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Abby and Sonya

One Last Kiss for Sonya

Obsessive-compulsive disorder dominated my life until the birth of my child pushed me to find sanity.

Photo of Abby and Sonya
Abby and Sonya.

From the time she was born, my daughter Sonya has watched me kiss our mezuzah one, two, sometimes fifty times as I walk through our apartment door. I kiss that prayer scroll before I kiss her, most often before I even say hello. She also knows that Mama prays once a day, which means I go into our basement with a candle, and no one disturbs me for thirty minutes.

“Why Mama pray?” my four-year-old Sonya asked last week.

“Because she has to. Because she wants to. Because — I’ll be back in a little bit.”

I’ve been in treatment for severe obsessive-compulsive disorder for most of my life. I’ve cut myself, starved myself, and scrubbed my hands raw. Daily prayer is the one healthy practice I’ve kept the longest, and it’s grounded me when I feel most unmoored. It’s also been the hardest to explain.

I had a mezuzah in the house where I grew up, but I never saw my parents kiss it. We belonged to a Reform Jewish synagogue and had chicken soup and challah for Shabbat every week. My mom taught my brother, sister, and me to say the Shema prayer before bed each night. It gave closure to each day and made my mom smile, and that was all I needed.

But soon one Shema wasn’t enough for me. When I was eleven years old, my aunt and father died in quick succession. I was sure I’d made them die, and I had to atone before I struck again. After Mom tucked me in, I added five, ten, twenty recitations of the Shema, a song of thanks, and a list of sick people I needed to heal. I remember nights when I woke up frantic and hot, furious that I’d fallen asleep despite more prayers to say, more kisses to blow to the heavens.

Did I do it right? Did I do it enough? Did I sound devoted? Did I please Him?

In high school I snuck into dark closets — not to kiss boys, but to chant Psalms. I went on medication briefly in college, but took myself off for fear it was blasphemous, and my mom would die next. When I moved in with Jay, who is now my husband, he watched me kiss my mezuzah urgently.

“I wish you felt like you had to kiss me 250 times when you walk through that door,” he said sadly.

My prayers got longer, my lists and songs multiplying. If Jay wanted me, he had to accept my beliefs without question.

Our daughter Sonya was born on October 5, 2008. As I lay with her slippery skin pressed to mine, I knew this would be the scariest day of my life. It was the first day in twenty-five years that I ever willingly skipped prayers. There was no place to cloister myself in a shared hospital room, much less with a seven-pound newborn mewing for milk. Sonya was someone I had to take care of with my hands, instead of with my pleas.

I looked through the hospital window and smiled shyly at the sky. I wanted Him to know I was so wildly grateful for this child that no words could suffice. I held Sonya tightly and babbled at her to fill the empty space of my fear. I could no longer try to control the universe from behind a closet door. I was a mother with vital responsibilities.

Those first twenty-four hours were a terrifying relief. As it turns out, no one died because I skipped my prayers. But the bliss of those first coos and milky grins soon hardened. On the fourth day of Sonya’s life, I left her upstairs with Jay while I went down to our basement and sat on a pillow, sore and shaky. I wanted desperately to thank Him for this miracle, to pray with an honest, open heart. No mindless repetitions and rituals would suffice. I was too evolved, too in love with this new human to simply follow a pattern blindly.

Yet, motherhood could never be a remedy for a mental health disorder. Everything about being a new mom felt groundless and out of control. I left Sonya in Jay’s arms each morning so I could pray regularly, insistently.

My life outside the basement became a series of new, unwavering practices too. Repetition was supposed to be comforting for children, I reasoned. Every evening, I massaged Sonya’s toes and sang a series of lullabies. When I felt too exhausted and cut off a verse, the tug of fear closed in.

If I don’t sing to her, I’m unfit to be a mother. If I don’t beseech G-d, Sonya will disappear too. Cradling my daughter fiercely, I read the same book in the same cadence night after night for an entire year:

Photo of Abby and Sonya, older
Abby and Sonya.

Goodnight comb, goodnight brush
Goodnight nobody, goodnight mush.

Somehow the soothing part got away from us. Sonya wasn’t following my lead. She fell asleep in the middle of a meal or refused to nap in her carrier. One night I tried to light the Shabbat candles with her, and she banged on her high chair howling until I blew them out. She had her own rhythm, her own needs, and they were completely out of sync with mine.

Each time she squirmed away during the massage, I pinned her down and started again, both of us whimpering. I coped in the only way I knew how — by adding more ritual and repetition. Sonya followed my lead, running headlong into the spiral I know too well.

Our bedtime routine turned into a one-act drama: kisses on her toes and lotion on her belly. A review of her day and an outline of how her sleep would unfold with fairy-tale dreams. After two books and a cup of water, turn out the light and tell a story. Walk to the crib, press play on her lullaby CD, then one kiss for Waldorf (her toy duck), one kiss for Pepto (her toy pig), and one kiss for Sonya.

We added a kiss for each palm, in case she got up during the night and needed another. Then there was the butterfly kiss and the kiss through the bars of her crib. Finally, there was the kiss called Last Kiss. We said (in unison) as we leaned in to touch lips, “I love you I love you I love you I love you I love you.” Five times. A tight, fast hug. Then I would close the door to the sound of her wails.

Sometimes I didn’t even make it out of her room before she started crying. I pulled away from our goodnight hug just in time for her to yell into my face, “Lastkisslastkisslastone!”

With her tiny shoulders hunched and her lips pinched, she panted as if being hunted by wildebeests. I explained firmly, “We just did a last kiss and a last hug. Three of them, actually.”

“Last ooooone!” she moaned.

“Last one,” I repeated.

I leaned down to give her one more. But she still screamed as I left.

Some nights I went up there three or four more times, trying to slay both our demons. Other nights I sat at our kitchen counter and came up with all the fatal illnesses she could have.

Hours after I’d been up, I heard her whimper drowsily, “Lastkisslastonelast …”

The crucial task left unfinished.

I worked with my doctor, tried new medications and breathing exercises. I started with a cognitive behavioral specialist and added exposure to my therapeutic tools. As always with obsessive-compulsive disorder, it took lots of lurches and stumbles to get to more stable ground. I knew I was working not only for myself, but for my child too.

There did come a day — not too long ago — when I was able to tuck my daughter into bed, read her two books, sing her a lullaby, and simply walk toward the door.

“Wait!” Sonya yelped. “Last —!”

“If you say last kiss, it has to mean last kiss,” I said calmly. “Otherwise it’s just words.”

“But that kiss wasn’t a good one it was —”

“Stop.”

I cut us both off. We waited in the dark, hearing each other pant. Then I landed a question: “What do you think happens after last kiss?”

This was the open-ended unknown she had witnessed in me every day. The tension and also the hope.

Sonya thought for a moment, and then said, “Mama go to sleep and have cup of tea.”

“Exactly,” I told her proudly. Chronology was unimportant. It was her trust that meant everything. We were both here for each other, the world would keep spinning, and it was safe to close our eyes.

Abby Sher is the author of Amen, Amen, Amen: Memoir of a Girl Who Couldn’t Stop Praying (Among Other Things). Twitter: @abbysher Site: abbysher.com

 

Nothing You See Is What It Seems: A Review of Amy Wilentz’s Farewell, Fred Voodoo

In her deeply personal account of life in post-earthquake Haiti, journalist Amy Wilentz looks at how outsiders' distorted views of the country have misrepresented its culture and history and encumbered its progress.


Amy Wilentz first visited Haiti in 1986, when she was a writer for Time magazine and the ousting of dictator Jean-Claude “Baby Doc” Duvalier was underway. Admittedly, Wilentz was not the type of foreign correspondent who traveled from war zone to war zone, or from one uprising to the next in pursuit of a grand and dramatic news event. Rather, Wilentz’s journalistic demeanor ran more along the lines of observational witness; she was a spectator of all that surrounded her, and sparked her imagination and curiosity.

Yet, when it came to Haiti, there was something “eternal” about the country that called to Wilentz. She had read The Comedians, Graham Greene’s 1966 novel about the reign of Jean-Claude’s father, François “Papa Doc” Duvalier, and scenes from the book remained etched in her mind.

Elected president in 1957, Papa Doc Duvalier is one of history’s most unforgettable political figures. His fourteen-year reign was the longest and most brutal in Haiti’s history. To quash political dissent, and protect himself from being overthrown, Duvalier created the Tonton Macoute, a personal police force that terrorized citizens and assassinated anyone Duvalier thought was a threat. In 1971, when Jean-Claude succeeded his father as president, Duvalier-style despotism continued.

From her office in Manhattan, Wilentz perused the daily news written by Haitian exiles in the 1980s, which heralded Baby Doc’s impending departure from power. Wilentz felt an impulse to witness the end of the Duvalier era. Plus, she wanted a firsthand look at the Tonton Macoute, which was still in use by Baby Doc. With guns tucked into their waistlines and hats lowered over their sunglasses, the Tonton Macoute haughtily prowled Haiti’s streets to search for so-called troublemakers.

Thus began Wilentz’s love affair with Haiti. Her decades-long relationship with “La Perle des Antilles” (“The Pearl of the Caribbean”) has been anything but straightforward, simple, effortless, or predictable. In her first book about Haiti, The Rainy Season, Wilentz chronicled a nation and a people that were oppressed by the Duvalier regimes’ terror and totalitarianism. In her latest book, Farewell, Fred Voodoo, a deeply personal narrative about post-earthquake Haiti and Wilentz’s connection to the place, she revisits the country to listen to Haitians and recount her astute, unvarnished impressions.

Hello, Fred Voodoo

Wilentz’s experiences on her initial trip to Haiti commenced her “Haitian education,” and introduced her to stereotypes of Haitians invented by the outside world. One stereotype that persisted was the idea of “Fred Voodoo” — a dismissive term used by many reporters to refer to the ordinary Haitian man (or woman) on the street. “Fred Voodoo” could be a presidential candidate, a market lady, a renowned academic, a taxi driver, an unwed mother, or an Army general.

In 1986, Wilentz routinely interviewed Haitians, who told her what it was like to not have enough food for themselves and their families, and who wondered what it was like to live in a real house, not a shantytown shack. They discussed what it would be like to live freely and vote openly for a president who cares about ordinary Haitians and their suffering. They talked about democracy.

That was in 1986.

In 2010, after the 7.0-magnitude earthquake struck, many Haitians Wilentz interviewed still said a lot of the same things. Although this time they added more details of death and dying, blood, pandemonium, loss, amputation, starvation, and fear.

Returning to Haiti almost didn’t happen for Wilentz. She knew an abundance of international relief groups with “their money [and] their development résumés” would descend on a nation that already had more than ten thousand aid organizations in operation before the earthquake. She wasn’t sure she could tolerate a “salvation fantasy” from the international community, in which well-intentioned, post-disaster relief workers insist their presence would solve Haiti’s unmanageable, centuries-old troubles. Exasperated by the media’s reductionist portrayals of Haitians in despair — which she calls “the objectification of the Haitians’ victimization” — Wilentz wondered if she could “bear to watch the difficult lives of most Haitians rendered even more unbearable by this dreadful event.”

But she could not stay away. Within two weeks of the earthquake, Wilentz was back in Haiti for what may have been her thirtieth or fortieth visit. (She lost count after so many years.) The experience was consequential. She explains:

This book in your hands, then, is my attempt to put Haiti back together again for myself, to understand why all the simplest hopes and dreams of the men and women [that outsiders] call Fred Voodoo have been abandoned, and to stack the pieces flung apart by the earthquake back up into some semblance of the real country. I wanted to figure out, after so many attempts by so many to uphold democracy, why Fred and all his brothers and sisters have become, in our eyes at least, mere victims, to be counted up on one ledger or another as interesting statistics, casualties of dictatorship, of poverty, of disaster, of outside interference, of neglect, of history — of whatever you want to point a finger at — rather than as active commanders of their own destiny.

Journalist Amy Wilentz
Amy Wilentz. Paula Goldman

“Nothing You See Is What It Seems to Be.”

The long-standing misapprehension about Haiti and Haitian identity has everything to do with the country’s history, religion, culture, isolation, and relationship to the United States. As Wilentz discusses in great detail, and with keen insight: “[Haiti] defies categorization.… It’s eccentric and unexpected. At every corner, in every conversation, with every new event, Haiti makes you think, it challenges you.”

One of the many indeterminable stereotypes about Haitians is that “ninety percent of Haitians are Catholics, and one hundred percent are voudouisant, or voodoo worshippers.” Wilentz attended several voodoo ceremonies, during which various African gods were worshiped and spirit possession occurred. At the end of these “stunningly theatrical and participatory” services, she wondered whether Haitians really believe in voodoo, or if its practice is more tradition than conviction.

Wilentz knows this question is formalistic, and the answer is as enigmatic as the country itself. “Tou sa ou we, se pa sa,” a Haitian proverb warns. It translates to: “Nothing you see is what it seems to be.” Still, Wilentz doesn’t sit back and leave a gap in her analysis. She delves deeply into voodoo’s cultural importance.

“For most Haitians at a ceremony,” Wilentz asserts, “this is community, escape, entertainment, and as much transcendence as is allowed to them. For others, the ceremony represents Haitian patrimony and inheritance, and they take pride in it even when they have little or no religious belief.… This is a culture that values theater and a certain degree of artifice, even a great degree. Artifice and duplicity were natural and necessary survival methods during slavery.… How much of what the white man sees in Haiti is specifically a show for the white man to see — and this not just in terms of voodoo ceremonies, and not just today?”

Although an answer is unattainable, a look at Haitian history is instructive. In 1804, after obtaining freedom from France in the only successful slave-led revolution in history, Haiti became the first independent black nation in the Western world, but its legitimacy was suspect because it was ruled by descendants of slaves. After wresting power and prosperity from a European colonial power, Haiti was regarded by many as a nation that “never really had the right to exist.” As Frederick Douglass said in a speech at the 1893 Chicago World’s Fair, “We have not yet forgiven Haiti for being black.”

Haiti is much like the U.S. and France, countries whose histories cite revolution as a defining force that established sovereignty and national identity. Haiti’s revolutionary forefathers — Henri Christophe, Toussaint Louverture, Jean-Jacques Dessalines — maintain a presence in many Haitians’ minds similar to that of George Washington and Thomas Jefferson for Americans. Folklore has it that Dessalines “ripped the white stripe from the French tricolore in order to create the new red and blue Haitian flag, [sending] the message [that] the white man will have nothing to do with [Haitians’] destiny.”

It wasn’t to be.

For more than a century, France forced Haiti to pay reparations for the loss of the slave economy, while the slaveholding U.S. imposed a burdensome embargo that crippled the fledgling nation’s integration into the world economy. The U.S. occupied Haiti from 1915 to 1934, and it has meddled in the country’s affairs ever since.

Wilentz explains that, for almost all of the twentieth century, only U.S.-approved Haitians were allowed to become president in Haiti. She also cites a U.S.-led military intervention in 1994, Operation Uphold Democracy, that re-imposed President Jean-Bertrand Aristide. (Aristide had been overthrown by the Haitian Army just three years before the U.S. intervention.)

“I cannot recall another U.S. military deployment that performed regime change by reinstating an unseated leader,” Wilentz writes.”But Haiti is always singular, and so is America’s long, torrid relationship with it.”

Wilentz continues:

How Haiti works in general has historically had more to do with foreigners than is the case in most other countries, and this has never been so obvious as in the post-earthquake era. With so many coming down to assist in relief and reconstruction, so much of it concentrated in the capital, it has sometimes felt as though the country is being taken over by a new occupation, by a different kind of army.…

Rather than disrupting old ways of thinking about Haiti, the earthquake allowed many commentators, political analysts, and columnists to restate what they’d always imagined to be true about the world’s first black republic. The white Western world has a tendency, when confronted by Haiti’s intractable problems, to fall back on easy stereotypes and a deep-rooted, unconscious racism that suggests to them that this is all “depressing” and “hopeless,” and that somehow all the problems are the fault of this irresponsible, ungovernable people, with their weird old African customs and religion. It’s all Fred Voodoo’s fault.

But in fact, this depression and hopelessness come from “experts” who don’t understand Haiti, don’t acknowledge its strengths (and don’t know them), don’t get its culture or are philosophically opposed to what they assume its culture is, and don’t know its history in any meaningful way.

Despite billions of dollars in aid that flowed into Haiti, and thousands of relief workers who donated their time, it’s no secret that the country remains in disrepair. Wilentz is unsparing in her criticism of the failures of the international community and the Haitian government, and her writing on their dereliction is superb. She is unafraid to ask whether it is worth continuing to provide humanitarian assistance to a “kleptocratic” country that lacks a “functioning government that works for the people.”

Two Westerners who receive indisputable praise from Wilentz for “getting Haiti” are Megan Coffee, a doctor who cares for tuberculosis patients at her perpetually under-resourced Port-au-Prince clinic, and actor Sean Penn, who ran a refugee camp and moved refugees to real housing within days of the earthquake.

In the end, the most profound and perplexing question Wilentz asks, and tries to answer, is: “All the outsiders who come to Haiti, and come again, and never absolutely leave … what is it they get out of Haiti? This is the mystery I was trying to solve, after all. What do I get out of Haiti?”

At this point, Farewell, Fred Voodoo comes full circle. Wilentz’s love affair continues, yet it is changed. Indeed, Wilentz is changed. After “years of being schooled by Haiti,” she realizes the lessons have exacted an emotional toll.

“This book is … what I’m doing to relieve the pain,” she confides. “Putting down these marks across my computer screen: I can feel the release.… Yet what I’ve done in Haiti, what I’ve achieved with marks on paper, I cannot help but feel is useless, especially in the wake of this terrible disaster.”

Is Farewell, Fred Voodoo Wilentz’s goodbye letter to Haiti? For both her readers and a country that has been misunderstood for so long, I hope it is not so.

Amy O’Loughlin is a freelance writer and book reviewer whose work has appeared in American HistoryWorld War IIForeWord ReviewsUSARiseUp, and other publications. She blogs at Off the Bookshelf.

 

Stages Steeped in Blood: A Brief History of Violent Artistic Rivalry

Three men carried out an acid attack on the Bolshoi Ballet's artistic director in January, police say, and one of the celebrated company's dancers has now confessed. But the Bolshoi is not unique in the intensity of its artistic jealousies. From Moscow to London to New York, all the world's a blood-drenched stage.

Dmitri Medvedev, then president of Russia, meets with ballet dancers during a 2011 visit to the Bolshoi Theater. Sergei Filin is at right. Photo courtesy of Kremlin.ru
Dmitri Medvedev, then president of Russia, meets with ballet dancers during a 2011 visit to the Bolshoi Theater. Sergei Filin is at right. Photo courtesy of Kremlin.ru

There is something particularly vicious about an acid attack. In January, a masked assailant chased down the Bolshoi Ballet’s artistic director outside his home in Moscow and threw a jar of sulfuric acid in his face, disfiguring him and severely damaging his eyes. “I fell on my face in the snow and began to rub snow in my face and eyes,” the victim, Sergei Filin, later told Russian state television. “I was in terrible, unbearable pain.”

Someone clearly wanted the ballet company’s handsome artistic director to suffer.  (Just today, Moscow police announced that a Bolshoi dancer and two other men have confessed to carrying out the attack.) For his part, Filin insisted that rivals within the company were to blame. News reports portrayed the Bolshoi as a hotbed of uncontrolled ego and tawdry scandal, fascinating both ballet enthusiasts and people who wouldn’t know an arabesque from an assemblé. Before the attack, Filin had been harassed repeatedly, his tires slashed and his email hacked. Before Filin’s tenure as artistic director, a series of directors had left after short, acrimonious stints. Indeed, since its founding in 1776, ambition, political connections, and rivalry have been the other backdrops to the Bolshoi’s productions, preserved in colorful — and bloody — tales of dead cats thrown on stage and broken glass slipped into toeshoes.

It’s tempting to crack Black Swan jokes, but for all its dysfunction the Bolshoi is not unique in the intensity of its artistic jealousies. There is a long history of violent rivalry in the performing arts, and stages in Moscow, London, and New York have seen their share of blood spilt.

In Elizabethan London, quarrels could escalate into swordfights, and the city’s theaters saw some of that action. In 1598,  playwright and poet Ben Jonson, a contemporary of William Shakespeare, killed fellow actor Gabriel Spencer with a rapier in a duel. Jonson was sentenced to hang for the murder, but in a plot twist worthy of an East End play, he escaped the noose through a legal loophole.

One of the art world’s deadliest rivalries came to a head during the 1849 Astor Place Riot in New York City. Shakespearean actor Edwin Forrest rose to prominence in the 1830s, becoming one of America’s first theatrical stars, beloved by his working-class fans. Forrest had some success in Britain as well, until 1845, when his melodramatic characterization of Macbeth was met with hisses from the London audience. He was convinced that his rival, English actor William Charles Macready, was behind the mortifying incident. Forrest sealed their enmity by delivering a hiss following Macready’s performance as the Danish prince in an Edinburgh production of Hamlet. (Their childish antics aside, the feud between the two actors epitomized the growing antipathy in the mid-nineteenth century between America’s Anglophile upper class and its patriotic working class, with Macready the representative of aristocratic privilege, and Forrest — who rewrote Shakespearean plays to exemplify democratic themes — a working-class hero.)

A few years later, Macready arrived in New York to play Macbeth at the Astor Place Opera House. Forrest’s supporters descended on the theater and rioted. The state militia was called in, and they fired on the crowds, killing about two dozen people. Inside the theater, Macready soldiered on through his performance, then fled immediately after. He never returned to an American stage.

In more recent years, the most violent rivalries can be found in two artistic arenas with seemingly little in common: Russian theater and American hip hop. Clearly, the front lines of the Russian art world’s internecine war have been its storied ballet companies. The Bolshoi’s rival, the Mariinsky Ballet (previously known as the Kirov) in Saint Petersburg, has drawn its own share of notoriety: in 1995, its then artistic director, Oleg Vinogradov, fled to America, claiming he feared for his life. (“I spend half my salary on bodyguards,” he told the Independent.) These days, however, the country’s violent sociopaths seem to be branching out to repertory theaters. Last December, Alexey Malobrodsky, a director at the Gogol Theater in Moscow, was physically attacked. Following Filin’s attack, the Gogol’s new artistic director received a threat via text message: he’d be beaten up “in a grown-up way”  if he didn’t leave the theater.

As sensational as the recent Russian headlines have been, America remains the world leader in artistic violence, thanks to the cumulative body count in the music world. Perhaps hip hop’s best-known, most baleful feud was between rival East and West Coast rappers Tupac Shakur and Christopher Wallace, a.k.a. The Notorious B.I.G. or Biggie Smalls. Not long after a trio of men robbed and shot Tupac in the lobby of a Manhattan recording studio, Biggie came out with a song titled “Who Shot Ya?” that was interpreted as an admission of guilt and a taunt at his nemesis. (Biggie denied it was either.) A few years later, both rappers were killed in drive-by shootings within six months of each other. Both deaths remain unsolved.

As for Filin, he will live, and further operations may eventually restore his vision. But professional jealousy will likely continue to disfigure the Bolshoi’s art, as it does wherever the stage lights shine. It is no small irony that the play that began and ended America’s deadliest artistic rivalry was Macbeth, a tragedy of unchecked ambition and revenge. After his numerous bloody deeds, Macbeth famously observes that using violence for one’s own gain becomes a self-perpetuating act:

I am in blood
Stepp’d in so far that, should I wade no more,
Returning were as tedious as go o’er.

So it is in the artistic world, where ambition has a momentum of its own — and woe to those caught in its path.

