“Disarming Boys,” a memoir about growing up with guns, has been accepted for publication near the end of September. Meanwhile, the writing has led to a video project. This is a teaser for it:
I’ve written “Disarming Boys,” an essay sitting on publishers’ desks waiting for a yes. It’s a story about growing up with guns, then giving them up.
If things work out the way I hope, the essay will be linked to a video about a young blacksmith who is beating her grandfather’s shotgun into a stem of roses.
While doing research on boys, girls, gender, and violence I ran across two videos. View them back to back, and a provocative discussion emerges:
In “Interview with a Toddler,” La Guardia Cross, a father interviewing his daughter, is smart, funny, compassionate, and self-critical.
After watching “Homeschoolf Kids Who Shoot To Kill,” ask yourself, “In Derrick Grace II ‘s circumstances, what would I do?”
If you aren’t pummeled to the ground, now read
- Malcolm Gladwell’s “Thresholds of Violence: How school shootings catch on” in The New Yorker
- Raising Boys in an Age of ‘Gender Battles‘” by Dahlia LIthwick and Carolyn Shapiro in Slate
Remembrance is supposed to be good for a community, but much depends how those who remember actually remember.
The Daily Beast reports on Mike Pence’s way of remembering the Holocaust:
“Many Jews have pointed out that Pence, who is an evangelical Christian, imposes a Christian narrative on the Holocaust, comparing victims of the Holocaust to Jesus. His tweet also paints Jewish victims of the Holocaust as martyrs for Israel, as if every Jew who died was an ardent Zionist, deliberately laying his or her life down for a future Jewish state. Pence treats the Holocaust as a holy validation of evangelical support for Israel. Many American evangelicals believe that Israel has a role to play in the apocalyptic end times. The Holocaust, then, for Pence becomes a kind of providential working out of God’s divine plan for the Jews. Israel makes the Holocaust worth it, at least from an evangelical perspective. Hallelujah.
“Pence is unusually blunt in framing the Holocaust as Christian resurrection narrative, but he’s not the only one to try to turn Auschwitz into inspiration porn. The majority of high-profile films and fictional narratives about the Holocaust focus on upbeat endings and salvation. Films like Defiance (2008), The Zookeeper’s Wife ( 2017) and, most famously Schindler’s List (1993) all tell stories about people who saved Jews during the Holocaust. They all end, ritually, with text informing the viewer how many people the protagonists rescued from death in the camps.”
If we want to reflect on the ways that rituals mobilize human memory, we need to take into account some basic distinctions, for instance, short- and long-term memory; muscle, or sensory, memory; emotional and intellectual memory.
When we say that someone has a good memory, we usually mean that he or she is quick at retrieving stored information such as names and faces, directions to work, or the contents of grocery lists. But when we memorialize, is that what we’re doing: recalling information?
In ritualized memorials, who or what is doing the remembering? Each individual? The group? The ritual itself?
And what about forgetting—is it always bad and remembering always good? Alzheimer’s patients can’t remember, and that is bad. But PTSD patients can’t stop remembering, and that too is bad. So we might want to distinguish functional from dysfunctional forgetting, functional from dysfunctional remembering.
That communities and individuals utilize their memories during and after ritual events is obvious enough. After all, memory is required for almost every human activity. But rituals are not exclusively about remembering. They are also about envisioning. (This is the less than perfect word I use to signal ritual’s capacity to look toward the future.) We humans often treat as memories things that we never knew in the first place. I cannot, literally speaking, remember the sacrifices made in the Great War. (In case you’ve “forgotten,” that was WWI.) Why? Because I wasn’t there. I experienced both world wars vicariously—by hearing stories, seeing films, and reading books.
What I actually remember (or forget) are old photos, war stories, newsreels, and memorial ceremonies. Even though commemorations may be indirectly about ancestors or heroes, they are directly about representations. Even if names remain engraved on tombstones forever (and many don’t), the dead will, eventually and inevitably, be forgotten as individuals. Someday, in the future, no one will be alive who remembers the actual people who died in the Holocaust, Norway on the 22nd of July 2011, or in the United States on the 11th of September 2001. Even if people, declaring that they will never forget, continue to memorialize these historic events, they will eventually forget.
We have memorials not only because we remember, but also because we forget. Most memorials, most of the time, are actually acts of imagining, not remembering, the dead. Eventually, all that remains are the collective dead, the ancestors, whom we know only by deploying our ritualistic and artistic imaginations retrospectively, toward the past.
I’m not saying that we invent the dead, but we do imagine and then utilize them for purposes they could not possibly have anticipated. However surely the dead once were, they are now made up. The dead become fictive personages whom we deploy in the present to help us wade into the deep waters of the future.
Assuming we remember, the next question, the bigger one, is what we will do in the future? In The Night Trilogy Elie Wiesel writes, “We must take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented. Sometimes we must interfere. When human lives are endangered, when human dignity is in jeopardy, national borders and sensitivities become irrelevant. Wherever men and women are persecuted because of their race, religion, or political views, that place must – at that moment – become the center of the universe.”
Norwegians sometimes refer to July 22, 2011, as their “9/11,” the day their perceptions were changed forever by an act of violence. An assassin exploded a car bomb beneath a government building in Oslo, then ferried to Utoya island, where he hunted down and shot Labour Party youth attending a summer camp. In the end, seventy-seven people were killed, and over three hundred injured. Norwegians sometimes say about the assassin that he was “one of us.”
This is a video about how the event was being commemorated in 2015.
Many viewers comment on the music. People have trouble identifying the instrument. One person wrote that the performance made his hair stand on end. Another commented on how perfectly appropriate to the subject matter it was. Another noted how different it is from the current Norwegian response: silence. The harmonica solo is an improvisation by Bryn Scott-Grimes at York University in 2011, a few months before the July 22 attacks.You can watch the original performance here.
Another experimental video that combines text and image: I Have Feathers Enough, and Toys Too.
When you have the time and freedom to circle the deep, that’s glorious. When you don’t have either the time or the freedom–when you’re draped over the edge by another hand–that’s dreadful. When someone else cuts your life short by lynching, angry questions burn the air. The Equal Justice Initiative is building the National Memorial for Peace and Justice in Montgomery, Alabama, near the site of a slave auction block. (Montgomery has 59 sites commemorating the Confederacy.) The memorial will include a lynching museum to commemorate the 4000 racial lynchings that happened in the U.S. between the Civil War and World War II (1877-1950).
The Community Remembrance Project of the EJI is collecting soil samples from lynching sites and will incorporate them into the museum.
An historical view of the origins of lynching culture: