the later descent of tongues of fire onto their heads. And I was not the only one who was moved.
Next to me my wife listened and watched as Braud wiped at his eyes between singing and blowing. This Pentecost of the lost reached down and touched her as well. She told me later that in that moment she understood my earlier announcement that I wanted to, no needed to go home to New Orleans, to a city at that time more than still half underwater and in near complete ruin. She understood that my past light-hearted remarks about emigrating to America from New Orleans were not a joke but a way of saying how much I needed to be home, that home was more than just where she and I and the kids lived but a very specific and irreplaceable point on the map. She had watched me the preceding weeks glued to the television and computer, sleeping maybe five hours a night and slowly unraveling in grief, and that night in Fargo saw that grief paraded on stage.
She told me it was then she knew that she had to let me come home.
And that was how I came to find myself sitting on the floor of d.b.a watching Marc Braud playing his horn, just as I had sat in that Fargo auditorium two-and-a-half years earlier; how recognized him as the man who had brought me home. It wasn't as powerful a moment as the one in 2005, but I knew as I sat there and listened that I had closed a circle, completed the journey that began when I left the city New Year's Eve morning 1986. Seeing Braud there on stage closed the chapter that began with a weather forecast one Friday late in August two years ago and which I thought had ended when I crossed the Causeway Memorial Day 2006 with the city skyline rising up from the horizon, but which did not really resolve itself until I shook Braud's hand, told him the story and thanked him for helping to bring me home.
It was a quietly anti-climactic moment. What does one say when a complete stranger comes up to you and says something like, "I just wanted to tell you you're the reason I'm home." He just looked at me with no particular expression on his face, then began to smile a bit as I told him the story in brief--living in Fargo, the concert and his story of recovering his horn and his tears as he sang the song, and how that had moved my wife to decide that yes, somehow, we would move to New Orleans. He was silent for a bit, trying to place my odd story in among the expected things people will say to a performer just off stage. He just kept nodding his head slightly as if I were still taking, until his face lit up with a broad smile and he said, "well, welcome home man!" My own story all told, I couldn't think of another word myself. "You, too" I offered.
With that, I took my drink out into the street for a cigarette, and watched the crowd passing along Frenchman Street. I thought about the long journey to this evening, twenty one year’s almost to the day, to this night in a club listening to fantastic New Orleans music with an old, old friend and my wife the newest Orleanian. As Braud returned to the stage and I heard his horn from inside dueling with the coronet player up the block in the street band, and the music pouring out of the Spotted Cat where later I would catch the Jazz Vipers; while I watched the parade of tourists and quarter rats and people dressed up for a just-once-in-a-while night on the town passing up and down the street and in and out of clubs; as I contemplated a plate of red beans and some fried okra at the Praline Connection to soak up the beer; as I stood there and the music and the scene and the thought of good food contended for my attention, the words from Cowsill's alt-country/folk anthem somehow came to mind. "And I know that I'm going back to a place where I know who I am." I crushed out my cigarette and stepped back into the crowded club and the music to find my wife and friend, the last pieces I needed to put together the puzzle that is home; stepped into the heart of Frenchman Street Friday night, into the heart of New Orleans: home for certain and home to stay.
Katrina NOLA New Orleans Hurricane Katrina Think New Orleans Louisiana FEMA levees flooding Corps of Engineers We Are Not OK wetlands news rebirth Debrisville Federal Flood 8-29 Rising Tide Remember Marc Braud Ingrid Lucia Frenchman Street home Fargo
Thursday, December 27, 2007
Farewell to all that
Baby boomers indoctrinated by Marlin Perkins and Euell Gibbons to value the exotic and distant in the natural world are so disturbed by these catastrophes they nearly choke on their organic, free-trade coffee. These Samaritans threaten to overwhelm coastal cities all around the globe with endless crocodile tears of anguish long before the glaciers melt.
Screw the polar bears. If the only habitats you care about saving must involve animals suitable for reproduction in faux fur and stuffing and found in a wire bin at the local zoo’s gift shop, it's over. Your own world is crumbling beneath your feat and you don't even know it. If you will only be bothered about saving endangered Americans if we put bones through our noses and take to living by spearing fish in Bayou St. John, we are not the only ones standing in the shadow of our man-made doom.
Every drop of ethanol you pump into your hybrid car and every gallon of gasoline it dilutes; every ounce of the imported steel that wraps you in the perceived cocoon of safety in your SUV that swallows that fuel; every forkful of food made with mass produced soybeans or corn and every springy blade of lovingly fertilized green grass in your lawn: almost everything you do and touch today in America is systematically destroying a vast and valuable eco-system in your own backyard.
In the process, cultures as unique and valuable as any aboriginal group on the globe -- the Acadians of south central Louisiana, the Islenos in the east, the native Houma -- are left to stare out over the open water that once was the marsh that fed and sheltered their families, to look at an empty net or oyster rake and see there the void they feel inside as their world falls apart. In the distance, vast stands of dead coastal forest stand as gray and skeletal as concentration camp survivors. If you think I am exaggerating, 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 and willful ignorance of the costs of what man has wrought.
The coast will not be gone by 2080, or 2050, or even 2030. It could be gone tomorrow, with the next storm that comes ashore. It will certainly be gone within this generation if nothing changes to reverse the policies of cheap energy and food exports which, by robbing the coast of replenishment then slashing what remains with oil-and-gas canals that poison the marsh with saltwater, have indirectly expropriated an area the size of Delaware in Louisiana without paying a penny.
What does America care? The citizens of the US prefer their goods shoddy and imported, made with the cheapest labor possible under any conditions that guarantee that the shelves of Wal-Mart and Target remain stocked to the ceiling at a guaranteed low price. The far east will cheerfully supply all the shrimp and crawfish needed, if you're not to scrupulous about being slowly poisoned by it. We're already as enslaved to the Saudi's as any pipehead or junkie, so what's a little more imported oil going to hurt? Or, better yet, grow more row crops for ethanol and poison the Mississippi with more fertilizer, until the dead zone created obliterates all marine life in the Gulf of Mexico.
Sadly, when we are gone most of you won't be able to afford those goods. When the marshes have vanished and the big one comes, it may sweep away the infrastructure from which a quarter of the nation's oil and gas originates, is imported or processed. Or else it may find the entire lower stretch of the Mississippi an unprotected earthen jetty, and sweep the banks away and send the river down a new course to the sea closing all navigation. Crop exports and steel imports will cease and oil prices will spike to the astronomical. How long could your state's economy prosper at 10-cents-a-bushel crops and $10-a-gallon for gas?
For those of you who live in the new, service oriented America (where row crops and steel are just a box down at the bottom of the page next to where you track your mutual fonds), don't worry. The Acadians may be gone, but we will save the French Quarter and the street car for you. We can contract with Disney to schedule daily parades down Bourbon Street with festive, Cajun themes. The most important parts of our culture--the cheap beads and t-shirts, the high-proof daiquiris and karaoke bars--all of that is high and dry and waiting for you. So come on down. We have arranged for the best garbage service money can buy, standing by to hose your vomit from the street before you wake for afternoon brunch.
Just try not to look out the window of your plane as it approaches the city, lest you be reminded that the cost of that low-fare to the City That Care Forgot is the displacement of a million of your fellow citizens and the destruction of their unique culture, the intentional eradication of an entire, genuine way of life. Forget that someday the consequences of that loss will come home to you.
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Monday, December 24, 2007
Christmas wishes and dreams
There is a young tradition in my family of watching the Muppet film The Christmas Toy at this holiday. It was never a popular holiday staple. If you blinked during is television airing sometime in the the early 1990s, you would have missed it. My children, however, still love to watch it. For myself, it is my reminder that Christmas miracles do come true.
I won't need much of a reminder this evening or tomorrow, sitting in my house on Toulouse Street in New Orleans. The first part of the wish I expressed in the piece below came true not a month after I wrote this: we were on our way home to New Orleans. Like most wishes for great things, it did not come without a cost, but on balance we were so lucky: finding a dry house we could afford, children ensconced in Lusher and Franklin charter schools, my daughter Killian at NOCCA. So many pieces fell into place, that the miraculousness of it all is striking.
Much of the rest of what I wished for seems distant, almost beyond hope. My hopes for the rest of the city seem mired in a willingness of us all to slide easily into old ways that could drag us down back even deeper into the old problems, the old divisions. And so I'm going to repost this, as a reminder that wishes can come true if one sets out to make them so. The city need not slide into racial turmoil, does not have to tolerate failing schools or rampant crime, and should not accept that corruption or incompetence are just some part of the natural order.
You have to have faith. Still, that is not enough. The lesson in my homecoming is that faith is never enough without works. If you find the thoughts for the city something devoutly to be wished, then it will only happen if we are determined to make is so. And there is sacrifice. This Christmas post is dedicated to my wife, Rebecca, who took a difficult new job in a strange city, coming here alone six months before the children and I, and found and made the home were we will celebrate our first real Christmas in New Orleans. Her love for me, her faith in my dreams, and her work and sacrifice were the essential components of this wish come true.
Faith, works, sacrifice. If you make it into church today you probably won't here those words. Even if tomorrow is the only day, or one of the few you make it into a church, you will still recall these concepts from other gospels of Sundays long past. You can even be a believer but not a Christian: these are the timeless principles off all faiths. All of them are required of us--believers or not--if our dreams and aspirations are to come true. But on this winter's day we can start with faith, with a willingness to believe in miracles.