 

The Crossing

When I first read about Bab al-Mandeb — the “Gate of Tears,” where the Red Sea narrows and powerful ocean currents have sunk countless ships over the ages — I knew I wanted to go there. I wanted to be where it all began: where the human race left Africa, spreading out into the world until they filled every corner of it. [From Nowhere magazine]

Dated photo of the sea

Standing on the edge of the Red Sea 60,000 years ago, the first people looked across the water, saw mountains rising above the horizon, and decided to go there. No one knows how they crossed the water, but they did. Somehow, this small band of as few as 150 individuals made their way from Africa to Arabia — from what is now the tiny country of Djibouti on one side, to the troubled nation of Yemen on the other. After that, they kept going. They followed the shorelines. They went inland. They scaled mountains and crossed plains. They spread out into the world until they filled every corner of it.

They, of course, were us.

Bab al-Mandeb is thought to be the place they crossed. It is the “Gate of Tears,” where the Red Sea narrows and powerful ocean currents have sunk countless ships over the ages. But back when those first people crossed, the oceans would have been 400 feet lower, so instead of seventeen miles of water there would have been just seven, with islands along the way. Today the islands are submerged and the ends of the strait reach out to each other like a continental version of Michelangelo’s Creation of Adam.

When I first read about this, I found the place on a map. The language those people spoke, the clothes they wore, the thoughts they had — those are all gone forever. But the place is still there, and I knew I wanted to go there. I wanted to be where it all began.

The problem was I couldn’t think of any good excuse to go to Djibouti. It’s a hot, dry, poor country in the middle of nowhere whose only export is people on their way out. Almost all the information I could find told how to get from Djibouti to someplace else.

Then one day a few years ago, I heard about the Bridge of the Horns, a massive project that aimed to span the Red Sea, linking Africa and Arabia in a way they had never been before. It was announced with great ceremony at a 2008 press conference in Djibouti, and those present were taken aback by the audacity of the scheme. The bridge would be eighteen miles long with 100,000 cars crossing it daily on a six-lane highway, as well as 50,000 rail passengers and four light-rail lines. There would be pipelines for water and oil. At each end, a new city would be constructed — a “City of Light” — to be populated by 2.5 million people on the Djiboutian side, with 4.5 million on the Yemeni side.

It was a bold, beautiful vision. It would create millions of jobs. It would bring commerce, peace, and prosperity. It would funnel a massive amount of traffic safely over the troubled waters below.

It was also absurd. Eco-cities in Djibouti? Thirty-six million cars a year? Then again, I had been to Dubai, just across the Arabian Peninsula, where in thirty years they’d turned a tiny pearl-diving village into a global financial hub and home to the world’s tallest building. I had seen what could emerge from a pile of sand: shopping malls, theme parks, man-made archipelagos.

So who knew? Bab al-Mandeb was already a place I wanted to go. It was a hole in my imagination I needed to fill. For several years, I pitched the story before I finally managed to get an assignment to write about the Bridge of the Horns. The money would only cover part of the costs. But it would be just enough to get me there.

 

Djibouti Stamp

It was 3 a.m. when my plane landed in Djibouti City, and I had no idea where I was going to stay. There was little travelers’ information online, and even my Lonely Planet devoted just twelve pages to the country, which began: “Never heard of Djibouti? Don’t feel bad.”

At immigration, the official stared at my passport and asked several times, “Tourism?” as if he couldn’t believe it. I nodded and said, “Yes, tourism,” which was true enough. He shrugged, stamped my passport, and waved me through.

Outside there was one taxi in the parking lot. The driver asked me where I wanted to go and I blurted out “Sheraton.” He nodded knowingly. We pulled out of the parking lot and sped into city. As we drove past the beach, I saw hundreds of people lying on the sand, their silhouettes visible in the pale blue moonlight. I made a mental note: if all else fails, sleep on the beach.

At the Sheraton, I walked to the front desk, set down my bag, and asked how much a room was. The man told me it would be close to $200.

“That’s a little out of my budget,” I said. “Do you mind if I wait here till it’s light?”

“No problem,” he said, and pointed to the couches in the lobby.

When I woke several hours later, the sun had risen and the room was full of German soldiers greeting each other with “Morgen” and “Morgen.” They ignored me as they watched TV and drank their coffee before heading out to report for duty.

By the time they left, the city seemed to be rousing itself, so I shouldered my pack, walked out into the heat, and entered what had once been dubbed the “Hell of Africa.”

For a place where there isn’t much to do, Djibouti City is insanely expensive. This is partly because the country is a rocky desert, and everything has to be imported. As one scholar noted, the country has “virtually no arable land, no permanent fresh water source, no significant mineral resources, very little vegetation, an average daily temperature of 34°C [93°F], and severe, persistent drought.” Even the electricity was rumored to come from two discarded ship engines outside town.

Djibouti has been this way from the beginning. The site of the city was chosen by the French in the 1880s for its location, and to this day its location is its main asset. Sitting on one of the world’s most important shipping channels, through which much of the world’s oil flows, it is an island of relative stability surrounded by turmoil.

In fact, its geography has been called Djibouti’s “unusual resource curse,” because almost every country in the world wants a military base there. As a result, the country has become a kind of geopolitical slumlord, charging exorbitant amounts to host fighting forces from across the globe, including 2,900 French troops, 1,500 Americans, 800 Germans, 50 Spanish, and 180 Japanese (who operate Japan’s first overseas military base since World War II). Every day, fighter jets and heavy aircraft roar through the sky. At the airport, you can sit in the departure lounge and watch drones taxiing across Camp Lemonnier, the U.S. military base.

All of which means there is no budget-travel scene, because most foreigners are here on an expense account. Nonetheless, my first day I did manage to find a place to couch surf for a few days, in an extra room at an Internet café. The following day, after that was settled, I headed to town to start my search.

At the very center of Djibouti City is Menelik Square, an open place in what was once the “European Quarter” of town. It’s surrounded by old colonial-Moorish buildings that look like they might have been glorious in another era. These days, many of the buildings around town are empty and their facades serve as makeshift urinals. As the heat of the day rises, the smell of baking urine wafts through the streets. The city has a rundown, forgotten look that makes it feel like something in a Graham Greene novel. Strolling the streets, I walked past Pakistani barbers, Yemeni electronics dealers, Ethiopian restaurants, French grocery stores, and Somali coffee shops. Djibouti is, as it always has been, a kind of crossroads between nothing and nowhere.

Across Menelik Square, past two defunct telephone booths, I spied a small bookstore. Surely, I thought, this was the kind of place information flowed through. Maybe there was even a book about the bridge. I went over and ducked inside. Most of the titles were in French, with a small English section. The owner was a friendly young Indian man.

“Are you from Djibouti?” I asked.

“Yes,” he said. “I was born here.”

“Do you like it?”

“Well,” he said, “all you get in Djibouti are booze, babes, and bridge.”

“Bridge?”

“Cards,” he said, and made a dealing motion with his hands.

“I thought you were talking about the bridge to Yemen,” I said. “Do you have any books about that?”

“No,” he said, “It’s two years now since I heard anything about it. They announced it, then nothing.”

“So they’re not building it?”

“I don’t know. They were supposed to finish it in six months. But this is Africa. If something is supposed to take two years, it will take twenty. You just have to add the zeros.”

I bought a paperback, thanked him, and stepped back out into the heat.

The next day, when I knew my way around a little, I decided to get serious about the bridge, first by asking people I met around town about it. One Yemeni man told me that the work had stopped, but that all the equipment was still there. An Ethiopian man said he hadn’t heard anything about it. A Somali man told me there was too much corruption for that to happen. Most of my inquiries were met with indifference, which struck me as strange: here was one of the world’s biggest projects on one of the world’s most important sites, but no one seemed to know or care much about it. In the end, I would have to go there to see for myself.

I stopped in the National Tourism Office to ask about how to get up to Bab al-Mandeb. The woman behind the desk suggested I take a taxi from Obock, the last town on the road north to Eritrea. She handed me a photocopied list of hotels there, then told me the office was closing, since it was almost 1 p.m. That’s when Djiboutians begin their three-hour, narcotic siesta, during which they chew the leaves of a psychotropic plant called khat.

Since Djibouti is an arid desert where nothing grows, the khat comes from Ethiopia, and the average family spends 40 percent of their income on it. Until around 2010, the khat arrived every day on a plane that landed at noon. Traders would race back to the city from the airport, then all the shop doors would shut tight until late afternoon, when things slowly came to life again.

Now the khat comes on overnight trucks, and you can buy it all day, but the siesta remains and the streets are eerily empty. It was during this time that I was walking along when I heard someone yell, “Hello, my friend!”

I looked to see a man waving me over. He was sitting on a piece of cardboard, under a crumbling portico, with another man. I walked over and shook his hand. He smiled. There were green bits of masticated leaf smeared across this teeth and gums. His cheek was jammed so full of it that it looked like a giant pustule ready to burst.

“Sit down, sit down,” he said. His wife brought over a piece of cardboard for me, and I sat. He started speaking in broken English. I asked where he’d learned it.

“I was working in the shipping,” he said. “I saw many places! So many places. I speak Greek! You like Djibouti? Djibouti people?”

“Yes,” I said.

“Djibouti people very good,” he went on. “Djibouti is security. Not like Yemen. Yemen there is always fighting. Arabs fighting. Libya. Yemen. Don’t go to Yemen.”

“Why?”

“Yemen is bullshit.”

“Don’t they want to build a bridge to Yemen?” I asked.

He didn’t answer, but just stared out into the street and muttered to no one in particular, “Yemen is bullshit.”

Yemen might be bullshit today, but around 60,000 years ago it wasn’t. No one is exactly sure what it was like, but there is evidence that it would have been a kind of paradise for early hunters, a place with plentiful rainfall, rivers full of fish, and large game roaming across what is now known as the Empty Quarter. It was a place where the grass may have literally been greener.

For a long time, archaeologists assumed that humans left Africa via the land bridge connecting Egypt with the Middle East — what is known as the Levant. The problem was that there was little evidence on the ground of this so-called Levantine corridor.

But in the late twentieth century a new theory arose, which held that there was another route out of Africa by way of Bab al-Mandeb: the “southern corridor,” or the “Arabian corridor.” According to this theory, people then followed the Arabian coast up and around to India, and from there out into the wider world, sailing, walking, and climbing to every corner.

This happened in a very short time, historically speaking, and no one knows exactly why. But something seemed to have changed, and many think it was something in those people. The archaeological record is confused and spotty and tells contradictory stories. But in the 1990s and early 2000s, the field of “genographics” began coming into its own, by which scientists traced the DNA mutations in populations around the globe. This way they could follow our ancient routes like so many genetic breadcrumbs.

Among the theories that emerged was one that said all modern humans are descended from a group of about 5,000 people, who survived the global winter caused by the eruption of the Sumatran supervolcano Toba 74,000 years ago. Shortly after that, these people started moving around the continent and beyond.

Specifically, it appears there was one group of 150 to 550 people who crossed the Red Sea at Bab al-Mandeb in search of something. All we know is that once they started moving, they spread out across the world very rapidly, and today nearly all non-Africans are descended from them.

It is a story that is being constantly rewritten by new discoveries. But we are sure these people had language, art, and abstract thought. They could plan ahead, navigate, and imagine what they couldn’t see. It seems there was something different about them from those who had gone before them. Others had crossed the Red Sea earlier, but these groups appear to have died out or stayed put. But this last group, once they made the crossing, never stopped.

I wanted to stand where they’d stood. I wanted to picture in my mind’s eye what they might have seen in theirs. I wanted to look across the water as if looking back in time.

On the street, a van pulled up where I was standing. The door was broken, and a tout hung out the window rattling some coins in his hand. “Héron?” he asked. I nodded and got in, and we rolled out of downtown and through the quiet, diplomatic area of Héron. At the end of the road we came to an otherworldly place called the Djibouti Kempinski Palace Resort, the country’s first five-star hotel.

I climbed out, walked across the grounds, and went through the front door. It was like passing through a wormhole into another dimension. One minute I was in a blazing hot, corrupt, miserable dump of a country. The next I could hear violins and the trickle of a waterfall, and my body was in shock from the cold. There were marble floors, ornately carved chairs, colorful stained-glass lamps.

I’d come to the Kempinski to meet a middle-aged, clean-cut man named Houssein who gave birding tours throughout the country — and who knew a lot about remote regions like Bab al-Mandeb. I found him in the Kempinski café and we drank five-dollar glasses of orange juice while we looked over a map of Djibouti. Houssein pointed to the area around Bab al-Mandeb.

