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Launeddas Music

The launeddas is an ancient Sardinian instrument, similar to the bagpipe, consisting of three separate cane flutes played simultaneously. With a circular breathing technique, players use the largest flute (su tumbu) to produce a single droning note, and the two smaller flutes (sa mankosa nanna) for the melody. Each finger hole is called a krai, or key, and the reeds are often altered with wax.

Though flutes come in many different sizes, only certain flutes are paired together, and each pairing has a name and scale associated with it. Some of these are: the thorn, the bagpipe, the median, the median as a little girl, the monk and the nun, the widow, and the marriageable widow. Dialogues take place between the flutes in certain songs: the monk talks to the nun, a lover talks to her beloved. The marriageable widow is an upbeat variation on the widow. 

In the past, players made flutes from cane stalks cut on nights of the full moon and hid the best patches from their rivals. The instrument conferred an enviable degree of prestige which allowed the most gifted players to rise above social stations inherited at birth. Though Maestro Efisio Melis’ parents had the “despised occupation of selling wine and nougat at village festivals,” he was able to join elite Fascist circles in Cagliari on account of his gift for “discovering ways of amusing himself and others.” 

Melis spoke with the author of the definitive treatise on the launeddas, Dutch anthropologist Andreas Bentzon, who traveled Sardinia on motorbike, transporting his sources’ hay and pecorino in return for the opportunity to record their music. After learning that the anthropologist was to visit his rival Antonio Lara (76 at the time,) Melis lied to Bentzon, saying that Lara had suffered a fit of apoplexy and would not be able to talk. But the trick was only payback for an earlier incident, when Lara had told everyone that Melis was dead, forcing Melis to travel around Campidano Cagliari to prove that he was still alive, and available to play Sunday dances.

Lara recalled his own teacher hiring sentries to prevent him from hearing and then stealing his themes (called noddas in Sardu). Refusing to obey, Lara hid himself behind a stack of kindling in the courtyard of a marriage ceremony, where he heard and then stole his teacher’s noddas.

It was normal for masters to refuse to teach their students—they would say they were “too tired” and “had other things to do.” Sometimes retiring masters taught students only in order to sic the younger player on their rivals. Palmeriu Figgus was stabbed with a knife after winning a launeddas competition, and concerts sometimes evolved into feats of strength, with flutists blowing until one or the other bled from the mouth. Efisio Melis once insulted a rival player with these words: “You are no launeddas player and cannot be one, because you are not from Villaputzu, but from a small village where they do not know what cane is.”

People and generations differed in their sense of how regimented the playing ought to be, how much it should encourage the emotions, how it should induce one or another kind of dancing. Nietzsche’s critique of Wagner—“Gradually one loses one’s footing and one ultimately abandons oneself to the mercy or fury of the elements: one has to swim…”—his advocacy of “old music—where one had to dance,” which act required “control of certain balanced degrees of time and energy, and forced the soul of the listener to continual sobriety of thought”—finds echoes in the preferences of the conservative village of Cabras for Giovanni Pireddu, whose playing “was so firm no one could miss a step”; their dislike of the “undanceable,” excessively fast Efisio Melis; and their exhortation of a serio style of play. Songs were criticized if they “mancano d’argomenti” (lacked a topic); good playing was “piu giustu e piu morale” (more correct and more moral).

Sardinia’s global integration and modernization, and the accompanying influx of other kinds of instruments and music, resulted in the marginization of the launeddas. Today it lives on in religious processions, concerts and folklore festivals observed by tourists. It is sometimes mixed, in my view unsuccessfully, with jazz.

A 2015 documentary with 522 views on YouTube profiles five young launeddas players in Sardinia. “Figli di crisi” (sons of the crisis), the boys have been afforded the time to perfect the difficult cane flutes by periods of prolonged unemployment. Some of them attended the underfunded technical school where I teach, where the internet is always out, and where the maps of the world in every room are crazy tapestries of cocks, hearts, the names of lovers, the names of rappers, and the English word “gay”… And here some students have graffitied the names Sestu, Settimo, and Sinnai over Fijian islands– a joke about how far these provincial towns are from Sardinia’s capital of Cagliari. 

Graziano Montisci, one of the young players profiled in the film, teaches circular breathing to aspiring players by having them blow into cups of water with plastic straws. The practice recreates a game played by the sons of shepherds with blades of grass and clay bowls which was also preparation for the launeddas. A Skype student from Sacramento quits his lessons before mastering the requisite skill, a fact which causes Montisci some anger—and the effort to speak optimistically about his own future creates slight, pained modifications in the young man’s voice.

“For someone who plays the launeddas, the right job is crucial,” he says. “If you knead concrete all day your hands will feel it … At home my parents tease me, ‘Oh you’ll ruin your hands! Oh, callus!’ But they don’t know what it means to spend many hours practicing an acciaccatura.” Montisci drives the No. 8 bus to keep his hands soft. 

It passes the same train station and churches every day, ascending the hill into Castello, where for a few minutes one sees the city laid out like sets of pots and boxes: the Brotzu hospital, Buon Aria church, and the monumental cemetery; the tennis courts by the communal gardens, the one-and-a-half-story Ferris wheel known as the City Eye, Piazza Yenne full of youth in Emporio Armani. Then, far off, the mountains in Pula, Capoterra, and Sarroch. 

Montisci and a young accordion player meet in a Conad grocery store parking lot one night, pour red wine into plastic cups and play a song together. The light from the store signage shines onto their van, while their friends smoke cigarettes and chain dance in the shopping cart depository. Later, they perform at a procession for Saint Efisio, walking ahead of two brown bulls.

Calm as gods, horns garlanded in flowers, the huge, gorgeous animals tow the saint as an old woman in a shawl and her husband in a tracksuit scatter rose petals on the ground. A long line forms behind them, consisting of priests, farmers, pilgrims, cross-bearers, policemen, children, and tractors who pass from the paved roads of the town to dirt roads surrounded by tallgrass. 

I once heard launeddas music at a protest in Teulada. A few hundred people had come to demand the closure of the nearby NATO base, which regularly tests bombs in the area, leaving radioactive thorium deposits in the ground. The black bloc tried to run around a line of riot guards while the older activists sat by the pickup truck, playing music and making salami sandwiches. An ancient and grizzled looking man put on punk separatist music and then a launeddas song, which led some people to begin to dance. 

Two older women with rich, smoke-damaged voices called to the man and asked him to dance. He smiled and shook his head, but they insisted, taking him by the arm and leading him into the sand. There, with linked arms, the three of them made crosswise steps in and out of a semicircle, throwing their heads back and laughing in joy. The man danced faster and faster and appeared unburdened, as though a bad season had passed. The police loitered by their armored bus and a boy called out from the side of a cliff on the base, where he had placed a smoking orange flare.

In the Sardinian ballu, as in Riverdance, the upper torso is kept rigid while the feet fly—because of which it seems as if the dancer’s spirit is forced up from the fast-moving feet, past the torso and into the head, where it expends itself in involuntary expressions of joy, of freedom born from restraint. A Bronze Age sculpture of a launeddas player captures this unabashedness, with its wide open eyes, its cheeks inflated and full of flutes, and its penis erect.

Launeddas music calls to my mind prelapsarian dreams, with green insects embodied by the drone flute and flocks of sheep embodied by the chanter flutes, all singing encouraging words, telling us to finish our work and then forget it. The songs suggest a harmony in purpose between humans, plants, and animals—a compilation of the shared compositions of rivals Efisio Mellis and Antonio Lara sounds like a field of crickets, whose chaos and order slip into one another with the complicated regularity of ecological cycles.

In their two-part Fiorassiu e puntu e organu, it is as if one were looking at the white and black dots on a static TV screen and suddenly saw rings of dancers and singers emerge, with one or another dot standing alone for a moment to sing out a long note above the honks, drones, and squeaks of the others. Their Fiuda Biugadia is more like a singing, dying motherboard, except that the modular notes (unplaceable on a gradient connecting animal and machine) are interrupted by festive shrieks of laughter and shouts in Sardu. The album is full of wild, violent, and happy songs like these.

So it is not hard to believe that people used to say the launeddas could make you insane, make pregnant women abort, make young girls fall in love, and blow the roofs off of churches. Some also held that there was somewhere a certain charmed instrument with a silver tongue-piece that only chosen players could sound.

Antonio Lara’s memories of the magic player Agostino Vacca seems to recall so much that his account breaks down:

Antonio Lara: They said Agostino Vacca had [a charmed instrument].
Andreas Bentzon: But how did one know?
AL: Oh, but it is something … Oh, until eighteen years old he was a swineherd, then when he was eighteen years old there came somebody who …
AL’s wife: It must have been the hand of God.
AL: But when the launeddas was sounding, it was also as if the earth was trembling … from the energy of the sound. My father tried, and he was a good launeddas player. Gioaniccu Cabras tried. They could not give him so much breath. [AL lifts his little finger.]
AL’s wife: And his instrument …
AL: It was empty, that instrument. They could not give enough breath, they could not breathe in it. It was an empty instrument, they did not succeed. They have thrown it away. But! You could go to jail! And he, he took it … He was only half a man. [AL shows his height.] He played like a … Madonna Santissima!

Top Gun: Two Critical Perspectives

Gautama Mehta — The best Hollywood movies are made with an appealing amoral grandiosity of purpose. Often they’re about the U.S. military. People who don’t know how to read say these movies are meant to persuade you that the U.S. military is good and its enemies are bad. Among the class of illiterates who tend to think this way are the U.S. military, its enemies, and even the people who make the movies.

Tom Cruise knows how to read. He is the star of “Top Gun: Maverick” and also its protagonist. He made the movie, he is the movie’s audience, and he is the enemy of the U.S. military.

In “Top Gun: Maverick,” Tom Cruise plays Maverick, the best fighter pilot in the Navy, whom I surmise he also played in “Top Gun.” Before the movie begins Tom Cruise appears onscreen to say the stunts were real and thank you for seeing it in theaters. Before that there was a trailer for another Tom Cruise movie, “Mission: Impossible” Part Seven Part One, which will open in July 2023.

In “Top Gun: Maverick,” fighter pilots have been made obsolete by drones until a group of people named only as “the enemy” does something involving uranium in a place drones can’t reach—a place only fighter pilots can bomb. So Maverick must return to Top Gun, the naval base where fighter pilots are trained, to train a group of younger, lesser fighter pilots to bomb the uranium-connected endeavor.

We never see an enemy soldier’s face. No one discusses the enemy’s motivations or denounces its atrocities. (What kind of propaganda is this, illiterates?) All we ever really learn about the enemy is that it has superior planes to the U.S. military, but it also has an old, obsolete U.S. military plane sitting around—the kind Tom Cruise used to fly—so Tom Cruise steals it and defeats the enemy.

“A feature of the Western ‘war on terror’ that seems to come out of fable rather than reality is an inability to see the enemy. In fact, it is an inability to define the enemy,” writes Rahmane Idrissa in the New Left Review. Idrissa is discussing the French war in the Sahel. But for our purposes, like Tom Cruise’s, the Sahel doesn’t matter.

Tom Cruise understands that efforts to see or define the enemy of the U.S. military are not merely futile: they hinder the plot and cheapen the spectacle. Tom Cruise doesn’t want to battle the U.S. military’s enemy. He wants to rekindle his lost love with Jennifer Connelly, to watch the sun glisten in the magic hour on the backs and torsos of handsome young fighter pilots playing football on the beach, and to see the look of reproach in the eyes of Jennifer Connelly’s teenage daughter when she catches him jumping out of her mother’s bedroom window. War puts Tom Cruise in these situations; an enemy would sully them.

The absence of the enemy of the U.S. military allows Tom Cruise to battle his own enemy—a world in which he feels old and irrelevant—and win. When it’s over, the Navy’s best fighter pilot and Hollywood’s last movie star are victorious in their defense of planes and Hollywood, and none with eyes to see can seriously believe war is anything but a narrative device.

Lenny Wheelman, Transcribed by Guthrie London — People say Hollywood is changing. They say that “Movies” are changing. I wouldn’t know. In fact, I’ve never been a big fan of movies. Movies take my least favorite element of activities — commitment, precipitated by long run times and pricey tickets — and pair it with my least favorite element of life, impermanence. You start them, you watch them, and they end, and you leave the theater with nothing new in your life, with the feeling that a universe has been created and destroyed in the span of two hours. But let’s rewind to the beginning, when I decided to go see “Top Gun: Maverick”.

On the morning of June 2nd, 2022, I made myself four hard-boiled eggs and put them in a bowl. I struggled to get the shells off. Those slippery eggs are always fooling me with their strange outfits. Once I had peeled those disgusting eggs with my hands, and I had their tender insides ready for mastication, I took out a fresh, cold liter of Diet Coke from my refrigerator, ready to pair with my meal. The whole thing made me sick. When my doctor told me I shouldn’t eat eggs, due to my high cholesterol, I misheard him, due to my poor hearing, and I thought that he said I should only eat eggs. Those fucking eggs were making me sick, and when I called him to clarify, he cleared up the mistake. Although I’m not entirely sure that I know what’s going on, as I can barely hear anything anymore. 

I remember, when I was a teenager, the movies used to be so fun. You’d go to the drive-in with a girl, you’d barely watch the movie, and instead you’d make-out, and do hand-stuff. Gone are those days, now people won’t let their teenagers out of the house — and the teenagers don’t even want to go. They want to play with their Tik-Tok and their xbox and do online school. I haven’t done hand-stuff in over 10 years. Things have really changed — so when the trailer for “Top Gun: Maverick” popped up on television, I was excited. These people weren’t on Tik-Tok, they were out doing their jobs. And, boy, look at those planes. And who couldn’t use a hero, played by Tom Cruise. 

But things became more difficult. I forgot where I was going. When I left the house, I had a light bulb in my hand. I don’t know why I picked it up, but maybe I had unscrewed it from a lamp. I figured it must’ve been dead, that’s why I unscrewed it. But I wasn’t sure. When I got to the bus stop, there was no way to know if it was a working light bulb or not, I couldn’t remember. So I began to worry. I was so distracted on the bus, holding the light bulb, and wondering if it was working, that I missed my stop. I went a whole 10 stops too far. When I got off the bus, I was surrounded by ethnics, and I didn’t recognize any of the street signs. I held the light bulb tight, in case someone tried to rob me. 

I met a dog. He was a small dog, and he started following me. I think I was on my way to the other bus, to get back the way I came, but I had been walking a long time and the return bus was right across the street, so it didn’t make sense. The dog must have been a beagle, the way he walked. At first I thought he was trying to get my light bulb, and I shouted at him, but then I realized he was just a puppy, and he didn’t want my light bulb, he was just looking for some food. Ok fine, I thought, I’ll find him something to eat. I went into the convenience store on the corner, to look for some food. I spent half my money getting him some canned pineapple. But when I got outside, I realized I had left my light bulb inside. When I went back in to get it, I couldn’t find it. I went over to the shelf where I had gotten the canned pineapple. The light bulb was there. So I took it, along with the pineapple, back outside. As I walked out, I was afraid the kid at the cash register would think I was stealing the canned pineapple. So I said, “I’m not stealing this,” very loudly. He said something in return, but I couldn’t hear him — I didn’t make eye contact, I just kept walking as fast as I could until I got back outside. When I got outside, I thought I’d find the dog, but he was gone.

I walked back in the direction of the bus stop. I was sure that by that time, I had missed the movie. It didn’t really matter — the movie wasn’t real anyway. You go to all the trouble of getting there and sitting through the whole thing and then it ends. And most of the time, the ending isn’t very good. I found the bus stop and sat down. It was dark now, and people were closing up the last shops. I didn’t know when the next bus would come. I set the light bulb down next to me, but it immediately rolled off the bench and cracked on the ground. I had carried it around all this time for nothing. Now it was broken. I continued to sit next to the broken light bulb, until I finally broke and opened up the canned pineapple. I thought it might be a good snack to have while waiting for the bus. I was eating the pineapple chunks with my fingers when the dog plodded up to me. He wasn’t trying any mischief, so I gave him a chunk of pineapple. When the bus came, I waved goodbye to the dog, and got on.

I wouldn’t recommend “Top Gun: Maverick” to anyone, because I haven’t seen it. Maybe I’ll go next Sunday, but by that time it might have ended.

Nora Brown

The banjo prodigy Nora Brown is now sixteen and the prefix “Little” has been dropped from her stage name. Raised in Brooklyn, her musical education began at six with the ukulele. Her first teacher was Shlomo Pestcoe, a jovial man with rivers of white hair, one of a long line of Jewish New Yorkers who has done much to preserve and popularize Appalachian music. Amid the clutter of instruments and stacks of CDs in Pestcoe’s apartment Brown learned her first old-time songs. Her acquaintance with the banjo started around the age of ten, and soon she was making trips to the southeast US to study with aging masters like Lee Sexton and George Gibson. A YouTube video shows Brown at age twelve sitting on a sagging couch with a ninety-year old Sexton in overalls as he teaches her “Cumberland Gap” in the beautiful two-finger style. It has been Brown’s dubious honor to be unofficially laureled as old-time’s best hope for survival, granted appearances on the TED channel and NPR’s tastemaking Tiny Desk Concert series. This early prestige has invited listeners to hear Brown’s music as the work of a savant, when it is more simply the work of an accomplished musician. Her first album, released at age thirteen, already bears the trademarks of a distinctive style: gossamer fingerwork, melodic phrases that give way to sudden pauses and silences, frequent use of softer nylon strings instead of the twangier standard steel kind, a special facility with slow tunes; vocally, a recessive quality, her words intoned almost reluctantly. 

This disposition of inwardness sets her apart from the conviviality of many of her forebears. A legend of old-time music like Tommy Jarrell hollered while strumming the banjo, the singer and his instrument sounding like close friends engaged in riotous conversation. The difference may partly reflect changes in recording technology. Many of the canonical recordings of old-time musicians from the last century feature men and women performing on front porches, in living rooms, and in other informal social settings, unaccompanied by microphones, or else projecting loud enough to make amplification unimportant. Loudness also allowed the banjo to be heard over the tromp of dancers’ feet. The evolution of the microphone in the mid-century opened up myriad possibilities for singing and playing. Around this time in Brazil, for example, João Gilberto discovered the sound of bossa nova while singing in his sister’s tiled bathroom. To reproduce this acoustic quality in the studio, he began making albums in which his voice and guitar seemed to emanate a hair’s breadth from the listener’s ears, almost too close. Just a few notches above a whisper, Gilberto’s voice was curiously uninflected by feeling, but in spite, or maybe because of this, it was also supremely intimate. The writer Ben Ratliff describes the transformation that popular samba tunes underwent in Gilberto’s hands: “They were once social songs. Now they’re cloistered, but they still have the samba rhythm inside them: Gilberto could create it alone.”

I think you can hear a similar transformation of cherished old-time songs in Nora Brown’s playing. Garrulous tunes are resurrected as introspective reveries: they’ve left behind the din of the square dance for the privacy of the attic. Familiar lyrics that listeners are accustomed to hearing belted out rise from and subside into silence. Recorded in a cave thirty feet below street-level in Brooklyn, Brown’s new album Sidetrack my Engine does not have the studio-crafted meticulousness of Gilberto’s songs, but it shares in his confidentiality. An interesting example is the song Frankie and Albert. A blues ballad about a woman named Frankie who killed her unfaithful lover Albert in a well-publicized 1899 scandal, the song has passed through innumerable variations, including a marvelously lively rendition by Taj Mahal, who narrates the story’s drama with an old raconteur’s gusto. In Nora Brown’s rendering “Frankie and Albert” comes to us wreathed in the mists and shadows of memory. The dramatic force of the story has been evacuated; in place of narrative immediacy is a serene mood of elegy. “Frankie and Albert” is no longer an item of pressing news relayed through the town market but something else, perhaps the tale of a former friend recollected on an evening many years after the murder. From the banjo, which she plays in the two-finger style, Brown elicits ringing, jewel-like tones, without twang. Sitting near the front during her album release show, it seemed possible to me that the audience had meandered into Brown’s personal quarters and found her sitting there, playing for no one in particular. 

Besides refining one of the singular styles in old-time music today, Sidetrack my Engine offers the pleasure of hearing two creative forces finding each other at the right time: Nora Brown and the talented multi-instrumentalist Jerron “Blind Boy” Paxton. Here Paxton plays the bones, a hand-held percussion instrument associated in the US with blues and minstrel shows in the early 20th century. Like any instrument that has not widely survived beyond a remote patch of time, the bones risk appearing as a quaint anachronism, trotted out to satisfy the curiosity of 78 collectors and the historically-minded. But what Paxton and Brown have created together is thrillingly new. In these duets the traditional timbral roles of stringed instrument and percussive instrument have been exchanged: Brown’s nylon-stringed banjo draws soft, resonantly bassy circles while Paxton’s bones crackle with nasal clarity high above, like Spanish castanets making merry graveyard chatter. Instead of thumping or chugging, the banjo arrives as a quicksilver flutter of notes ascending through the air. The fiddler Bruce Molsky has observed that what sets old-time Appalachian music apart from other forms of folk for him is its special concentration on the language of rhythm; and in their collaborations I hear Brown and Paxton replenishing this tradition’s great stores of rhythm, returning to the joys of nimbleness and fleetness. As Paul Valéry has it, “One must be light like the bird, not like the feather.”