Saturday, December 24, 2005
All I want for Xmas is New Orleans
There is an old convention in journalism that we bloggers, as the New Journalists of the 21st Century, will feel bound to observe: the Christmas piece. As a former reporter, I can't seem to resist the temptation. But it's more than dragging out the fir and lights; it's a deeply ingrained desire to say or do something good at this time of year.
All I want for Christmas is New Orleans.
How easily this conventional, almost trite sentiment comes to mind. But it is true. Even for a 20-year ex-pat, there is nothing I want more. Outside of my wife and kids, there is nothing dearer to my heart than the home I left behind New Year's Eve 1986. Like most first-generation emigrants (and I have always considered myself an immigrant to the United States from the Republic of New Orleans), I have never, could never break the ties of place to my only real home.
And since I said to my wife back in late September "I want to move back to New Orleans" and she, instead of spitting wine all over herself in convulsive laughter, said yes, its become even more important to me personally, and not just because I was what Dr. John called traumaticalized in a recent Chris Rose column in the T-P.
At an age when my kids are more than halfway grown, and I sit and contemplate what to do with the rest of my life, I can't think of anything I want to do more than be a part of the future of New Orleans. Anything else will, for me, be an excuse for a life, the poet's quiet desperation of hanging on until it's over.
That's not a life.
I have no illusions about what was lost. Hell, the city I left in my rear view mirror nineteen years ago was not the city I grew up in. So much had been lost already to the relentless floods of time and American commerce; so much more was swept away between that New Year's Eve when I left and the flood. But the failure of local stores, as dear as they were to us all, was not a New Orleans problem. It was an American problem, happening everywhere. Losing D.H. Holmes or K&B were a disappointment. But that was not the same as losing the neighborhood bars and restaurants and stores, all threatened in the aftermath of Katrina and the flood.
Much that remains the same would not be missed if it could somehow be carried away with the ruined appliances and the moldy drywall: the crime that blossomed in New Orleans just like in every other heavily poor and black urban area, the political division and bickering that separated New Orleanians into warring camps, the corruption of the School and Levee Boards.
And there are the embarrassing headlines about the N.O.P.D. or Bourbon Street bartenders, the remarks sitting in my inbox today from various lists about the people Gretna Mayor Ronnie Harris called "the criminal element" in his 60 Minutes interview. You know who I mean. Many of the people I hear complaining the loudest about Mama D must have lost all their mirrors to Katrina, because they could mostly use a long, hard look in one.
I won't accept just resettling, merely rebuilding New Orleans. Somehow, it must be better, fairer, less poor and less divided, and still every bit as much the city of memory and dreams. Not many cities are presented with the opportunity of starting over from scratch on such a vast scale, being given a second chance to do things right.
The New Orleans of my Christmas wish is not just the town I grew up in, or the town I constantly pine for on some level--the city of food and friends, of music and Mardi Gras--it is for a city where people make a decent living and can afford to own and fix up their homes, where the schools and police and the levees work at least as well as most other places, where the unifying spirit of resettlement and recovery breaks down the fear that divides Audubon Place from Almonaster, separates Lakeview from Lafitte.
It should be a place that is rebuilt for the benefit of it's people, and not at the whims of the market-place that's already left so many of them behind, the invisible hand that turned the last jazz club on Bourbon Street into a karaoke bar, the idol Mammon that would demolish everything to rule over a thousand suburban boulevards lined with box stores, that would be perfectly appeased to make New Orleans into an historic shell for upscale boutiques.
Only if a critical mass of people come home can what is good be saved, and what is not be averted. I understand why some people who lived in crime-ridden neighborhoods would stay in their newly adopted homes, why others who sacrificed the high salaries of elsewhere to live in New Orleans might find it hard to return home to sub-market wages and inflated rents.Good luck to you all. But you may find, five or ten or twenty years from now, that you have never really been happy living in your new home. The city’s pull will begin to work at you. You will want to go home.
That’s my Christmas Wish, not just to come home, but to be part of one of the great stories, the one about miraculous births and resurrections. There are so many pieces that must fall into place, so many immense hurdles to overcome--multiplied by the hundreds of thousands, once for each of us--it seems only a miracle will do.
But I believe in Christmas miracles. A decade ago, my three-year old daughter fell in love with a character called Rugby Tiger, from an obscure Muppet’s movie call the Christmas Toy. Having Rugby Tiger was her only Christmas wish, the only secret she had for Santa.
Finding Rugby Tiger proved to be impossible. The Christmas Toy is a wonderful show, but not a spectacular of the sort that generates tie-in marketing. The stores at Christmas are full of great piles of stuffed animals, but none came close to looking like Rugby. We scoured the smallish town we lived in at the time, and all the stores of Fargo, N.D. as well. I dredged through catalogs online stores back in the early days of e-commerce, and called every major toy store I could think of. It became increasingly clear there would be no miracle, that the first Christmas my first child really understood would be a failure, a disappointment that would haunt her the rest of her life.
There’s a happy holiday thought.
Then one day, perhaps a week before Christmas, I went into a little mom-and-pop drug store in little Detroit Lakes, MN, and walked past the big pile of stuffed animals I had twice before torn apart. As I came back from the pharmacist with my little bag, I decided to have one last desperate dig. And that’s when I found him. His tag didn’t say Rugby Tiger, but he was a perfect replica, the very image of the television tiger.
Christmas was saved.
I’ve told this story to my children, when they finally asked me about Santa Claus. Yes, I can tell them with a straight face, I do believe in Santa Claus, because once when I truly needed a miraculous Christmas present for someone I loved, it happened. Perhaps I’ve used up my quotient of miracles. But I know that belief is more than just a bit of sustaining psychology. I am a poor excuse for a Christian, probably not one at all at this point in my life. But I know there is a power within us and without us that, sustained by belief, can work miracles in this world.
Most miracles are small and personal things: two people meeting and falling in love, a child’s face on Christmas morning when they find a dream come true, the birth on a winter’s night of a child entirely ordinary and no less miraculous. My Christmas wishes for myself and for my city may seem as improbable as the sentiments of a beauty contestant, but they’re not. My wish is for the thousand tiny and entirely human miracles I know are possible.
My wish is that at this holiday, somewhere in America, the separated parts of a family come together in exile--a little more complete—and begin their plans to go home; that somewhere in a line at a government office, two people discover that the other is not a greedy white boss or a scary black criminal, but someone with whom they share memories and hopes; that someone will come home today and, when the tears have finally stopped, they will begin again their life in New Orleans.
I'll see you there.
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Saturday, December 15, 2007
House Burning Down
Well someone stepped from the crowd he was nineteen miles highHow could any educated person not approve of tearing down the city's four largest public housing complexes, a fellow blogger on the New Orleans blogger mailing list asks? In that question lives every ugly and sharp edge that glitters about this question like a field of broken glass.
He shouts we're tired and disgusted so we paint red through the sky
I said the truth is straight ahead so don't burn yourself instead
Try to learn instead of burn, hear what I say, yeah, yeah.
-- Jimi Hendix, House Burning Down
My education was tutoring fourth graders at St. Alphonsos, a Catholic school at the edge of the now demolished St. Thomas, to escape high school catechism class. It was continued in college one semester mentoring the middle school newspaper at the Carver Complex in Desire. Complex was an apt name: it was a place that looked more like the prisons my father once built, surrounded by a tall, razor-wire topped fence and patrolled by armed guards.
These were not bad kids. Given the circumstances I knew they all lived in, I think they were in fact superb. Based on the kids I met, I knew their parents were not bad people. Perhaps I was just lucky to encounter children whose parents gave enough of a damn to insist they go to St. Alphonsos, children who grew up in homes in or around Desire where reading was not an alien concept, who could conceive of being on a school newspaper.
Perhaps they were the exception. I have a good friend who spent the last year coaching the most hopeless kids in the St. Tammany Parish Schools for the state's LEAP exam. These little golums were the future headlines and the future shooters and victims, and they scared the shit out of him. The kids I know were not those zombies, the walking dead. They were just like ourselves at that age, full of life and curiosity. These kids were an eduction for someone who who grew up on the privileged lake front, my exposure to people of color limited to Sylvia the maid or my father's handyman. They taught me that the people in these neighborhoods were not some Dark Other, but people just like everyone else.
Why tear down the projects? Why not tear down the projects? The arguments fly back and forth, but I have to ask this: We don't have projects now, not really. There's just Iberville and a few score units off Earhart. Has that reduced the crime and murder rate? Has that turned around the schools? Has it brought an economic miracle? How will tearing down these buildings do what the flood could not to clear out generations worth of mistakes?
Perhaps I am foolish to think, to hope that the largely working population (I include among the working the retirees and disabled who provided the free child care that freed up mom to work making beds downtown); to believe that these people might have some opportunity to return. Without them, the city will not grow back into something recognizably New Orleans. If we let the working class be replaced by hordes of undocumented Latin Americans, people who's fear of La Migra makes them more like the docile black working class of two or more generations some people seem to yearn for, it will profoundly transform the city. I welcome the new comers, without whom we would not be as far along as we are. But I want to add them to the mix, not replace the people who were here before.
Let me be clear, as I have been in the past. I have no use for stoop sitters and corner idlers. If you're not coming home to work and be a part of the massive task that still lies ahead, then don't come. I don't want you to come. We don't want you to come. You don't deserve to be here. To generalize and tell everyone who ever lived in public housing that they are all stoop-sitting, soap-watching losers is wrong. It's a lie, and that fact so many don't know that is perhaps the biggest problems of all: we really don't know each other.