“This area is closed,” he said, “because there are some problems with Eritrea.”

“Problems?” I asked.

“Yes,” he said. “Eritrea invaded, and now the situation is under some kind of mediation. But I think they closed the road after Obock.”

I looked at the map. Obock was the old town where the French first established their outpost in 1862, before the colonists moved across the bay to Djibouti City. Today it’s the last town of any size on the road to Bab al-Mandeb.

“That is where they are building the bridge, right?” I asked.

“Yes. Actually they announced the bridge here, at this hotel,” he said.

“And what did people think of it?”

Houssein shrugged. “Well, if you are not connected with reality, you can believe it. But it is very difficult. It is twenty-eight kilometers. The maritime currents are terrible. Sometimes even these supertankers are struggling to get through. I don’t know. These people are crazy.”

“There’s no infrastructure there at all?”

“No! These are fishing villages. The people don’t even know how to build houses. They don’t even need houses, because it’s warm all the time and they sleep outside. And there was supposed to be a city with one million people on one side, and a million people on the other side? I think it was somebody doing drugs and saying, ‘Oh, this is a good idea.’”

Back in town, at Menelik Square, I ducked into Djibouti’s Planet Hollywood knockoff. The walls were plastered with black-and-white photos — Madonna, Mel Gibson, John Wayne, etc. The waitresses were sassy and looked like they might moonlight in an older profession as well. I took a seat and spread out my notes on the table in front of me.

This news about the invasion was unnerving. When I’d tried to find out what was going on with the bridge before leaving the U.S., no one had mentioned any invasion. Before I’d left, I’d called the Djiboutian embassy in Washington, and they had assured me that it was still on track, that construction had begun, or would begin soon, and that they were just waiting for some funding that hadn’t quite materialized.

Then I had talked to Dean Kershaw, one of the engineers involved, who told me the project was definitely off, and that the original cost of $200 billion ($50 billion of which they had raised from Dubai) would more likely be $400 billion.

So I had emailed Tariq Ayyad, CEO of Noor City Development Corporation, which had been formed to spearhead the project, and he wrote back to say the bridge was still going forward but was “on hold untill political climet [sic] been addressed.”

Clearly there were mixed messages, which I sort of expected. But I hadn’t expected to be heading to the front lines of what the New York Times called a “David-versus-David battle,” between “two of Africa’s tiniest nations squaring off over a few piles of uninhabited sand.”

At the table next to me, three Somali businessmen sat talking among themselves. After a while, one of them turned and started chatting with me. He slid into my booth and asked what I was doing. I was looking at my map.

“I want to go to Bab al-Mandeb,” I said, “to see the bridge they are building.”

“Ah, the bridge,” he said, and waved his hand. “I think it was just a dream of our president. But also, that was the reason Dated photo of government buildingEritrea invaded. They said, if you build this, we will take it.”

“That’s why Eritrea invaded?”

“Yes, of course.”

I looked at the map.

“So they can’t build it?”

“No,” he said. “Never.”

 

Part of me had known all along that the bridge was a fiasco. But I loved the idea of it, the irony of the first crossing overlaid by a second, as if humanity had come full circle. Once I got to Djibouti, I thought I would be inspired to muse about bridges, but now every bridge metaphor seemed to end in a cliché. Honestly, I had no idea what I expected to find up at Bab al-Mandeb. Some deserted equipment? A sign next to an empty lot that said “Eco-city”? Nothing at all?

Now I was starting to wonder if I would even get there. After all, that was the real reason I was in Djibouti: because of that older crossing, the one where we took our first steps into the wide world and became the species we are — restless, forward-moving, curious, able to see not only what is, but what can be.

How those people got across the Bab al-Mandeb is a question that will likely never be answered. The real question for me was why? It’s possible they ran out of food, or were escaping from hyenas. But then they kept going over every horizon. They built boats and sailed across oceans with no land in sight. At the Max Planck Institute, evolutionary geneticist Svante Pääbo told the New Yorker he is comparing human DNA with those from Neanderthals and others to see if he can find out whether “some freak mutation made the human insanity and exploration thing possible.”

Pääbo’s notion that our restlessness is innate speaks to me on many levels: as a traveler, a writer, as someone who gets bored with any routine that lasts longer than a week. Growing up, the hills around my hometown always felt like prison walls. After I escaped, I spent much of my young adulthood exploring unknown corners of the world, trying to fill what felt like a bottomless need to see and know things. The movement was intoxicating, addictive, exhausting, and fulfilling.

Life goes on, however, and if you want other things out of it, you have to meet the people you love halfway. But even after my wife and I bought a house and had children, the restlessness remained. I have found as many outlets for it as I can, and cultivated my inner life, but deep down I still feel torn between the devotion to the family I love and this other need. I struggle to find a midpoint between stasis and motion — between “citizen and nomad,” as novelist and travel writer Bruce Chatwin put it.

Outside Planet Hollywood, I looked at my watch. The shops were closed. The heat was crushing. I tried to think of something to do. My guidebook listed two things to see in the city — a mosque and the market — and I’d seen them both. The stasis of the city was starting to wear me down: it was time to get back in motion.

I went to my place and packed up my things. In the morning I walked across town to a dusty lot littered with discarded car engines, where I found the “bus” (a Toyota Land Cruiser) going to Obock. It was a little after 1 p.m. when we pulled out of town.

The road wound up and down through the mountains. It was hot, rocky, and barren. At Lake Assal, 500 feet below sea level, the temperature must have been around 115°F. It felt like driving across another planet. The only thing that seemed to grow out of the ground were rocks and the occasional scrubby tree.

Three of us were jammed in the front seat next to the driver, and twenty more in back. I had to move my leg every time the driver shifted. Next to me was a young guy named Ali who said he was from Ethiopia, but who I later learned had escaped Eritrea and was waiting for his papers.

It felt so good to be out there, traveling though a new landscape, slaking my thirst for motion — a feeling Chatwin knew well. “Why do I become restless after a month in a single place,” he wrote, “and unbearable after two?” He spent much of his life trying to explain this need, and when he died he left fragments of a manuscript called The Nomadic Alternative, in which he tried to prove that “evolution intended us to be travelers,” and that “travel does not merely broaden the mind. It makes the mind.”

Writer and traveler Michael Mewshaw voiced a similar sentiment, saying that for him travel “isn’t just a way to escape, as Graham Greene put it, or a way to gather material or battle against boredom.… It’s my method, à la Arthur Rimbaud, of systematically deranging my senses, opening myself up to the new and unexpected.”

Rimbaud — the poet and patron saint of modernity, and one of the giants of French letters — abruptly left his literary life behind in his early twenties, eventually settling in Djibouti, before moving on to Ethiopia. The first place Rimbaud landed was a tiny, sweltering village on the Red Sea called Obock, where he, in a real sense, became a new person. I’d always read Rimbaud’s story with a kind of longing, because of its sense of creation, discovery, and rebirth.

That, more than anything, was what I loved most about new places, new languages, and new cultures. It was seeing the world of possibilities expand before my eyes and letting them become part of me. It was this sense that new places, people, and ideas could  make you into a new person.

It was nearly dark when we pulled into Obock, which was Ali’s stop too. After we’d piled out of the car with our bags, I asked Ali if he knew where a hotel was. He turned to ask a woman walking by, then turned back to me with a troubled look.

“No hotel,” he said.

“What about the Village Mer Rouge?” I asked.

“Closed.” We stood in silence until he said, “Wait here.”

A few minutes later, he came back with a friend who spoke better English. They took me down a hill to a small house where a man who owned a shipping company rented out rooms: thirty dollars for a cot, a locked door, and an air conditioner.

It was a low, one-story building, and the only thing in the room besides the cot was a plastic chair. There were heavy wooden shutters on the window, but it seemed safe enough, so I set my bag inside, locked the door, and wandered out to look for something to eat. I found a small shop where I bought a baguette and a packet of cheese, then walked down to the water where I sat on the sea wall.

The moon was out. The beach in front of me was littered with trash. Small crabs skittered over the refuse, in and out of holes, while dogs roamed about, looking for scraps.

Behind me sat the small, ruined house where Rimbaud once lived. The roof was caved in, and it was full of building supplies. But it was still there. I wondered what the poet would have seen as he looked out his window. Even in the moonlight, it was hard to tell where the water ended and the sky began, let alone imagine what lay beyond it.

When I’d read about those first people crossing the same waters 60,000 years ago, I’d felt a sharp sense of recognition, like we must be from the same species, one drawn to the horizon, one whose restlessness was something deep and old. It’d made me feel like that’s who we are.

The next morning, I walked through town trying to find a taxi, or a bus, or some other way to get to Bab al-Mandeb. But no sooner had I started making inquiries than a battered pickup pulled up beside me. The driver was a wiry old man dressed in military fatigues. There were two people in the backseat.

The driver motioned wordlessly for me to get in. I stood there for a minute.

“Police,” he said. “Come.”

“Why?” I asked.

He didn’t answer, but motioned again and looked ahead.

There was nowhere to run, even if I tried. So I got in and we drove to the other side of town without speaking. When we arrived at the police station, I was told to sit at a table in the yard out front. Several officers sat around me. One in a white T-shirt seemed to be in charge. He lit a cigarette.

“Tell me why are you here,” he said.

“Tourism,” I answered.

“And where did you come from?”

“Djibouti.”

“You have a car?”

“No,” I said. “I came in the Land Cruiser.”

“The white one?”

“Yes.”

“Why are you here?”

“Tourism.”

Tourism?”

“I want to go see Bab al-Mandeb.”

“Ah,” he said with a scoff, “that is not possible. The road is closed.”

“Closed?”

“Closed. No tourists. No foreigners.”

“Because of the war?”

“Yes,” he said. “You have a visa?”

“Yes.”

“Show me.”

I handed him my passport. He leafed through it lazily.

“What is your work?”

“Teacher,” I said. As they talked among themselves, I was sure I heard the word journalist. After some discussion, the man copied down my passport number and handed it back to me.

“Okay,” he said. “Thank you.”

The sun was high by the time I got back to town. Military trucks rolled by on their way to the northern front. Bab al-Mandeb wasn’t far — just forty miles away. Yet it might as well have been on the other side of the moon.

The thought of stopping, of giving up, was unthinkable. I’d come so far. I was so close. Outside Obock, I’d seen a lighthouse on a point called Ras Bir. It was high and isolated, and I thought if I climbed up it I might get a glimpse of the Gate of Tears.

I started asking around for a ride. One guy wanted sixty dollars, which I didn’t have. Another asked for two hundred dollars. After trying a few more people, I walked to the north side of town. The lighthouse was a tiny upright sliver on the horizon. The distance was supposed to be nine kilometers, about five miles. I’d gone farther than that on foot before. So I just started walking.

The sun was relentless. The only sounds along the way were the wind, my breath, and the crunch of rocks under my feet. Far off the road I saw a lone goat herder, but otherwise not a soul. To my left, I passed some caves, and I wondered if someone might be in one. Down by the sea was an abandoned resort, its round huts slowly falling apart. I felt utterly alone as I moved across the plain, with no idea what I would find when I arrived.

I walked and walked, but the lighthouse never seemed to get closer. I had a lot of time to think, and I wondered if this could have been what it was like for those first people who lived along this shore: fishing, hunting, dreaming. It’s possible they had been in this very place, and that my footsteps fell in theirs, as they traveled up and down the coast looking for a way out into the world.

After an hour, I ran into some wild camels and gazelles and wondered idly if there were also hyenas. But by then, the city of Obock had grown small and there was nothing to do but go on. Slowly, the lighthouse drew nearer. It felt like I was in a science-fiction novel trekking toward a remote outpost of civilization.

When I finally arrived, I followed the wall around to the gate, which was open. I walked inside. Several young soldiers stopped what they were doing and stared at me in mild shock. One stepped forward and introduced himself. His name was Hassan.

“You want to go up?” he asked.

“Yes,” I said.

He spoke to his boss, then came back and motioned for me to follow him. Together, we wound upward through the dark, along concrete stairs inside the tower, until we came to a small balcony that encircled the beacon.

I followed Hassan though a doorway. Outside, high above the sand, the world opened up before us. He leaned over the railing and looked at the water below.

“It’s beautiful, isn’t it?” he said.

The sea was deep blue. The sand was bright gold.

“Yes,” I said. “It’s very beautiful.”

He pointed east across the water. “Yemen is there.”

He turned and pointed south. “Djibouti is there.”

He pointed north. “Eritrea is there.”

“And Bab al-Mandeb?” I asked.

“… is there,” he said, and pointed far off, to a place where the sea and land faded into the haze.

I looked to where he was pointing and squinted in the sun. I was sure I could almost see it.

Originally published by Nowhere magazine.

 

Born Again: A Conversation with Writer Joy Castro

Best of In The Fray 2013. At an early age, Joy Castro ran away from an abusive home and renounced her faith as a Jehovah’s Witness. What she found instead was a new set of beliefs and truths for herself.

When Joy Castro was fourteen years old, she ran away from her abusive family, who had adopted her at birth. Raised as a Jehovah’s Witness, in an environment where she was to proselytize “the truth,” Castro sought refuge in the church. But after the church failed to protect her from the emotional and physical anguish she endured on a daily basis, Castro reached beyond their teachings to forge her own path to salvation.

This past year has been a busy one for Castro. Her 2005 memoir detailing her childhood, The Truth Book, was re-released. This coincided with the publication of Island of Bones, a collection of essays that continues Castro’s story of survival and resilience as she moves through adulthood. In addition to her nonfiction work, Castro’s debut crime novel Hell or High Water also recently hit the shelves.

In The Fray spoke with Castro about letting go of traditional concepts of faith, becoming a parent, her attraction to the crime fiction genre, and her definition of truth.

You were raised in an environment where the concept of “truth” was steeped in paradox. What is your understanding of truth now?

When I was growing up as a Jehovah’s Witness, “the truth” was the short-form term we used to refer to the belief system of our religion. Someone was “in the truth” or “not in the truth.” From infancy, I was taken to the Kingdom Hall for five hours each week, and my mother read to me regularly from Jehovah’s Witness literature at home. We went preaching door to door. I prayed morning and night and before every meal in the way I had been taught. So, it was pretty much a full-immersion experience.

I was a believer. Another option was impossible for me to conceive when I was a child. It was only as I got older — ten, eleven, twelve — and had been exposed to enough contradictory material at school that I began to question the tenets of our faith. I ran away at fourteen and stopped attending the Kingdom Hall at fifteen. As we know, “truth” is something that’s energetically debated by political and religious systems all over the world, so it wasn’t as though, when I was fifteen, I moved from a brainwashed state into one of clarity. Truth remains up for grabs.

Now, I just prefer to believe in kindness, compassion, the attempt at honesty about one’s experience and perceptions, and the effort to create justice. As a species, we need a variety of competing voices, competing subjectivities, in order to be able to figure out the best strategic ways forward.

You’ve written about there being freedom in accepting one’s own imperfections and inability to conform to social expectation. As a woman who grew up in poverty and a survivor of childhood abuse, how have you learned to constructively carry the confines of your personal history?

It has meant relinquishing the dream of having had a beautiful childhood — or, within academia, the psychic comfort of having an intellectual pedigree. I cannot compete with people who sailed or had families full of love or went to Harvard. I cannot compete with people who were not raising a child in poverty or riding city buses or doing without. By writing transparently about my own experiences and making them public, I’ve gradually let go of the desire to have been someone else, someone more socially acceptable.

How did unintentionally becoming a parent influence this process for you?

Becoming a parent at twenty, while perhaps not ideal in terms of timing, was overwhelming and transformative for me. Parents will tell you that their souls broke open when they had children. That was true in my case. That radical empathy, that willingness to sacrifice and defend, that compulsion to make a better world for all children — it’s so powerful.

For me personally, it was an opportunity not to neglect, not to abandon, not to abuse, not to commit suicide — all the things my own [adoptive] parents did that left my brother and me damaged and bereft. It was a chance to face down the deep, brooding fear of becoming an abuser. It offered a long series of moments in which to choose to say “yes” to love and growth. While that sounds like a positive, obvious, easy thing to do, it’s not so easy for people who’ve shut down after multiple traumas. For me, opening up and committing to someone in such a profound way was risky and difficult. And, ultimately, so worthwhile.

Before my son was conceived, I was never the sort of person who consciously longed to have a child. Unexpectedly becoming pregnant derailed what I thought my life would be, but in a good way. It carved out a kind of generosity and compassion in me that probably would not have otherwise developed.

My son is twenty-four now, so I’ve been this person for a long time. Lately, my focus has been on changing into someone who does not have a child, like a compass that steers all her choices, at the center of her life anymore. That has been the real challenge for me for the past few years. I think I’m getting the hang of it.

For those of us with unenviable pasts, writing can be a kind of coping mechanism employed to escape or manage the darker realities of our lives — which makes writing both painful and necessary. Has this been your experience?

For me, writing has been a beautiful gift, an escape — as you say — and a way to manage painful truths. It has also been one of the most profound pleasures of all. Using our imaginations to shape and reshape the world is a magnificent gift. What power! And hearing our own voices and exploring our own thoughts in a noisy world is such a soothing, beautiful, private thing that writing allows us to do. I’m grateful for it.

You’ve recently published your first crime novel, Hell or High Water. Does writing crime fiction allow you to explore issues in a way your previous work did not?

As a child and adolescent, I loved reading mysteries. I enjoyed the puzzles and the suspense. I still do. But now, as a writer of crime fiction, I’ve come to appreciate how devoted the genre is to issues of justice. Writing crime fiction has been a method for translating the insights of the academy for a broad audience. I’m not sure crime fiction provides additional freedoms; it’s just a different vessel for exploration.

Joy Castro head shotYour novel is set in New Orleans, a place known for its stark contrast between the lives of blacks and whites, rich and poor. What do you find compelling about placing a struggling Latina journalist in this post-Katrina backdrop?

There are a couple of reasons. First, like many people, I love the city of New Orleans. My husband grew up on the north shore of Lake Pontchartrain, and he lived, went to college, and worked in the city as a young adult. When we met in graduate school, he took me home to meet his family, and I fell in love with the city as I was falling in love with him. I’ve been going there regularly for twenty years now, and my affection and respect for New Orleans made me want to set a novel there.

You’re right about the black-white construction of race and ethnicity in New Orleans. While there has famously and historically been a great deal of mixing, it has usually been defined along a black-white continuum, though the influx of Latino construction workers and their families has shifted the demographic somewhat since Katrina. I was interested in exploring how a character lives her Latinidad in an environment where there’d been almost no Latino community.

You have personal experience with that as well.

Being a Latina without an ethnic community was my own experience growing up. Though I was born in Miami, we quickly moved to England, where we lived for four years when I was little. Then, after two more years in Miami, we relocated to West Virginia, where I lived until I graduated from high school. In the 1980s, I was the only Latina student in my high school, and my Spanish teacher was the only Latina I knew outside my family. Being culturally isolated is something I knew well. So, I wanted to tell a story about cultural isolation, and the strange pressures and loneliness that come with that.

There are similar feelings of isolation that come with “escaping” poverty and climbing the social ladder that your main character contends with throughout the novel.

I don’t see [the main character] as a social climber in the negative way we usually construe the term: someone who sacrifices her ethics and true feelings to attain prestige and wealth. She’s a newspaper reporter, after all, because she believes in justice. But it’s true that she did climb her way out of poverty, and she did leave some people behind, which she regrets.

Bright, poor, ambitious people in our society often live that painful story. Our social structures frequently push gifted young people to choose between pursuing their talents fully and remaining in the community that raised them. Either way, people sacrifice. It’s unfortunate.

A theme in your writing is finding redemption in telling the truth, though the result is not always a victory. Why do you embrace the mistakes people make?

It just seemed more realistic, more true to what I’ve experienced in the world. I have failed in ways that schooled my soul. Even when we’re trying, we make mistakes. We have blind spots. Knowing that about myself helps me to be compassionate with others who fail.

It’s often the case that various forces — commercial forces, political forces — don’t want uncomfortable truths to become public, and they sometimes have the power to squelch those stories. Other times, the route to a public hearing is beautifully clear. It’s a process, and it’s a choice. There will be hits, and there will be misses. The important thing is to keep telling your truth.

Mandy Van Deven was previously In The Fray’s managing editor. Site: mandyvandeven.com | Twitter: @mandyvandeven

 

Born This Way

In South Korea, where a Christian minority dominates the country’s culture and politics, fundamentalists are fighting a culture war against their list of abominations: homosexuality, evolution, even Lady Gaga. But one church in Seoul is fighting back, working from within the faith to make it more tolerant — one gay Christian at a time.

The Reverend Daniel Payne, left, at this year’s Korea Queer Culture Festival in Seoul. Payne, who is gay, delivers Sunday night sermons on tolerance and social justice from his church’s house of worship — a Seoul bar. Photo by Rob York

At first glance, the scene seems all too familiar. On the fringe of a gay pride festival, a local church has set up shop. A pastor preaches about homosexuality while his followers hand out Bible passages to passersby.

But look closer. The church is not protesting. The pastor is preaching a sermon of affirmation and acceptance. He is openly gay.

Much like in America, conservative Christianity dominates South Korea’s culture and politics, and there is no shortage of fundamentalist believers who call gay culture an abomination. But as the gay-rights movement has gained traction here in recent years, some liberal Christian congregations have started welcoming members of all sexual orientations, allowing gay Christians — that unlikely but real constituency — to work from within to make their faith more tolerant. One of these churches is the Open Doors Community Church, an activist Christian congregation in Seoul whose members are mostly gay.

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Rob York works for a think tank in Honolulu and still prefers communication by Post-it Notes.

Former Illinois governor Rod Blagojevich makes remarks in front of his Chicago residence the day before beginning a fourteen-year federal prison sentence. (Flickr)

The Chicago Way

The “Blago” scandal may have set new lows for reality TV-abetted shamelessness, but the ex-Illinois governor was just one in a long, storied line of corrupt Chicago politicos. We run through the decades of graft and cronyism that have weighed down the City of the Big Shoulders.

Rod Blagojevich makes remarks in front of his Chicago residence
Former Illinois governor Rod Blagojevich makes remarks in front of his Chicago residence the day before beginning a fourteen-year federal prison sentence. Justin Newman, via Flickr

Like many other things that the city has branded and made its own (pizza, the blues, improv, hot dogs), Chicago has its own kind of politics. The structure of the city’s government is decentralized and hyperlocal, a swamp of favors, family ties, and a certain flair for the theatrical. Its leaders’ crooked dealings land on the front pages of Chicago’s papers on a regular basis. Corruption in Chicago is as constant as the Cubs’ losing streak: an inside joke that’s been done to death.

Chicago has always belonged to hustlers. In the 1830s, after a stretch of land was ceded by Native Americans, speculators saw the potential for a transportation hub. The city was built in a swamp known for its pungent onions (according to local lore, an Indian word for wild onion, shikaakwa, provided Chicago with its name).

Before Prohibition, the members of Chicago’s city council were mostly self-made men who exchanged favors for votes, giving rise to a system of patronage and cronyism. They were men with backgrounds as colorful as their nicknames: Michael “Hinky Dink” Kenna, “Bathhouse” John Coughlin, Johnny “De Pow” Powers.

They weren’t the first to make a living brokering deals between the criminal element and politicians, but they did it in true Chicago style: loudly and unapologetically. They hobnobbed with the madames, gangsters, and pimps of their districts, took bribes as their due, and ran protection rackets. When the Municipal Voters League, a reform organization, printed that Coughlin was a tool of gamblers and thieves, Coughlin demanded a retraction — not of their claims that he was corrupt, but because they had written he’d been born in Waukegan. As a native Chicagoan, Coughlin took offense.