Editors’ Letter 4: Kenneth Rexroth’s Tombstone

Selections from the editors’ diaries.

The inescapable tendency to rationalization! Young friends seeking to venmo “their share” of every lunch.  Non-married, “boyfriend-girlfriend” couples going to couples therapy.

I’ve been taking these “clinically formulated lavender pills” for my persistent anxiety. I’ve always wanted to go to a health spa in the alps.

I gathered myself and went downtown to meet Ben to get our names changed at the Social Security Office.

I saw ol​​d men stealing overripe pomegranates from the Cagliari municipal police station

Looking into fluorescent foyers of low income apartments where someone has placed 
dark green
tropical plants

Crowded overdeveloped ports are like
guarded repressed personalities.

The young man claimed that dogs were the most fascist (always barking “Me! Me! Me!”), while Leonardo said that penguins were left-wing terrorists, because they fucked corpses.

In an attempt to convey the Roman personality, Nicolo described a comedian heckled by an old man in the crowd. “AO, AO, AO!”
No response.
“AO!” No response.
“AO! AO! AO!”
“Fine, what is it?”  
“I just wanted to say your nose is so big that it’s like you have another face on your face.”

Please see the attached invoice for lawn care and weeding performed in September.

Total Due:

  1. Dues paying organization.
  2. The radical arm of liberation movements
  3. Programs. Supervised and trained
  4. Haiti.
  5. Narcan.
  6. End The Contract.
  7. Lomos
  8. uomos sin cabeza
  9. Palm wine drinkard
  10. Biblioteca
  11. Tutto i miele e finito 
  12. a raíz
  13. al aire
  14. a pesar
  15. niegar se
  16. Retractar
  17. Digital Forensics
  18. White Collar Crime
  19. Data Privacy
  20. Cyber Fraud

   _____
   $73.85.

Three villages in Afghanistan were completely destroyed by U.S. bombing on October 6, 2010:

Tarok Kolache
Khosrow Sofla
Lower Babur

By a donkey and a mule deer. Searching for holes in the fence. Walk left. Keep it on your left.

He toddled like an infant in mincing steps. Ended on vulgar after gar, grotesquerie, gefund.  Germanic influence. Though of course she is a darling in the end. I said this in relation to Descartes but also in relation to the novel image of being born splat onto the floor.

I hope that as you read Hermoine Lee’s quotations of Woolf’s letters, that you are inspired to write letters and keep diaries, and to experiment with being writers in that way.

Kenneth Rexroth’s tombstone is the only one facing the Pacific Ocean at the Santa Barbara cemetery. 

“Poignant means stabbing—we forget that these days”

Stupid Black Bull in the Dark

From the novel Kal, by Shyam Manohar. Published by/courtesy of Popular Prakashan Pvt Ltd, Mumbai. Translation from Marathi by Winston Berg.

1
In my childhood I wasn’t brilliant or talented. I didn’t study much. In adulthood I didn’t study anything at all. I didn’t try to use my mind. Then, without having accomplished anything myself, my age increased. So I decided: you are wise now. Now you should speak on every topic. Give your opinion without thinking. Now that I’ve grown old, I behave like an intelligent person.

2
I tried writing poetry. I tried photography. I tried criticism. I stuck my nose wherever I could.

3
What do I read? I just read the newspaper. I don’t read literature.

4
Most of the time I talk about politics. I also say that it’s politicians who have ruined our society. Although, I do give importance to politicians. I feel that the prime minister is a great person. MP’s, MLA’s, Corporators are great people, to me. My respect to politicians.

5
I pay no mind to mathematicians, poets, writers, scientists. A mathematician lives next door to me, I don’t even look at him.

6
Is there happiness in taking revenge? There should be. Really, there should be. There is. I am happy to take advantage of my losses.

7
I never read poetry.

8
I’ve never read the Mahabharata. I’ve never read the Ramayana. I say this proudly.

9
How many Marathi words do I know? Ten million? A hundred thousand? Fifty thousand? At least ten thousand? Really, how many words of my mother tongue? I should count them once. My god! I should count how many words I know. Yes! Even so, there are millions of words that I don’t know. Very few words come to mind. I know at least a couple thousand. But how to confirm the exact amount? There must be some science to it. But… but I am getting bored, I’m getting lazy, I should study science. I should count how many words I know. I don’t want to get a headache. How many words might my mother and father know? How many words might my children know? A thousand!

10
I never cared much about language. I don’t care about words. Never mind sentences. Language just came to me. There’s sweetness in language, there’s beauty – here, I didn’t pay attention. I don’t even pay attention while speaking. I just speak, somehow. I partially pronounce words. And I speak, even so. So, how is it? Where did you go? How are you? Are you alright?

11
Do people like to hear good things about others, or do they like to hear bad things?

12
I like to say bad things about others. I like to wish misfortune upon others. I like to speak hypocritically. Accept my hypocrisy. I’ll accept your hypocrisy. I’ll be nice to you. You’ll be nice to me. Accept my false good deeds. I’ll accept your false good deeds.

13
I live my life creating small mafias. I form cliques, however small they may be.

14
I don’t like being alone.

15
I like to make trouble for others.

16
I like to eat more than I am hungry.

17
I like to avoid work. In the office I work very little. I don’t work carefully. It’s said that people in other countries do a lot of work. I like to leave work unfinished, and so on.

18
I once had a dream that I didn’t have to do any work. Someone said that I don’t get any work done, and a terrible anger came over me. Now, if you admit that you don’t work carefully, I too will admit it. You should be honest first, then I will, okay? Anyhow, let’s make a secret agreement, just you and me: you won’t criticize me, and I won’t criticize you.

19
I love to give in to my desires.

20
I asked everyone in town, who is knowledgeable? No one is knowledgeable, said everyone. Then I asked everyone in town, are you knowledgeable? “Yes,” said everyone, “I am.”

21
What is the meaning of life? Life is about networking, maintaining connections, and doing one another’s work through connections. Doctor, schoolmaster, lawyer, restauranteur, tailor, MLA, police officer, gasman: all these people need to make connections. I get all my work through connections.

22
I like people whose opinions match with mine. I don’t like people who have different opinions than me.

23
I listen to music. I never listen to the words in the song. That is to say, I don’t hear them. I automatically understand four or five words. In all of the songs, any song, I have never found meaning.

24
If someone raises a serious issue, I don’t understand it or I don’t pay attention to it. Or I say, “we’ll discuss it once you’ve calmed down.” Then, I simply never sit down to discuss it.

25
I think about horrible things, and I seem like I’m thinking about great things. I want everyone to be a liar like me.

26
I never know what’s best.

27
I never really know the meaning of a word and I never will. I can’t stand brilliant people. Many brilliant people have accidentally come into my company, little by little they come to my attention. Slowly, I start to hate this person. I always hate brilliant people.

28
I don’t like to have anything explained to me.

29
I only listen to those who give me respect.

30
I think art is a big palace made of Styrofoam. When lighting and water make an illusion, I think it’s art. In this world, I think getting the upper hand is art. Convincing someone is art. To show others you’ve got nothing, even though you’ve got everything, is art. Artifice is art.