Perhaps the people I care about, the ones who really helped make New Orleans with city we love, the ones who lived in what were arguably hell holes at times and yet got up and somehow got the kids to school and themselves to work, perhaps they have already begun have come home. I work at 1111 Tulane on the back end of the CBD, where people who ride the bus to-and-from work wait, the people who work the downtown hotels and clean the streets. I eat at the McDonalds on Canal every now and then and the Real Pie Man stops at my corner. The people of color who made up the core of the New Orleans working class are home in ever increasing numbers. Perhaps all the truly hard working folks, whether they lived in HANO housing or in the rundown rows of doubles that fill stretches of the city, perhaps they have already made it back. At the very at least as many of them are back as a percentage as anyone else in the city. The downtown where I work looks a lot like the downtown of the past, just with fewer people.
But that's not what this is about. The battle over the projects is just another skirmish in the centuries long struggle of race in the South, and in New Orleans. To the white community the projects represent every stereotype and social dysfunction and fear--fears real and ignorant--that result from every mistake we have made since Reconstruction, perhaps since the first slave ship landed on the river.
The projects became a hellhole because we all chose to let that happen. Building Bantustan on the Bayou did not solve the problems of slavery, or reconstruction or desegregation. It just attempted to push "the problem" into manageable blocks that were easy to avoid. Now we hope to push the problem even further away, onto another city, by tearing down the largest block of affordable housing with no plan for its replacement. That's not a solution. That's another attempt to escape the responsibility for the last several hundred years.
We're not going to escape that much karma that easily. People have told me that the association of the projects with all of the ills that might be found there is called a "spatial fetish" in social science. The brick buildings under discussion are truly a fetish, something meant to represent the unseen and powerful. Burning the fetish will not kill the spirit it represents, or the responsibilities that spirit places on us. That spirit has been fed on tears and blood for too long, has become too powerful. The projects are just a thing, not The Thing.
By insisting that the projects be demolished without confronting all of the real problems that animate the boogieman the folks I grew up with call "The Projects", we almost guarantee another generation of the same old racial shit. We will simply have found another way to dodge the real problems and leave in place all of the anger, dependency and despair, the suspicion and dishonesty and fear. It will breed more bulgy-eyed "civil rights" activists who will necklace anyone white or black who doesn't follow their line. It will push to the front people in the white community to answer them, people who are the other side of the same cheap brass coin, people whose white robes are plush like those of the best hotels, people who share Jimmy Reiss' vision of an ethnically cleansed city.
Is that where we want to live, in Rhodesia-turned-Zimbabwe? In the Balkans?
I don't want to save the projects. I want to save New Orleans. Tear down the projects in the current atmosphere, without confronting what those buildings truly represent to both sides and we might as well tear down the levees because I'm not sure what there will be left to save.
Edited at 12:45 to fix the "bad" words the child protection software stripped out. If it happens again, find the missing instances of shit, death, dead, murder and fetish and win a prize TBD.
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Sunday, December 09, 2007
A light in the east
Thankfully, the cheerful red and green have returned to this corner and it is safe once again to come in from Metry to tour City Park and enjoy the light show of Celebration in the Oaks, to sip lukewarm buttered rum in the steamy 70-degree December while wandering over to visit Mr. Bingle. To those of us who live by the park, the trees are full of the ruined reminders of the drive-through Xmas lights that once adored the south end of the park. Bits of wire and metal still hang from the trees like apocalyptic moss. The remains of a display in the lagoon where City Park meets Carrollton and Wisner Avenues look like the skeletal outline of some vague sea monster revealed by low tide. If you don't visit the park often but come for the Celebration, as you travel between the lights and your car look up to the trees for those remains of the celebration that was. It makes the celebration of lights that is that much more precious and important.
Lights are important to us this time of year. It is not just the ancient act of turning the solstice, the universal myths of darkness and light in every culture north of the Tropic of Cancer, the stories and re-enactments and sacrifices to turn back the wheel of the year and return the sun. The primordial fears and hopes that fuel Hanukkah and the bonfires of my own Cote des Allemandes people and even my personal, petty desire to buy just one more string or twinkly thing for the house, all are inescapably imprinted on us not just by the collective unconscious but also by the events of the Federal Flood.
I searched and searched in vain for an online copy of the the photo taken from near where the 17th Street Canal intersects Veterans Boulevard, the one that shows the spared suburban streets of Metairie brightly lit and contrasted with the abject darkness of the West Lakeview neighborhood just across the canal. It is startling to one who knows the area. Many know the skyline of the city from football coverage and other event. And that is what makes the picture below so disturbing: a major American city in the dark not for hours but for days, then weeks. If you find yourself watching the Sugar Bowl or the BCS championship this year, you will see this vantage at some point, I am certain . When you see the city festively lit for New Years, remember this picture. Remember how it was.