Chicago Mayor William Hale Thompson
Chicago Mayor William “Big Bill” Hale Thompson, circa 1915. Wikimedia

The last Republican to hold the mayor’s office was William “Big Bill” Hale Thompson. During his time in office, the Chicago Outfit, the organized crime syndicate that Al Capone would make famous, dominated the bootlegging trade. Violent turf wars broke out — between local politicians. These culminated in more than sixty bombings in the run-up to the 1928 primary elections. The editor of the Chicago Tribune once wrote that Thompson had “made Chicago a byword for the collapse of American civilization.”

The Depression turned Chicago into a Democrat’s town. A succession of slick mayors molded the city government into little more than an autocracy, complete with its own dynasties. Richard J. Daley served for five terms before dying in office in 1976. Despite an administration marked by scandals and well-publicized corruption cases, Daley is still regarded by political scientists as one of the best mayors in American history. After all, he gave us Sears Tower (now known as Willis Tower) and O’Hare Airport; what’s rampant and systemic corruption compared to that? The city loved him so much it elected his son, Richard M. Daley, after a very brief flirtation with a couple of reformist mayors. The younger Daley surpassed his father by serving for six terms before retiring.

It takes a certain kind of mindset to go into Chicago politics: a combination of brute determination, narcissism, flexible ethics, and manic tendencies — not to mention a rich vocabulary of curses. Maybe this can explain the slow-motion implosion of Rod Blagojevich’s short stint as governor of Illinois.

The son of Serbian immigrant parents, Blagojevich was born in 1956 on Chicago’s North Side. Growing up, he had a variety of odd jobs: shoeshiner, pizza delivery boy, meat packer. After a short, failed career in amateur boxing, he went to law school at Pepperdine University in California. He married the daughter of a powerful Chicago alderman, Richard Mell, who got him a clerk position with another member of the city council, Edward Vrdolyak. (Vrdolyak had been charged with attempted murder in 1960, at age twenty-two. Nearly a half century later, he would serve time for corruption.)

Blagojevich later became a state representative and then in 1996 won a congressional seat. He was young and charismatic, and he belonged to the city. He won the next two elections easily and eventually set his sights on a higher seat: governor of Illinois. He promised an end to the endemic corruption plaguing then-governor George Ryan, whose single term was marked by the indictments of seventy-nine state workers and business leaders — some of them with close ties to Ryan — on various graft charges. (Ryan himself was convicted in 2006 of mail fraud, tax fraud, racketeering, and lying to the FBI.)

Voters believed Blagojevich when he claimed to be an agent of change. But after becoming governor in 2003, he quickly alienated nearly everyone in his party, including Mell and the other men who had helped put him in power. His approval ratings were an abysmal 13 percent by the time the FBI caught him attempting to sell the newly vacant U.S. Senate seat of Barack Obama in 2008. “I’ve got this thing, and it’s fucking golden,” he said, in the now-infamous recording. “I’m not giving it up for fucking nothing.”

The ensuing frenzy was as sensational as the headlines themselves. Outrage, disbelief, and censure flooded in from all corners. Blagojevich was impeached and removed from office in January 2009.

Blagojevich went on a media blitz, appearing on talk shows to proclaim his innocence and even joining the cast of Donald Trump’s reality TV show, The Celebrity Apprentice. After a mistrial in 2010, a year later the former governor was convicted on most counts and sentenced to fourteen years in prison. He was the fourth Illinois governor convicted of corruption charges since 1973.

This year scholars at the University of Illinois at Chicago released a report, “Chicago and Illinois, Leading the Pack in Corruption,” citing new public corruption conviction data from the Department of Justice. The report concluded that the Chicago metropolitan region has been the most corrupt area in the country for the past thirty-five years, and that Illinois is the nation’s third most corrupt state. From 1976-2010, Illinois saw 1,828 convictions of government workers, including elected officials, appointees, and employees — an average of fifty per year. In Chicago alone, thirty-one aldermen have been convicted of corruption since 1973 — one-third of the aldermen who have served since then. Even nominally reformist aldermen have been embroiled in scandals, prompting the Chicago Tribune to lament that the city is a “place so crooked, even the reformers are on the take.”

It’s interesting to note that no Chicago mayor has ever been arrested, never mind convicted, on corruption charges, even as their associates, friends, and cronies have been carted off to prison. It begs a few uncomfortable questions: Are they more powerful than the governor? Are they above the law?

Today the fast-talking Rahm Emanuel occupies City Hall. The former U.S. House Democrat from Illinois resigned as Obama’s chief of staff to run for Chicago mayor after the younger Daley announced his retirement. (Replacing Emanuel for a time was William M. Daley, the former U.S. commerce secretary — and brother of the man Emanuel would succeed in Chicago.) Emanuel has shown himself to be every bit the autocrat as the Daley father-son dynasty was. The city council acts more like a Greek chorus than a governing body, unanimously agreeing to his budget despite cuts to social services, granting him blanket spending authority for last May’s NATO summit, and backing his speed-camera ticketing plan.

Chicago’s politics are America’s politics — a crossroads of race, money, power, and greed, magnified and put on display. In some respects, the city has come a long way. Its leaders are no longer throwing bombs, gunning down rival politicians, or openly cavorting with mobsters. Yet its politics remain one of the most reliable spectator sports in town. Its cast of characters is huge and colorful, its daily drama edgily entertaining.

Carl Sandburg’s elegant summaryof Chicago gave it one of its proudest nicknames, “City of the Big Shoulders”:

Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning. Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities …

There is pride here, to be sure, an ironic swagger that comes as a consequence of such a checkered history. “Chicago ain’t ready for reform,” Alderman Mathias “Paddy” Bauler famously said in 1939. It still ain’t, in plenty of ways.

 

The Grapes of Graft

He used to make counterfeit credit cards. Now Mansfield Frazier has embarked on an even more audacious project: launching a commercial vineyard in the middle of a poor, inner-city Cleveland neighborhood.

The Vineyards of Chateau Hough, a new winery launched by ex-convict and entrepreneur Mansfield Frazier in one of downtown Cleveland’s poorest neighborhoods. Frazier has ambitious plans for urban farming in Hough: his next project is tearing down the Victorian house alongside his vineyard so that he can build a cellar greenhouse for growing shiitake mushrooms.

A garden hose snakes across the intersection at Hough Avenue and East Sixty-Sixth Street, in a poor urban neighborhood about a mile east of downtown Cleveland. One end is clamped to a city fire hydrant. On the other end, a gaunt man with a weathered face delivers a steady spray of water to the roots of a grapevine.

Around him, another half-dozen workers, dressed in T-shirts and jeans, are hoeing, clipping, and tying up the tender young grapevines of nearly three hundred plants, stretching wires between sturdy wooden posts to trestle the vines. Most of these workers are members of a nearby halfway house, performing court-imposed community service.

Once a deserted lot, the field where they work now boasts three quarters of an acre of prime Cleveland farmland. On one side is a derelict commercial building, partially obscured by weedy trees. On the other side, paint peels from the wooden siding of a boarded-up, white Victorian house.

Welcome to the Vineyards of Chateau Hough.

In the 1960s, the predominantly black neighborhood of Hough was the scene of Cleveland’s race riots, which left four dead and the city burning. For decades, the neighborhood was in decline. The area still has high crime figures and an average income well below the poverty line. Three years ago the corner lot was an overgrown eyesore, made vacant by the demolition of an apartment building abandoned in bankruptcy.

Then local entrepreneur Mansfield Frazier took over the land. At sixty-nine, Frazier is a stout man, whose salt-and-pepper beard skims the broad planes of his smiling face. He is self-educated, a Cleveland native, and a former convict (he prefers the term “formerly incarcerated”). And he is the visionary behind Chateau Hough, a vineyard in the inner city.

His personal story has traced much the same trajectory as downtown Cleveland’s over the past few decades: working-class life disrupted by a descent into lawlessness and poverty, followed by a slow recovery and reorientation toward new, less conventional livelihoods. Frazier grew up about a mile from Hough. He got married at seventeen (much too young, he admits). After high school he got a job with the local electric company. He aced the entrance exam, only to be put to work cleaning toilets. “I worked my way up to be the top welder on the steam line,” says Frazier, “but they would never promote me. They wanted me to train other guys less qualified, to promote past me. And it got very aggravating after a while. I was about to go postal.”

Mansfield Frazier.

After the 1966 race riots tore apart the area, Frazier left Cleveland and began a twenty-nine-year career in counterfeiting. “I manufactured what are called counterfeit access devices, which are credit cards. And I did that all over the country,” says Frazier. “I didn’t mean to be a criminal, I meant to be an outlaw. There’s a difference, you know. Outlaws live outside the law. I didn’t have much respect for American law, because it wasn’t treating people fairly.”

The authorities failed to see the distinction. Frazier says he was never caught, but he was turned in more than once by fellow criminals and served several sentences in various prisons. But in 1992, his life changed while he was working in a prison library. “I was a tutor in math and English and I was reading an article by William Raspberry,” says Frazier, referring to the Pulitzer Prize-winning Washington Post columnist (Raspberry, who wrote about social issues such as race and poverty, died in July). “And I thought he was alright, but he was speaking from wealth — he’d never lived in the projects. So the other clerk said, ‘You think you can write something better?’ And I said, ‘Well, yeah!’ So on a dare, I started writing.”

While in jail, Frazier wrote and published From Behind the Wall (Paragon House, 1998), a commentary on crime, race, and the underclass. The book came out just a few days before his release. Frazier says that’s when the prison psychologist asked him a question: once he got out, was he going to go back to counterfeiting “and make everything in that book a goddamn lie”?

“That stopped me in my tracks,” says Frazier. “I felt like I’d been hit by a two-by-four.”

Frazier decided to see if he could make a success at something other than crime. After his release, he spent some time helping to build houses. Then he launched into his career as a writer. He got a job working for Cleveland’s black newspaper, the Call & Post, and later moved to the City News. He started Reentry Advocate, a bimonthly magazine that now appears in state and federal prisons in twenty states across the nation. These days, his essays on politics and race appear frequently in the Daily Beast, and he also writes a column for a local online magazine, CoolCleveland.com.

Thomas Mulready, publisher of CoolCleveland.com, admires Frazier for his fearlessness. “He’s not afraid to tackle taboo subjects,” Mulready says. “He says things other people aren’t saying.” In a recent commentary on the site, Frazier proposed that Jerry Sandusky, the former Penn State assistant football coach who was convicted of child sexual abuse, should commit suicide.

“I’m a provocateur,” Frazier admits. “I take contrarian points of view. And my background gives me a unique perspective that a lot of people might not have.” Comments about Frazier’s essays show up in almost every issue, Mulready says. “People do disagree with him. But he’s unusual — he often comes back and corrects himself and evolves his position.”

But after years in jail, just writing about social ills wasn’t enough for Frazier. He wanted to do something more tangible to change his community — to help “recreate the black middle class,” in his words. When he got out of prison, Frazier settled down in Hough. He built his own house there and stocked it with vegetable beds, a grapevine, and nut trees. Then he began work on another of his ideas.

An Oasis in a Food Desert

Frazier thumbs through a copy of his magazine Reentry Advocate, which seeks to keep ex-convicts from landing back in prison. After years in prison for counterfeiting credit cards, Frazier became a successful journalist and is now embarking on a new career as an urban farmer.

Across the Rust Belt in recent years, in the empty lots of cities like Cleveland and Pittsburgh, Youngstown and Detroit, urban gardens have been sprouting like spring mushrooms. Generally speaking, urban agriculture is nothing new. In her book Food and the City: Urban Agriculture and the New Food Revolution, journalist Jennifer Cockrall-King points out that urban gardens flourished during World War II: at one point, 40 percent of the nation’s vegetables were grown in these “victory gardens.” (In comparison, local foods expert Brad Masi estimates that today’s urban gardens in greater Cleveland produce about 1 to 2 percent of local food consumption; in cities like Chicago, it may be as high as 5 percent.)