31
Bravery, generosity, truth, fearlessness; I think these are only words.

32
Once I went to a lecture on science. The lecturer looked sweet and humble. I liked this. So, I sat down for the speech. They said, and this is a lecture of science, do you understand? Do you know what he said in the speech? Well, he was saying a lot. The topic was: the new horizon of science. The lecturer gave an example involving “autumn” or something, I didn’t understand, but then he made a lot of jokes and we all laughed. With the help of science, pigs will be as big as elephants – this is the new horizon of science, he said. I really like speakers that talk to us in the audience. The ones who amaze us, who make us laugh, I like those speakers. Once I went to a lecture by mistake, the speaker didn’t look at us in the audience. We didn’t pay attention to him. He spoke as if he himself was amazed by his own words. Anyway, I didn’t like that speaker at all. I had absolutely no understanding of what he was saying. I only could understand the one speaker, he should have spoken like the other.

33
In a discussion, I hear one word and that’s what we argue about.

34
I rarely read a book. Over the course of a year, I pick up a book once or twice. I never buy books. I get books from our street’s library. I just sift through the book. I don’t read the first page. I don’t read the first paragraph. I never sit down to read the first line. I never sit down to read the first word. I don’t know the meaning of some of the words, but I don’t struggle to understand it. I don’t get upset. I simply drop that word out. If I don’t recognize a word, I don’t read it over again, I just give up, that’s all. Then I start thinking, should I skip the paragraph too? And with this thought, I give up on the whole book. Without reading various lines and paragraphs like this, I feel like I’ve read the book. Even though I only halfway paid attention, I still read the book. Even though the book is incomprehensible, I read the book. I don’t read the book properly. I won’t sit down and try to understand its meaning. I don’t really buy books, and I don’t read them. And I’m proud that I don’t read books.

35
Imagine I’m walking on the street. I’m never in a hurry at all. There isn’t anything wrong with me. What I mean is, there’s nothing wrong with my mental state. As I was walking down the street, someone suddenly stood in front of me. He stopped me and said, “a scientist has measured earth’s exact weight.” “How much does it weigh? How did he find out?,” I will never ask such questions. I’m not even slightly curious about anything. And, I’m proud that I’m not curious.

36
Bhimsen Joshi, Mallikarjun Mansur, Kesarbai, Gangubai, leave these singers aside. What I mean is, put them aside because they are great. What should we think about them? They’re great. Even though they’re great, it only really takes a minute to understand this, and then I remove them from my head. Tukaram is great, right? I agree with this and put him aside. My mind can’t hold them. They don’t fit in my brain. Even if something’s the greatest, should we keep it in our mind or throw it out? I throw it out. But then what’s left in my head? In my mind, in my head, the second and third rate remain. I’ll use five or ten minutes of my life to call Tukaram, Bhimsen Joshi, and Einstein the greatest, and keep the other seventy-seven years for second and third rate things. I could live a second or third rate life for a long time. Then, once Shakespeare is put aside as the best playwright, I’ll call my brother-in-law the best playwright. However my son acts, I’ll call him a great artist. In this way, my third, even fourth-rate writing attains greatness.

37
Who do I call good? People who benefit me, they are the ones I call good.

38
I’m not intelligent, and I know this. Only sometimes do I confess to this in my life. If someone says to me, “you’re not intelligent” or even “you’re less intelligent than…,” a terrible anger comes over me.

39
I can recognize sixty-seven colors. Colors are sprinkled throughout nature, flowers, leaves, bushes, the sky, that’s what I read somewhere, I heard somewhere. In nature, flower petals, the leaves of bushes, the sky at sunrise and sunset, there are colors here and sometimes I see them, but I never forget myself, I’m never overjoyed. What I mean is, I was quite happy, but I wasn’t really, immensely happy. Moreover, there are many shades of colors, I don’t make an effort to know the details. In fact, I don’t make an effort to know the details about anything. I’m utterly vague.

40
Our India is a poor country. But the rich people in our country, do they know the language well? Are they well read? Do they know the difference between the shades of the colors? Do they use proper grammar?

41
Suppose I’m an engineer. And I build houses. I can’t build houses well at all. I’m a terrible, useless builder and contractor. Whoever I am, I’m terrible. I’m a terrible carpenter. I can’t work carefully and I’m helpless at the feet of the party chief. I’m terrible in the opposition party. My government is going nowhere. I’m a terrible Prime Minister. I can’t get rid of poverty in my country. I’m a terrible devotee. I’ll build a temple to my god, I’ll start a huge movement, but the temple’s architecture will be terrible. Because I don’t have the talent for architecture. I never had respect for architecture. I don’t respect architects. There shouldn’t be more architecture. There shouldn’t be any more science. I act like I’m not amazed by anyone. Don’t be amazed by your studies. I act like no one in my country should study mathematics, no one should study in their life. I act like no one should study astronomy for their whole life. I think that no one should spend their whole life studying anything. I think that, since I am shallow, everyone around me should be shallow too.

42
In India, 0 A.D., there was a big movement to ban dowry. In India, 1 A.D., there was a big movement to ban dowry. In India, 2 A.D., there was a big movement to ban dowry. In India, 4 A.D., there was a big movement to ban dowry. In India, 100 A.D., there was a big movement to ban dowry. In India, 2000 A.D., there was a big movement to ban dowry. In India, 3000 A.D., 5000 A.D., 150,000 A.D., there was a big movement to ban dowry. After 150,000 years, 10,000,000 years, there is a big movement to ban dowry. The Great Flood came, and the big movement to ban dowry, ban the caste system, ban poverty, ban corruption and unite India rages on.

43
I sit in front of the TV. I keep watching the TV whether I like it or not. Marathi cinema is awful. Let it be. A drama is starting, let it be. There are no good magazines in Marathi. Don’t let that be. Editors that don’t study. Let it be. Those who don’t practice are critics. Those who always study but never think are professors. Let it be. People who don’t know the meaning of greatness are defining it. Let it be. Let it be, I say. Frankly speaking? I have no need for anything cultural. The government wants to hold cultural festivals, so let’s do it. If someone wants to help the state out with cultural festivals, let it be.

44
I’m greedy for happiness. Even after getting so much I was restless. Therefore I wanted peace. So I turned to spirituality. In my youth I wanted sex, in my old age I want spirituality. Sex brings happiness and joy, and spirituality brings peace. It seems to me that spirituality is something that has to be done twenty-four hours a day. But of those twenty-four, I can manage only about half an hour to be spiritual. Who knows what I do for the rest of the hour! Who knows what I’ve done all my life! I don’t know anything.

45
I visited the library of the British Council. I never cared whether there was a top quality library in my town. Who does?

46
All the hospitals are filthy. Dirty hospitals indicate a most inferior culture. I’ve never tried to improve the hospitals. Who would?

47
I can’t talk much. I can’t listen much. I can’t give much. I can’t get much.

48
I’m afraid to do something great. I made someone afraid to do something great.

49
Independence, especially my own, has never even occurred to me.

50
In my youth I’d park my scooter in a “no parking” zone, and I’d pay the police to get off.

51
I don’t fear science. I fear grandfather. I’m not at all excited to meet a scientist, but when I meet a grandfather, I proudly mention that some-or-other grandfather is my acquaintance.

52
I’m afraid to hurt someone. Why would I hurt someone for no reason? I’d rather sit around and gossip. But I don’t feel ashamed to be totally exhausted by life.