I was not here to see my city entirely in the dark. I could only watch in near paralysis from more than a thousand miles away as days turned into weeks and weeks into months and still much of the city was a dark wasteland. This was not some transient outage, an inconvenience to fill a few minutes of the evening cable news. It was the loss of a key piece of what makes us modern. It was the breakdown of all of the infrastructure of post-industrial revolution life and the social contract it supports: a vision of what the end of America might be like, a dystopia that before was safely trapped in the covers of pulp novels and the reels of Hollywood movies. It was a darkness that was more than just the absence of light. It was the absence of civilization, its collapse in miniature.
I remember when the President spoke in Jackson Square and they fired up generators to light up Jackson Square, even as the local utility Entergy was saying it was too soon to restore power anywhere. As the square lit up I swore a solemn oath that violates several laws of the United States even to utter aloud, regarding what I would do to George Bush if he burned down the French Quarter for a photo op. In the end, he did not. For all of his efforts, he has been as powerless to destroy us as he was to save us.
For us the diminution of the light is not simply metaphorical. The fear that some power has stolen the light and that the world has turned for the last time, that there will be no return to the life of years past, such a fear has an immediate meaning to those who have seen their entire world upended, who have confronted the reality that they may be witnesses to the end time. And yet in December of 2005, just up the river from the darkness and disaster, the bonfires were built to light the night at the turning of the year as my people have done for almost 300 years. The persistence of life is its more important characteristic. A forest the size of Delaware can burn to the ground only to erupt again in wildflowers and saplings.
I lost my faith in the conventional divine long ago. Still, the universal festivities of this season are inescapable, and they call to all of us--even the unfaithful--in deep ways tied to childhood and our collective human soul. After my decade in the far north, when I might enter and leave my basement office in bitter cold without a glimpse of the risen sun, I was reminded why this season is sacred to all cultures. To survive the darkness that threatens to swallow us we must light a candle rather than curse the darkness. We must huddle together with the rest of our kind, remind ourselves as best we can that this season will pass. We must band together and be merry. This last part I understand deeply. It is the core of the only religion I have left, the civic religion of being an Orleanian, a part of a people that parades in the face of death.
Even as we decorate the tree in our house and I string the lights across the front, I cannot ignore the fact that there are still endless city blocks to my east, stretching for miles, where the darkness still reigns after two-and-a-half years, anymore than I can ignore the shortening of the days. That is my reminder even as the temperatures hover in the seventies by day that this is still the time of darkness. Even as the city comes slowly back to life, so many remain unredeemed, as displaced as the people of Israel marching from town to town at the command of a foreign government for purposes they barely understand. Here in the birthplace of their fathers and mothers, the city they would call home, they cannot be truly at home for there is no room in the inn.
For their redemption, for the redemption of us all, I can offer only this: somewhere tonight in the East there is a light to light the world. In a neighborhood where the only other illumination is an irregular constellation of streetlights, in a place where the blocks are still largely dark and the vacant and the empty homes stand like rows of tombs: even there, a home is lit for the season and shines as brightly as the mythical winter star of two millennia ago. This light will lead the faithful and perhaps the odd wise man to a place where there is a miraculous rebirth, if they will only choose to follow. It is the light that can save them, that can save us all.
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Thursday, November 22, 2007
I found Schroeder's own clever crib from reviews of Waiting for Godot in New Orleans:
So why do we stay and wait?
Maybe it’s like Blanchard said half-joking at his concert: He tells people elsewhere: Don’t worry, New Orleans will survive "because we hate your music and we hate your food."
In other words, we stay because this place births talents such as Pierce and Blanchard and they in turn wrap us in a warm embrace with their art, because they know it’s what we need to stay strong.
And, although we cry and fume, we stay and we wait, leaning on one another, propping one another up and hoping for something brighter as we wonder what the future will bring.
I hardly know how to add or improve upon that. To live in a place where every breath is a prayer of hope or thanksgiving for life itself even at its most difficult moments, where every step holds the promise of becoming a parade, a hip-shaking celebration driven by the music,and every meal as simple as dripping roast beef po-boy is a marvelous feast: it's hard to imagine the need for a day set aside for Thanksgiving.
For this, I am thankful.
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Tuesday, November 20, 2007
"I love the friends I have gathered together here on this thin raft."This week Anima Mundi reminds America why we are home. It it not just the grand events like Jazz Fest or Carnival that define us, it is a hundred small scenes in the commonplace--somewhere today in an enraptured gospel church or around a lively table in a restaurant, in a small gathering of friends or a street-filing festival--even with the ruins around us, the venality of our politicians, and every trouble imaginable, the people of New Orleans find the joy in the day or in the moment. We live what the French call joie de vivre in a way that is uncommon among the Anglo-Saxon settlers of the north, but which is as automatic as breath among the post-colonial people of points south.