What is perhaps different about today’s urban farms is the focus on reclaiming tracts of land in blighted downtown neighborhoods and planting viable businesses on them. And while the movement is still small, a number of trends in recent years have converged to support it. Against a backdrop of growing interest in climate change and pesticide-free produce, books such as The Omnivore’s Dilemma and documentaries such as Food Inc. have extolled the environmental virtues of locally grown, small-scale agriculture. Urban farming projects have gained national exposure with the success of pioneers like Will Allen, a former professional basketball player and MacArthur “genius grant” recipient who heads one of the country’s largest urban agriculture programs in Milwaukee. Meanwhile, the mortgage crisis that set in motion the Great Recession five years ago has brought about an abundance of available land, as abandoned homes and cratering real estate values have made it affordable to farm again on entire city blocks.

Mansfield Frazier was one local entrepreneur who saw an opening. In 2009, as his city was still reeling from the recession, he applied for an initial $18,000 grant from Reimagining Cleveland, a citywide program designed to support sustainability projects that rebuild neighborhoods. Frazier’s idea was to start a farm on an abandoned city lot. It was not just about making money, he says, but about providing food alternatives in a low-income neighborhood with plenty of fast food, but few healthy options — what experts call a “food desert.”

“What you see young mothers putting in their grocery carts is appalling,” says Frazier. “You’ve got to make healthy choices. You can’t raise kids off of Twinkies and that sugary fruit punch.”

A vineyard was the first stage of Frazier’s plans for his nonprofit farming venture. He admits he didn’t know much about wine when he started (“I’m an expert — at taking the cork out of the bottle”). But Frazier won over his skeptics on the grant committee with his personality and passion, and over the past three years he has studied the art of winemaking intensively through his collaborations with local experts, learning enough to start advising other would-be vintners in the city. “Can’t be that hard, it’s the world’s second-oldest profession,” Frazier jokes. “Grapevines have been around forever. The great thing is, you can screw them up and they still come back.”

Frazier shows one of his workers — also a former inmate — how to tie up some grapevines. Many of the vineyard’s workers are ex-offenders from a nearby halfway house who are performing court-ordered community service.

Neighborhood Progress, a Cleveland nonprofit that funnels federal dollars into local urban agriculture projects, boasts of Frazier’s vineyard as one of their biggest success stories. “His vision is huge — and it’s long-term,” says Lilah Zautner, the organization’s program manager. “He practices what he preaches, he walks the walk. For him to say ‘I want to put a winery and a vineyard in the middle of the inner city in the Hough neighborhood’ is an amazing vision. But also not just to have that vision, but to systematically make that happen.”

The grant from Reimagining Cleveland provided Frazier with the start-up capital for his farm, but local government has also helped him build that: as part of its land-bank program, the city of Cleveland is letting him use the lot virtually for free, so long as he pays the property taxes. Since his business is nonprofit, donations provide the rest of his funding, and local volunteers help out in the fields. And thanks to an agreement with a nearby halfway house, most of the vineyard workers are ex-offenders performing unpaid community service.

“It gives me a chance to mentor,” Frazier says. “We talk when we’re working. Guys say, ‘I’m going to get out, going to get me a dope bag.’ And I say, ‘That didn’t work too well last time. Maybe you want to think about doing something else.’”

Now that the winery is in business, Frazier is moving ahead with plans to expand his urban farm. “That building we intend to do fish-farming in,” he says, pointing at the decaying commercial building next to his lot. “The county wants to give me that building also. They don’t own it, but they’ll take it from the owner; it’s a blight. So we’ll do them a favor and save them from the taxes.” Likewise, Frazier is paying off someone else’s $1,600 tax bill in exchange for the sagging Victorian house on the other end of his vineyard, whose basement he plans to convert into a bio-cellar, a semi-subterranean greenhouse that will be covered with a twenty-foot-high roof of plexiglass. There he’ll grow shiitake mushrooms for local restaurants (they’re selling now for $20 a pound, he notes). Across the street on another vacant property, Frazier sees a vegetable garden whose produce will go to area food banks.

In Hough, the supply is certainly there to meet the demand. Over the last decade there has been some reinvestment in new condominiums and private housing, but much of the neighborhood is still in disrepair, with land bank-owned boarded-up houses and vacant lots. (Overall, Cleveland has 1,200 acres of land — almost 10,000 city lots — available for projects like Frazier’s.)

Just having an urban farm nearby can shape the ways that people in the neighborhood look at their food, Frazier says. “The goal is to train kids and let them see how crops grow, and you can change their eating habits. I think that’s critically important. We are a very unhealthy nation.” And the presence of a growing, locally owned business in Hough will make the community healthier in other ways, too. Frazier sees urban agriculture jobs as a good fit for former inmates reentering the workforce — and as a productive outlet for young people as well, “to keep them off the streets and out of prison.”

Workers tend to the vineyard’s grapevines. Frazier plans to lease the abandoned commercial building in the background from Cleveland’s land bank so that he can convert it into a facility for fish farming.

That’s what Frazier means when he talks — with his characteristically heady ambition — about “recreating the black middle class” in Hough. The neighborhood doesn’t need saviors; it needs investors to tap the potential that’s already there — in the soil, and in the people. “I don’t think the neighborhood is in that much need of redemption,” Frazier notes. “I don’t think the neighborhood is bad.”

This fall, Frazier harvested his first crop. He doesn’t have a winemaking license, so he’s invited amateur vintners in the area to come and use his Traminette and Frontenac grapes. Frazier personally prefers sweeter wines, like Riesling or Moscato. But he says he doesn’t care what kind of wine comes from the grapes. He just hopes that one day locals will be able to buy a bottle of Chateau Hough.

“Everybody wants to see what the ground has wrought,” says Frazier. “And it’s impossible to tell — you can’t predict what the wine’s gonna taste like. And I’m getting curious.

“Who knows? I might even make an award-winning wine.”

Karen Schaefer is a freelance writer in Ohio.

 

Guitar Hero

South Africans found the unlikeliest of musical heroes in their struggle against apartheid: a Detroit-born, Mexican American guitarist named Sixto Rodriguez. The documentary Searching for Sugar Man traces Rodriguez’s rapid ascent from obscurity in Motown to mythology in Cape Town — and the equally sudden oblivion that followed.

Searching for Sugar Man tells the true story of Sixto Rodriguez, an unassuming Detroit musician whose politically charged songs transformed him into a dissident hero in apartheid-era South Africa, even as fame and fortune eluded him back home. Swedish director Malik Bendjelloul’s feature-length debut spends its first half describing the mythology that arose in South Africa around this Mexican American singer-songwriter, and then delves — with surprising results — into the mystery of his sudden disappearance from the world stage.

Rodriguez was really big in South Africa. Just how big was he? “Much bigger than the Rolling Stones,” his South African distributor says matter-of-factly. Back home, one of his first U.S. producers hailed Rodriguez, the son of Mexican immigrant parents, as a “prophet.” His critically acclaimed songs invariably led to comparisons with Bob Dylan. So how was it that this outstanding artist bombed commercially in the States and was oblivious to his mega success overseas?

Continue reading Guitar Hero

Cherise Fong is a bicycle traveler, writer, and journalist currently based in Japan.

 

The Cajun Cellist

He has played the Kennedy Center and Carnegie Hall. He has performed abroad and earned international acclaim. But most days find Sean Grissom, the Cajun Cellist, playing his favorite venue — the streets and subways of New York City.

The crowds bustle by the rows of vendors that line the Lexington Avenue side of Grand Central Terminal. It is 5 p.m. on a Friday — rush hour — and most New Yorkers scurry past the upscale skincare shops and eateries with unseeing eyes. But as they pass a man on the corner, many do a double take; some stop in their tracks.

It could be his rainbow button-down shirt that draws their gaze, an abstract array of bright-colored shapes that looks like it belongs in a postmodern art museum. Maybe it’s his beaming smile. Or, it could be the large wooden cello he is playing — unconventionally — with the verve and daring of the Texas fiddler he once was, bowing his way through an eclectic set of twangy zydeco numbers and sweet classical arias.

Sean Grissom is the Cajun Cellist. Over his nearly three-decade career as a musician, he’s won his share of fame — invitations to play in Russia and Japan, performances at the Kennedy Center and Carnegie Hall. But Grissom maintains that none of these venues are more important to him than, say, a late afternoon set at the Staten Island Ferry Terminal, playing for the dreary but appreciative workers heading home. Most days find Grissom in the streets and subways of New York, filling the urban air with his unique mix of classical, jazz, country, swing, and Cajun rock melodies.

“It’s important to be able to play for everybody,” Grissom says. “Underground you’re playing for nine million people in the course of a year.” He has played for well-heeled crowds in the world’s best concert halls, but for the price of a New York subway fare, he says, anyone can listen to him: “It’s the best $2.25 show you’ll see.”

The Underground Scene

At Grand Central, Grissom plays under the auspices of MUNY — or, as he refers to it, “the program.” MUNY, which stands for Music Under New York, was founded in 1985 by the Arts for Transit division of the Metropolitan Transportation Authority. It gives selected performers a set schedule every week (Grissom mostly plays at Grand Central, the Union Square subway station, Penn Station, and the Staten Island Ferry Terminal) and an official banner to hang above their setup, which in the subway musician community is treated like gold.

New York’s subways host dozens of performers and musicians, but few of these can gain the MUNY stamp of approval. The program prefers acts that reflect “the people and culture of New York,” says Lydia Bradshaw, the MTA Arts for Transit and Music Under New York manager. The selection process is rigorous. Applications and demo tapes are screened by a committee that includes veteran MUNY performers.  After whittling down the initial pool, the judges invite the remaining applicants for a five-minute audition in Grand Central — what Grissom calls “the cattle call.”  Every year about 200 new acts apply to MUNY. The handful that pass the auditions are accepted into the program, where they’re welcome for as long as they choose to keep playing.

Grissom constantly competes for the attention of commuters at Grand Central. As he plays his set, he must ignore the booming train announcements and the incessant clamor of cell phone chatter and scuttling feet. To respect the sound space of the neighboring vendors, Grissom points his amplifier toward the wall. (Thanks to the station’s acoustics, the sound bounces off the marble and proceeds up into the arches, finding its way onto the other side of the vendors.)

Entertaining an audience underground is different than it is on any another stage — and yes, Grissom is adamant that his two- by four-foot space in Grand Central is a stage, just like Carnegie Hall. The main difference, he says, is that playing for a non-captive audience is even more challenging. “You have a ninety-second window to attract somebody — sometimes twenty seconds,” he says. “If you can learn how to grab their attention and distract them for ever a brief moment, then playing for a captive audience, that wants to be entertained, is that much easier. The energy is just there.”

The Cajun Cellist is approaching fifty. He wears his frizzy gray hair in a ponytail; rimless glasses are perched comfortably on his nose. But as he starts another long set at Grand Central, he attacks the strings with youthful gusto. He plays the James Bond theme song with exaggerated arm motions. With the Pink Panther theme, he shifts his torso to the “ba-dump” rhythm. Then, when he plays “America the Beautiful” a few minutes later, his shoulders sway to the same slowed pace of his bow.

Grissom’s set is three hours long, and he doesn’t like to repeat material.

A Cajun on a Subway, a Fiddle on a Cello

Sean Grissom was born in Texas in 1961. He grew up in a conservative household, in a particularly devout part of the state where, as he recalls, “a town wasn’t a town until it had a Baptist church.” When he was sixteen he moved to New York City. Grissom originally followed his cello teacher to New York, but a few years into his music studies, he began questioning his career choice. He enrolled at the Pratt Institute and earned degrees in painting, graphic design, and musicology. In college he would lug his classical cello outside Lincoln Center to play for change.

Grissom later enrolled in a graduate music program at Hunter College, part of the public City University of New York system. The program allowed him to work with teachers at other schools, and Grissom studied under Channing Robbins, a Juilliard professor. (“I got a Juilliard degree for a City price.”)

During his years in school, Grissom would return home to Texas on his breaks. It was then that he melded his Cajun roots with his classical cello education. “I found a fiddle teacher and I memorized more fiddle tunes in one summer than I had classical songs in my entire life,” he says. “Classical music for me was always notes on a page, whereas I had a knack for fiddle music.” Grissom was playing fiddle tunes on his cello — much to the chagrin of his teachers in New York, who told him to stick to the “three Bs” — Bach, Brahms, and Beethoven.