53
I also fear my vices. I fear success too. I don’t think anyone should be successful.

54
I act like a thief. I suppress everything and do it secretly.

55
I had a dream. In the dream, it was so dark. And in the darkness, a black bull was sitting stupidly. I can’t wake up.

The American Dream/Fear of Cars

Recently, I decided to move out of my rented room in Oregon, and find the American Dream.

I decided that if I was no longer paying rent, I would have more extra cash to buy a property and claim my own piece of the Dream. Additionally, I was perturbed by the piles of scrap metal in the living room and the smell of rotting food coming from the refrigerator. The floor was covered in razor blades. During the winter I could hear the rats rehearsing for Cirque du Soleil in the ceiling above my lofted bed. It occurred to me at that time that none of this was part of the American dream. I had to come up with a plan to get out. In America, a car and a house are required in order to be truly happy. There is just no way around it. In fact, what you really need is a minivan—one that will fit your four kids on a hot day while you drive in circles around the mall. But you can’t go in yet, only quiet children get to shop. Not only do you need a minivan—you’ve got to have someplace to sleep and eat and charge your cell phone, which is arguably more important. While you are upkeeping your domicile and your various large machines, it seems only right that you would take breaks and indulge in something truly human and animalistic. And I don’t mean darts. I’m talking about sexual companionship. So of course there are several moving parts here, not only in terms of the sexual companionship but also the Dream as a whole. You can’t just waltz off on a flight of fancy and spend a year in the cantina cavorting with prostitutes—you may satisfy the need for sexual companionship that way but you will certainly not end up with a house and a minivan, unless you are heir to an inheritance of dividends from Big Pharma or a similarly lucrative industry. But that’s very few of us. Most of us must juggle several competing lines of strategy, hedge our desires and delay gratification of our needs, until we find ourselves in our minivan following our GPS systems directly into the driveways of our houses, where we will fuck our spouses and teach our kids about home ownership and how to operate a minivan. And I knew if I was going to get there I would have to step over the pitbull outside my door and start immediately. So I packed my bags and headed off into the sunset, as I am wont to do, about once every year when the weather turns nice, or when I haven’t gotten enough sleep or have eaten too much sugar. But this time I knew I would return to a warm castle (house) and beautiful ox (minivan) where I could plot my next move: the accumulation of inflation-proof commodities like lead. But that’s a story for another time.

It was the beginning of summer, and people were feeling free and easy. The world was opening up a bit as the infectious disease had begun to subside. It occurred to me that I must celebrate. The first stop on my journey was Reno, where I knew I could make some extra money on the Klingko winning wall, a slot machine with a large screen containing a poorly animated model holding a large case of money, who lived inside and was never allowed to escape. If I was lucky, which I was—due to the array of lucky symbols I had just gotten tattooed on my body—I would walk away with some of that money. As I sat at the slot machine, a man came up to tell me that I looked like Bob Dylan in the 1970s. Bob Dylan is a famous folk singer with a very large house. The man then came up five minutes later to show me a picture of Bob Dylan on his phone. “This is Bob Dylan,” he says. I didn’t know how he got the picture, but it looked like a picture of me. I figured that since Bob Dylan has such a big house, this was a very good omen.

I did win some money in Reno of course—$150, to be exact, $50 of which I spent on drinks and $100 of which I saved for the down payment on my future house, and then later spent on finger steaks at the gas station. It occurred to me that I would need more money, more luck, and a spouse, if I was ever going to buy my house and achieve my American Dream. For all that, I was going to need more lucky tattoos, a lot more money, and knowledge of the real estate market. And I was getting tired of finger steaks, which don’t keep very well in a backpack. So I boarded a flight to Chicago to check out the available real estate and get a local hot dog. 

As it stood I didn’t have anything. No driver’s license, no minivan, no house, no spouse. And no idea where I would find these things, and get close to my American Dream. It occurred to me that maybe I was misguided—could I ever really achieve the American Dream with my meager resources and lack of a work ethic? It seemed like every day I travelled I spent more money—and the dream seemed to get further away—like a non-player character in the early 2000s Harry Potter video game who always darts ahead of you and then beckons you from some hallway deeper into the Hogwarts School of Witchcraft and Wizardry. And if I did achieve the dream, would the game immediately end, leaving me sitting in front of a computer dazed, and wondering if the Harry Potter books are some sort of larger allegory related to religion or political science.

In Chicago I tried to bury these thoughts and just eat. I would stop by the hot dog emporium with Tom to get a Chicago dog, and study the various toppings—relish, mustard, onions, pepperoncinis—all the Chicago dogs in Chicago are Vienna Beef, but I was told by someone whose brother owned a franchise that Vienna Beef sold 7 tiers of different hot dogs. When a hot dog restaurant starts out, they can choose which tiers to buy for their restaurant: highest, lowest, or something in between. I guess what you choose depends on the resources you have, and your self-worth. Some dogs have a bit of a snap; others are softer, which is not my preference. If one dog was not enough, we would hit another spot and get another one. With so many types of Chicago dogs, who can think about the housing market? I continued to eat, but something wasn’t right. Finger steaks, hot dogs, and the heat of the sun. I went to the beach without sunscreen and ended up completely red. At night I tossed and turned, watching the skin peel off my knees. I wondered about the various housing markets in the various cities around the country, around the globe, and how much money it takes to get a piece for myself. Everywhere I went, everyone was living somewhere. Some were in one-bedroom apartments, some in houses, and some had tied the ends of a tarp to a fence, creating a shelter, and rigged up their propane generators outside. 

Tom made a reservation at Takito Kitchen, where he said we could get free shots because his sister used to work there. While we were waiting for Tom to arrive, me and Sam took his dog Bojangles to the beach. I talked about my tattoos. I told Sam that the dice, the triple sevens, and the various auspicious symbols tattooed on my body were totems of my luck. These symbols were lucky, and their presence on my body rendered me lucky. I was impervious to danger. Sam didn’t agree. He said that luck by definition was random, and couldn’t be influenced by my tattoos. We sat down on the grass by the water, and Sam tied his dog Bojangles to a tree. Another dog came up and they began to flirt. “Minnie’s got a mind of her own,” the dog’s owner said. “She don’t listen to me, she does what she wants.” Minnie sprinted off, and her owner ran after her, calling her name. We had drunk half a bottle of tequila by the time Tom arrived. We got in his car and I pulled up the map on my phone. I wanted to play some music on YouTube through his car stereo, but it wouldn’t play at the same time as the map was on. I tried to play one of my favorite songs, “What Am I Going to Do” by The Dovers, a group from the 1950s whose identities have been lost to time. There were several bands named The Dovers, and no one quite knows which one recorded which songs, or who the individual members were.

The cars weaved around each other, switching places like errant birds in a flock. We turned off the freeway toward Takito Kitchen and a white sedan on our left ran a red light. As it collided with Tom’s car, we sprang into the air and I threw up my hands to shield my face from the flying shards of glass. Blinding light obscured my vision as all our possessions rained down on us. The vehicle performed a varial flip and bounced on its hood, shattering the windshield. It sprang up again and this time landed on its wheels, which were still spinning. Tom, the driver, had been thrown into the back seat, and he leaped back into the front to press the brake pedal. I expected to wake up parapalegic or dead. But once I stumbled out of the mangled car, I felt great. 