My own experience this week was my first chance to hear slide-guitar player Sonny Landreth at the Rock-N-Bowl. He is a fantastic musician and everything my friends had promised, and the audience swayed and danced and shouted with joy. As I find myself doing more since coming home, I spent much of my time looking not at the stage but at the crowd. What struck me Saturday night was not Landreth's obvious talent or the crowd's enjoyment of it. What stuck out was the mean age of the audience. At fifty, I was comfortably in the middle. For a rockin' blues player, it seemed odd that there were few if any younger people in the audience. We looked collectively like some tragically hip successor to the audience at a Lawrence Welk show.
I wondered where the young people were, why there were no twenty somethings in the audience. I've seen them out at clubs I might visit before, but that night people under 30 (hell, under 40) were conspicuous by their absence. Perhaps there was something fantastic going on across town that I missed, some show at another club that was drawing in the crowd that overran City Park a few weeks ago for Voodoo Fest. Or perhaps our own youth are succumbing to the overwhelming force of industrialized American pop culture that spawns rap artists in Africa and dresses the world in American sports t-shirts and Reeboks, a culture that has little room for the classics of 20th century music.
Today's Times-Picayune article about Fats Domino in New York melded perfectly with my Sunday morning reverie, and set me off down a road of worry:
Fats Domino is pushing 70, and barely survived the flood of the Ninth Ward. Alvin Batiste, Earl King, Willie Tee, Earl Turbinton: so many of the musicians who defined the critical musical culture of New Orleans have passed since the Federal Flood. It seems at times that the antediluvian ambiance of city is vanishing even as the it tries to right itself. Perhaps it is just my own intimations of mortality as I turn 50 and see so many of the signature figures pass on, but I can't help but feel that even as we struggle to rebuild that something essential is slipping away from us. If all of the older musicians are passing, and a show like Landreth's draws an audience what will need comfortable seats in a few more years, how much longer will it go on?
Domino takes a seat at the piano and counts off "Blueberry Hill." His playing and singing are tentative, as they were during rehearsal. After maybe 90 seconds, he tapers off and stands up; the band is left to puzzle through the rest of the song, and Fats appears to be done for the night... Domino returns to the piano. No longer the center of attention, he comes alive. He pumps the keys, mouths the words, hunches his shoulders, turns to his left and grins at the audience. Lloyd beams, and the band is into it. Harrison blows an alto sax solo and Fats tacks on a final flourish. It is THE MOMENT everyone hoped for.
I return again and again to the theme of memory and remembrance> I wonder if I do so because I feel I am writing the last entries in the log of a lost ship, the chronicle of a lost or forgotten city. I recall the artist who went around the Ninth Ward in the months after the storm paints Coatan onto tree trunks. As the musicians fade and I think the aging crowd of Saturday night, I begin to wonder if we are perhaps among the last of our kind, the final generation or something close to it.
I find myself thinking again of the lost cities of the Maya, the magnificence of what they built and why it was all ultimately and mysteriously lost. Was it war without end, a fundamental economic imbalance between the feathered-and-masked aristocracy and the corn-grinding slaves at the bottom, or some environmentally unsustainable aspect of their culture that left those cryptic pyramids drowned in the jungle? All of those specters hang over us today in America, and in New Orleans more than any place else. What will be lost, and what will we leave behind, how will we be remembered, if ours is the first (but not likely the last) American city to sink beneath the waves or simply be abandoned as unsustainable.
The same forces that may have undone the mesoamerican cultures and threaten us today seem too monumental to turn aside. Perhaps it is all we can do to live the life we cherish in the place that makes it possible (or by equal turn to live the life made possible by the place we cherish). If we are the last of our kind, so be it. All we can do is record what we can of what and who we were, and this place where we live, even as we live out our own version of the last days of Pompeii.
As I sat on my porch in the cool of the early morning last Sunday following the train of thought that became this post, it was not Sonny Landreth's licks that played in my head. With a perfectly incongruous synchronicity the music that ran through my mind was a song every one of the middle-aged fans at Rock N Bowl would remember: Donovan's Atlantis. Even as these thoughts of loss and finality first passed through my mind, it was not with sadness but with the upbeat Sixties folk-rock sound of that song and its anthemic chorus. That is how it came to me. Let us rejoice and sing and dance. This is Where I Want to Be.
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Wednesday, November 14, 2007
Profiles in Pusillanimousity
The American Society of Civil Engineers has threated Levees.org and the 17-year-old producer of a video criticizing the ASCE's investigation into the failure of the U.S. Army Corps of Engineers-built levees in New Orleans. By the time you click that link, the video may be gone.