In 1983, Grissom got his hands on an old cello from the 1920s. “I looked at that thing, and I said … ‘I want to hotrod that.’ So I made it electric.”

Over the next two decades, Grissom played his electric cello as a member of numerous New York bands, including an Irish rock band. He did solo performances in the subways and at local hospitals. He even managed to bring his souped-up cello onto the grand stage of the New York punk scene.  “I used to lay down bass lines and solo lines at CBGB,” he says, proudly.

Nearly twenty years later, Grissom still uses the same homemade instrument. Despite its sonorous qualities, his electric cello has an antique, rustic quality to it. Its oaky color has faded over years of use. Its uneven and beaten edges confirm its salvaged beginnings. But Grissom loves his instrument and even dresses it for the occasion. He adorns its belly with a large polka-dotted handkerchief — what he calls his subway shmata (Yiddish for “rag”), used to catch cello varnish before it smears his clothing. On top of the instrument’s scroll he places a coonskin tip.

Many commuters have no idea that the ramshackle piece of wood and strings he is playing is actually a high-functioning electric cello. They gape at his strange instrument and his outlandish clothing. At this point in his career, Grissom is unfazed by crooked glances. In fact, he openly welcomes inquiries from passersby.

Grissom repeatedly insists that he doesn’t play for the money. He likes it when his listeners put cash in his black tip cap, but he prefers when they take his business card. A pile of cards sits directly to the left of his tip hat, next to a stack of his CDs (Grissom has self-produced ten records, with a classic rock album on the way). He calls his business cards “seeds” — they are how onlookers find out how to schedule him for private shows. One time, a commuter took his business card on the subway. The man moved to San Francisco. Five years later the man returned to New York and happened to find the card, and hired Grissom to play at a friend’s birthday party.

Playing on the subway makes him a better musician, Grissom adds. He says he doesn’t measure his day by the content of his tip hat, but by the quality of his performance. Did he incorporate audience interactions into his set? Was his closing number as sharp as his opening piece? Did he work in new material? “If people aren’t into what I’m doing, then I can just practice for myself to maintain my level of play,” he says. “That’s why the subway is in between a rehearsal and a performance.”

This week, MUNY has assigned Grissom to play a noon to 3 p.m. set at the Union Square subway station, right above the entrance to the N, Q, and R trains. He is happy with the new venue. At Grand Central, which he likens to a more formal cocktail hour gig, Grissom prefers not to bring his electric cello, which is too noisy for the confined space and disturbs the surrounding vendors. At Union Square, though, he sees more possibilities for experimentation and funk. The greater socioeconomic diversity of Union Square subway riders makes a difference, he says. “Union Square has a rock-club environment. It’s more indicative of subway travelers, with the L-train hipsters. The crowd is much more spontaneous.”

As a nod to the less conservative atmosphere, today Grissom has added shiny purple shoes and a black-and-yellow bow tie to his outfit. His set list has also taken on a markedly different shape than the one he played at Grand Central the previous Friday. Now, with his electric cello, he jams away to a veritable classic-rock hit list. There’s “Baba O’Riley” by the Who, “Wish You Were Here” by Pink Floyd, and “Sweet Jane” by the Velvet Underground.  The set is lively and leans heavily on Grissom’s fiddle background. At times he frantically bangs his bow against the cello’s body. Throughout the performance he bobs his head up and down with the beat.

As the Cajun Cellist plays his set in the subway station, a woman walks by warily, staring at his handmade instrument with a confounded gaze.

“It’s a cello!” Grissom yells out to her, over the screech of the train.

Video: Sean Grissom Plays in New York’s Union Square Subway Station

Eli Epstein is a freelance writer in New York City. His work has appeared online in the Atlantic, Fortune, and Esquire.

A man paddles across the Yamuna River, India's most polluted. (Andrew Blackwell)

Dirty Planet: A Conversation with Journalist Andrew Blackwell

ITF speaks with Andrew Blackwell about his new book, Visit Sunny Chernobyl, a travel guide to the most polluted places on the planet. Even sites ravaged by radiation and industrial waste, he argues, can still be places of “nature, wildness, and beauty.”

A man paddles across the Yamuna River
A man paddles across the Yamuna River, India’s most polluted.

Journalist Andrew Blackwell traveled to seven of the most polluted places on the planet: from the nuclear disaster zone of Chernobyl, to the smog-ridden city of Linfen, China, to the Great Pacific Garbage Patch. In his new book, Visit Sunny ChernobylBlackwell details his often humorously grotesque experiences hanging out in these past and present eco-disasters. In The Fray culture editor Susan M. Lee talked with him about his travels, the unique charm of the globe’s dirtiest corners, and the myth of pristine nature in an age of climate change. (Disclosure: Andrew Blackwell is president of ITF’s board of directors.)

You were inspired to write this book by a trip to India that you took years ago.

I heard how polluted Kanpur was supposed to be. It had just been named the most polluted city in India by the government. And it certainly lived up to that expectation. But I learned, after the fact, that I really enjoyed my time there — strictly as an interesting place to visit. So I had this flash: I just realized that, almost because they were polluted, there were all these places around the world that you would never really bother to visit, that you were missing out on because they had this stigma of pollution attached to them.

Did you have any expectations of what you would find, before you started out on your trips?

I thought the destinations would be a lot grosser than they were. As I went along, I realized I was in danger of not getting enough grossness in, and doing my due diligence for a book about pollution. Fortunately, I ended up being fazed by the Yamuna River in northern India in the last chapter. There was no way to say that it didn’t smell really, really gross. But otherwise, the visceral sensory experience of the locations was not nearly as intense or offensive as I expected. But that might have something to do with my message, which was not to find the grossest place but to find places that were the ultimate examples of a particular kind of environmental problem. And that didn’t always line up with the place being unpleasant.

Andrew Blackwell aboard the brigantine Kaisei
Andrew Blackwell aboard the brigantine Kaisei, en route to the Great Pacific Garbage Patch.

What did you enjoy the most on these trips? What were the highlights?

In almost every case, it was experiences I had with people I met. I think that’s often true either about reporting or about travel. It’s less about whether you saw this or that building and more about the kinds of people you met.

In Chernobyl, my guides Dennis and Nikolai and I are drinking and totally wasted. And I see they are thinking, “Oh, he’s not joking — he really wants to see what’s fun and interesting about this town, not just what the horror story is.” People do respond to your curiosity and sincerity. Like the time with the sadhus [ascetic, nomadic Indian monks]. I’m with these guys and they’re wearing robes and paint and we’re camping in the countryside and they’re completely taking care of me and feeding me. They were so friendly and solicitous, almost to a degree that they drove me insane. That was a special experience.

What were some of the challenges you encountered in writing about the world’s most polluted places?

Some of the regular problems of traveling, such as: I don’t speak Chinese and I don’t speak Portuguese. On a topical level, while these places are real and their [environmental] issues are all real — and I certainly don’t want to be thought of debunking these issues — they’re often hyped. Maybe not by serious journalists, but at a popular level. A lot of the time, I did go into each location expecting it to be more spectacular. What I realized was that the story was more subtle and much harder.

But I think it ended up making the book stronger in the end — that struggle became a theme in the book. For example, that popular image of the Great Pacific Garbage Patch as a solid mass is not true. But it’s still a powerful image that persists, even in the minds of people fighting the problem.

A smokestack disappears in the haze
A smokestack disappears in the haze surrounding Linfen, China. The city is notorious for having some of the worst smog in the world.

In the book, there seems to be a recurring theme of problematic ways of viewing nature, even by modern environmentalists. Could you talk a little about these alternate views of nature?

Inside the U.S., in the environmental movement, there is this foment right now with traditionalists, who draw their spiritual energy as it were from an idea of “pure nature” and restoring as much of the environment to a pure, pre-human phase as possible. That’s not the literal goal, but that is sort of the ideal that drives their entire enterprise.

Then you have these modernist folk, who believe that that is an impossible ideal: holding that ideal actually will leave you to miss out on all kinds of opportunities and will waste your time and energy on causes that aren’t worth it and harmful. They also believe that, yes, ideally it would be great to have that idea of purity and wildness at the center, but we are so far past that being the reality that there has to be something else motivating environmentalism. And what that is, is a recognition that human civilizations are part of nature and that there is no way of knowing what it means to have a pristine environment — and that it doesn’t exist anyway in an era of climate change.

Also, it’s just another form of separation. We’re still seeing nature as separate from human civilization, and that has been half the problem right there. And so the goal really is to find an integrated idea of what a healthy environment is.

The destroyed Chernobyl nuclear power plant
The destroyed Chernobyl nuclear power plant, with a view of the steel and concrete “sarcophagus” built to contain Reactor No. 4, which is still dangerously radioactive.

So you’re sort of trying to demystify these polluted places as well as the idea of pristine nature?

Yeah, exactly. There are people out there doing some interesting work on showing ways in which places that are thought of as pristine aren’t. And I’m working from the other end, by finding places that are considered to be horror stories and “anti-nature” and saying it’s also still a place that has nature, wildness, and beauty.

Do you think that your background had anything to do with your desire to write about environmental and industrial issues?

I don’t know what comes from my family or what just comes from me. But my brother was trained as a scientist. Now he works doing visualizations at the California Academy of Sciences. My dad is an engineer. His dad was an engineer. And I have a cousin who’s a geologist. So science has always been special to me.

I grew up mostly in Seattle, but before that our family lived in Japan for three years. I lived in Japan for first, second, and third grade. And we also did a lot of traveling in the summer since we were in Asia. We went to Indonesia, Singapore, and a number of other places. That was a really formative, great experience. Just that a place can be bizarre and strange and can be welcoming and fun. I think Japanese culture especially, at least thirty years ago, was extremely safe — and people were friendly, probably because I was American and different and had blond hair.

If you could have included other places, which ones would they be?

I wanted to go to the oil fields in the Niger Delta. Two things kept me from doing that. The two or three people I talked to sort of were cautious. You want to make sure you’re in safe spots. And also I didn’t want half the book to be about oil-related locations. I wanted a better spread.

I really wanted to see ship breaking in India or Bangladesh — these incredible beaches where they tear ships apart. The world is just a candy store for this stuff.

Interview has been condensed and edited.

An oil tanker
An oil tanker carrying twenty million gallons of crude oil approaches Port Arthur, Texas.

Susan M. Lee, previously In The Fray's culture editor, is a freelance researcher and writer based in Brooklyn. She also facilitates interviews for StoryCorps, a national oral history project. In her spare time, she maintains the blog Field Notes and Observations.

 

Losing Zion

Conservative inflexibility and liberal apathy have endangered the dream of a democratic, secure Jewish state, a prominent American Zionist argues in a new book. But for all his ideas to salvage the two-state solution, Peter Beinart seems really to be documenting its demise.


What do Palestinian activists and a Jewish Zionist in Manhattan have in common? The opposition of Israeli hard-line conservatives, as it turns out. Peter Beinart, a former editor of The New Republic who now teaches at the City University of New York, argues that the future of Israel is in grave danger — not from the enemies that have long surrounded it, but from its growing extremism internally and the growing apathy of liberal American Jews toward Israel.

In his new book, The Crisis of Zionism, Beinart makes the case that the dream of a democratic Israel is dying, undermined by West Bank settlements and the marginalization of Palestinians. Within the United States, Israel’s longtime ally, Zionist organizations reflexively support Israel’s policies, while liberal Jews have a fading interest in Israeli issues. In both countries, there has been no significant opposition from liberal Zionists to the bellicose policies that endanger Israel’s founding principles of democracy.

Beinart fears the end of the two-state solution that would grant Palestinians and Jews their own nations, believing that the two groups could not live together harmoniously in one state after decades of acrimony. Breaking with many of his fellow Zionists, however, he identifies Jewish settlements in the proposed Palestinian nation as the greatest threat to this goal. “There are, to be sure, many Palestinians who don’t want two states and seek Israel’s destruction,” he writes. “But the best way to ensure their triumph is to keep eating away at the land on which a Palestinian state may be born.”

Continue reading Losing Zion

Rob York works for a think tank in Honolulu and still prefers communication by Post-it Notes.