There was adrenaline running through my body.  We exited the car and walked over to a patch of grass by the intersection. Tom lay down in shock, worried that his neck or spine were broken. All the cars at the intersection had stopped to watch. Several people got out to ask us if we were OK. I sorted through the glass and trash that was scattered around the car to find our phones, sunglasses, and other personal items. An ambulance arrived, followed by a fire truck and some cop cars. EMTs and police got out and began to hound us with pedantic questions. 

In the days following the accident I felt euphoric. I had no physical injuries, and, except for tiny particles of glass in my skin and ears, I was unscathed. I decided to party. The streets of Chicago were filled with people who had also decided to party. The bars were packed with people. People in clothes that reminded me of baseball, or crayons. The streets were filled with sound. People shouted and laughed like drunken courtiers in a walled garden, courtiers who had not heard or acknowledged the caws of vagrants on the street outside, their feet black with soot, predicting doom and apocalypse. Up until recently, the infectious disease had kept people out of the bars. But not now. A man with long hair and mutton chops came up to us. His arm was in a sling. “Where are the cool bars?” he asked us. “Where’s the cool scene?”

“How’s it going?” I said. “What’s your story?” He was incensed by the question. “I’m not going to answer you,” he said, and left, but not before telling me that he had broken his arm beating someone up, with the implication that I could be next. 

As we rounded a corner, we saw a snapback hat and a phone sitting on a newspaper box. The phone was on, and playing a music video at full volume. The hat was new, with the tag still attached. I stopped by the newspaper box to examine the music video. There seemed to be no one around. Just a hat and a phone on a newspaper box. Suddenly, a man popped out from some hidden place, and walked towards me. His head was covered in a white doo-rag that suggested the absence of a hat. “Those are mine,” he told me, seeming perturbed.

“Why is your phone playing a music video to no one on this newspaper box?” I asked him. “I’m trying to get a woman,” he said. “They are not for you.” I was not a woman. “We could make love,” I told him. He looked at me like he was going to kill me, and I left.

At the end of the night, walking home with Tom and his partner, we were approaching his apartment when a small girl ran up to us. “I’m sorry, can I please walk with you?” she asked. “I’m being followed. This guy just picked me up and tried to carry me into an alley.” We walked her to her friend’s apartment, and then doubled back, searching for the assailant. We looked down the alleys and side streets but to no avail. When we couldn’t find him we went home and went to sleep. 

Soon it became clear that, due to the car accident, Tom was concussed. He seemed confused and distracted, and would mutter and walk in circles for hours on end. He became fixated with erasing any record of his identity from the internet, and would work his thoughts about Karl Marx into every conversation. While these behaviors were present before the concussion, and in fact enduring parts of his character, something was clearly wrong. The doctors told him to take a couple weeks off work and rest. He travelled back to Wisconsin, and left me with the keys to his apartment. 

I thought I was fine. No scratches on my body. Even the glass in my skin, hair, and ears had now disappeared into my flesh. I continued to eat, and drink heavily. The car accident was just a distant memory. On my last day in town, I met up with a childhood friend who happened to be visiting Chicago. Gautama had been living in New York with his family, after returning home from Eastern Europe, where he was supposedly writing some kind of thing for some kind of magazine. He had been there for several years. I didn’t know the details. My flight was at 7 p.m., and I decided to take some LSD. Gautama took some as well, and we left the apartment after sucking on two tiny paper squares. We went to the zoo, where a lonely zebra with an erection stood in an enclosure. Families with their herds of children milled around buying various ice-cream accessories. There was no water anywhere. The zebra looked sad in his enclosure, and I wondered what he did all day with no zebra friends and family around to keep him company, isolated in the midst of a human society frantically seeking leisure, and sucking their ice cream like it was not the readily available commodity he knew that it was. 

We left the zoo and eventually undulating textures of the air and the fragmented rays of color gave way to a dip in my brain’s ability to process serotonin. Gautama had left and I was alone on my way to the airport. Soon I was on a plane to Los Angeles. I had told my friend Jesse that I would meet him in Los Angeles, as it had always been his dream to visit Hollywood Boulevard and the Sunset Strip. To see the Walk of Fame and visit the clubs where the psychedelic rock bands in the 1960s had first played for an audience and achieved acclaim. I wanted to be there as he actualized his dreams, and frankly, I had nowhere else to go. But as I hurtled through the sky, my face wrapped in a fabric medical mask, I began to ruminate. The acid had left me tired and yet acutely aware of my mind’s condition. It was at this moment I realized: during the accident, I had been concussed. Knocking around inside my skull as the car flipped, my brain suffered irreparable damage that would debilitate me for years to come. I longed for a warm bed, the physical comfort of a spouse, and the convenience of a minivan. Yet my mind felt like a jar of jellybeans that had been scattered across a city block and stepped on by quadrants of mortgage brokers quickly clomping between their work boxes. I did not eat the pretzels, I did not drink the tomato juice, and I could not suspend disbelief that these things were not just processed sugar and white flour that had been sifted through itself so many times as to render it free of all nutrients and value. I was empty, with nothing to fill me, and yet so full of fractured idea-objects and screeching noise that I wished I was sand blown over an underwater beach by an atomic bomb with no purpose. The American Dream stared at me like a family at the aquarium, slurping their ice-cream drippings, and leering at a tired narwhal who was desperately seeking shelter behind the hollow plastic rocks, wondering why every wall of its vision seemed to refract, like a cruel prism, an ice cream family familiar yet alien, silently yet dutifully mocking the narwhal’s cursed existence as a thwarted interloper in an invisible cage.  

When I arrived at the airport in Los Angeles, it was late at night and the air was cool. I turned on my cell phone to find a voicemail from Jesse, advising me on how to save money on my cab fare. He said that I could get a cheaper fare from the rideshare apps if I walked away from the airport and down the nearby street. Crowds of people were corralled at the nearby predetermined rideshare app taxi pickup location, waiting for hours. After half an hour of trying to find the exit, I climbed over a small fence and wandered under an overpass and towards the nearby Hyatt hotel, where, standing on the side of a highway, I looked at my cell phone and noticed that my taxi fare had gone down significantly, and my wait time had been reduced from an hour to four minutes. I was on my way to Hotel Libra, a hostel in Koreatown where my friend Jesse had been staying. In my taxi on the way there, I talked about rent prices, and the driver gave me an orange and said, “Every little bit helps.” When I arrived at the hostel, I went immediately to sleep, and awoke the next day to bright sunshine streaming through the window. 

My body was sore and my head throbbed and as I walked with Jesse down the long, wide streets of L.A. in the blistering heat, and it occurred to me that I should see a doctor who could help me treat my traumatic brain injury. I felt waves of fatigue in my body and mind, and I just wanted to curl up and sleep, but I wanted to do it somewhere with air conditioning, somewhere other than a hostel, and far away from L.A. I noticed myself developing a fear of cars, as every crosswalk and intersection made me skittish, and images of colliding cars ran through my mind. There were many cars in L.A., but as neither Jesse nor I had one, we took the subway. As we sat in a subway station with our guitar, on the way to Venice Beach, a man with no pants came up to us and asked for a lighter. He was holding a straw and a piece of tin foil. I offered him my lighter, but just then our train came, and so we all got on, and he sat behind us in the relatively empty car, and used my lighter to smoke something off the tin foil.