The ASCE not only demanded that Levees.org remove the video from its website and the YouTube online video site, but also copied the letter to the school where the producer is a senior. Levees.org leader Sandy Rosenthal said the video would come down, but only because her non-profit could not sustain a prolonged legal battle to defend it. As of midday on Wednesday, the video was still on YouTube.
Apparently, the ASCE takes umbrage at the video for pointing out that the U.S. Army Corps of Engineers paid ASCE close to $1 million for the study. They don't deny it. They just take umbrage. And they sort of fess up to opening an internal investigation into improprieties associated with this study.
The video supports Levee.org's call for an independent, Congressional commission to look into the massive engineering failure that drowned New Orleans. It's about time. And it's about time to start a criminal investigation into the Corp's failures, and that of any accessories, as was done for the Big Dig in Boston.
In my book, ASCE Executive Director Patrick Natale [quoted in the Times-Picayune story] joins any number of the members of the corps as accessories to mass manslaughter.
Update: Suspect Device captures the video in flash on his blog. It will never go away. We will never let the world forget. Memo to the ACSE: by joining forces with the Corps to whitewash their culpability for a few hundred thousand dollars, you have fucked with the wrong people. Don't get me wrong. I don't blame the working civilian corps of the Corps. I blame its command.
I blame Congress (yes, you John Breaux and Mary Landrieu, who diverted flood protection money into the new lock for the industrial canal). And I particularly blame anyone or group that would rush in to cash in on the opportunity to help cover up what happened. Most of a million and the inside track on future contracts. Sweet.
I think its time we empaneled a grand jury and began dragging the command structure of the Corps and idiots like these in to explain while they should not spend the rest of their lives breaking rocks in the Louisiana sun
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Sunday, November 11, 2007
Waiting on Godot
"Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be?"By the time we arrived almost two hours before the show was to start, all of the tickets for the Classical Theater of Harlem's outdoor production of Waiting for Godot were long gone. We decided not to wait around under the tree at Pratt and Robert E. Lee, but instead withdrew for more drinks, starting back on the porch at Chez Folse and ending at the Circle Bar for Gal Holiday.
-- Vladimir in Act II of Samuel Beckett's Waiting for Godot
I heard (from someone else who asked last night) that there would be no Sunday show added as there was the first weekend. So tonight instead of seeing Becket's play, I am--after a prolonged episode of absurdist, existential angst in my friend's club level seats at the Dome--reduced to watching bits of video.
I read the script through this week during a business trip. There is something essential in it to the current experience of so many in New Orleans, the discovery that we are not suffering from post traumatic stress disorder because we are not past the thing but instead in the very midst of it, in a landscape and a plot as bleak and confusing as Beckett's, on a road of dubious prospects in a landscape swept clear of familiar geography and of hope, no prospect that over a hill or beyond a wood there is something different, something better.
Nothing to be done.
And yet we came in the hundreds last Saturday night, over a thousand; turning our back on the well-lit streets of the sliver by the river, forgoing the restaurants of Magazine and the lively nightclubs of Frenchman to go to the edge of the empty zone to try, at least, to sit through this difficult work, a comedy as black as the streets were for months in this part of town, as dark as the windows remain in so many of the empty brick boxes that line the streets. We came because all of us are so like these characters, lost in a landscape from which familiar references have been erased, clinging to the one thing that keeps us all from dropping over the brink: each other. We know Godot will not save us, that the Pollos of the world care not a whit for how we fare or fail.
The carefully crafted fictions Americans erected like the pyramids were all swept away from this place by the flood, were taken from us as the Great Wars of the 20th Century destroyed the illusions of Beckett's generation. We have peered into the abyss, an abyss where many waded or swam in desperation and too many drowned, while the newsreaders stood puzzled on dry streets and the relief trucks stopped at the edge of town, waiting for word that it was safe to come, waiting for instructions from Godot. We were not ignored or abandoned by America. Instead we were force fed the fruit of the knowledge of good and evil, and were driven out of the garden of mass marketing, ashamed of not of our own but of America's nakedness. We have peered into that abyss and come away filled with uncertainly and angst, equally incapable of trust in god or government. What is left? What reason is there to live here, to live at all?
And still we come home, even as we came to see Godot. The ticket rules of the prior week were changed without announcement, more were turned away than admitted, a sullen confusion hung over the disappointed. I left the site of the play not confused but reminded of the life we have found here, of the fitness of this text for our stage. We left the performance, but we can no more leave this place, this city than these characters can hang themselves: not because we are incapable, but instead because it is beyond our human nature to surrender this life we call New Orleans. Perhaps Godot will come. Just as likely he will not. All we can be certain of is ourselves: Sinn Fein. In the end, however bleak the scene, we will not give up hope.
VLADIMIR: Well? Shall we go?
ESTRAGON: Yes, let's go.
They do not move.
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