“What are you smoking?” I asked him. “Is it heroin? Or speed?” 

“It’s fentanyl!” he said with a smile, and then he returned the lighter, thanked me, and departed. The ride to Venice Beach was two hours long, and I put on my sunglasses and retreated into thought. 

When I next registered my surroundings the train had moved aboveground and two LAPD officers entered. They seemed to be in a good mood. They greeted a black mother nearby, with two very young children. The police officers said hello to the children, and then one of them approached the kids. “Here you go, pal,” he said, handing the eldest child, who was around four, a gold LAPD sticker in the shape of a badge. “And here’s one for you, princess,” he said, giving one to the other child. “He’s a boy,” said the mother, audibly annoyed. The cop retreated and stood back by the doors of the train car, across from the other officer, and tried to make forced conversation with the mother. The four-year-old held the sticker, kind of wiggling it, clearly unsure what it was for. When the officer noticed that the child did not understand the sticker, he went back over. “Like this,” he said, taking the sticker, peeling off the backing, and affixing it to the kid’s chest. Once the sticker was soundly attached to the child, the officer went back to his position by the door. A couple stops later the officers departed. A little while after that, we arrived at Venice Beach.

I needed some direction. I did not feel any closer to the acquisition of property. I had no driver’s license, and no minivan, and in fact I had developed a fear of cars. Cars are very dangerous, as I had learned—and a family in a minivan could in a split second turn into a dead family in a minivan. Which is almost the American Dream, but not quite. And I wanted the real thing. The idea of marriage or children generally turns me off, but how can you drive your family around in a minivan if you are alone? Loneliness is very American, but you have to at least have a family somewhere to neglect. A minivan is very large and too big for just one person. If I did not have a house or a car, maybe I could at least get married? At that point I would’ve just settled for some action. Walking down Venice Beach I found a homeless woman with white dreads and very few teeth who was sitting on a blanket with a deck of tarot cards. I sat down for a tarot reading. I cut the deck and pulled five cards. She exclaimed as she flipped them, as it seemed my reading was important. This woman, and her cards, seemed to know immediately what I was thinking. I did not tell her anything or even ask her a question, and yet she seemed to pick thoughts out of my head. As she studied the cards, she cackled and told me I unfortunately would not find a spouse in the immediate future. Her deck was a Humans vs. Zombies deck, and was adorned with scenes from the zombie apocalypse, like an A-Bomb hurdling into the ocean, with zombie faces superimposed over it, which I didn’t quite understand, but seemed to be relevant. As for the rest of my quest, she said, at the moment I had very few opportunities. If I have no foundation for marriage, and no lucky breaks that would land me in a house or minivan, how would I ever achieve these things? I asked the psychic earnestly. Her face went blank. “Time,” she said, with a shrug. I was dismayed by this information, but I have learned not to trust everything I hear from toothless psychics on Venice Beach. We continued our walk. A man stood with an amplifier, holding a microphone while a guitar solo rang out, as if he was about to sing. We stopped to watch him, but he just stood there standing quietly  as the guitar wailed. “This music is The Doors,” he said. “They met here on Venice beach.” We continued to chat with him for a couple minutes, and as the guitar solo played he told us a few times about how The Doors met on Venice Beach. Eventually we walked off, the guitar still ringing, and the man still silently holding the microphone.

Christmas in Pariang

Pariang County, Unity State, South Sudan, December 2014

Dear Jérôme, 

It’s the day after Christmas. I am in a pick-up truck in the north of Unity state, driving from Pariang town towards government-controlled oil fields close to the Sudanese border. Six months ago, you were in Leer, and I think that if there were a good road, it would only take a few hours to drive south and see if your friend Ruth had returned home. It’s a brief thought. Though from Pariang to the oil fields is but a tenth of the distance to Leer, it’s already midday, and we have been on the road for five hours, bumping up and down in the dusty heat of the dry season. Between Ruth and I there are hundreds of miles of unpaved tracks, with checkpoints arrayed along them. 

Through the window of the pick-up, I peer out at an empty landscape. A flat plane of red clay extends to a horizon set on fire by farmers clearing the bush. On the Sudanese border, the panorama changes with the seasons. In July, after a few months of rain, this whole area will be a vibrant green, almost neon under the harsh sun. Now, the landscape around me has been stripped by heat and war, rendering it almost entirely devoid of life.

Occasionally, we pass the burnt-out remnants of tukuls—the clay and wattle huts, thatched with elephant-grass, which are the primary form of abode for the Panaru Dinka of northern Unity. Only the outlines of the tukuls remain, indicated on the ground by the rubble of the walls, like plans for future houses sketched in fragments of clay. With the next rains, the last traces of these dwellings will be absorbed back into the earth. These ruins we pass over in silence.

The sole buildings still standing are army barracks, government offices, and schools. All these outposts of the South Sudanese state look curiously similar: squat, one-story brick and concrete constructions, scarred by the conflict. It is as if they are part of a stage set for a long-abandoned film, its production hopelessly over-budget. Each building provides a prompt for Guor, my travelling companion, to tell me a story. He sticks to his script. Here is where we fought the rebels after the South Sudanese army, the SPLA, split in December 2013. Here is where we fought them as they moved south towards Bentiu, the state capital. At the end of each story he says, “we won,” and smiles shyly.

Guor is a young man, perhaps seventeen years old. He finished primary school at a refugee camp in Uganda and returned to Pariang, where he is now the secretary for the county commissioner. His principal task is to write the letters that the commissioner sends with abandon. Mostly, Guor tells me, they are addressed to Juba, the national capital, and mostly, he says, they ask about money. The commissioner told Guor to assist me as I travel through Pariang and to ensure, I suspect, that I don’t ask the wrong questions, or see anything untoward. 

On the way out of town this morning, a pick-up truck full of men wearing turbans roared past us. The letters ‘SLA’ were painted on the side of the vehicle, indicating that the truck may have once been the property of one of the factions of the Sudan Liberation Army, one of the Darfuri rebel groups that the government of South Sudan insists have no presence within the country. 

“What,” I asked Guor, “was that, if not the SLA?”

“You see, Joshua, the people of this country are very poor. They have no education. Like commissioner. The soldiers meant to write SPLA on the truck, but they had no schooling, and spelled it badly.”

Guor smiled and looked at me sheepishly, before explaining our conversation to the SPLA soldiers travelling with us, who collapsed into laughter. For the rest of the day, one of them repeatedly asks me, “where is the SLA?” and then wanders off, chuckling to himself.

*

As the miles unfold, I see neither more SLA vehicles, nor much of anything else. The flat red earth is unrelenting, and Guor’s triumphal victory narrative begins to feel staid. I go over the course of the war in my mind and struggle to remember who fought whom, when, and why. A year earlier, in December 2013, when the conflict began, I would have given anything to be here. I was in Luanda, Angola, speaking to SPLA officers over bad satellite phone connections, hurriedly taking down the details of battles, vainly trying to verify them, and writing up report after report: strings of names and dates commended for their level of detail by experts in the field, while I talked to my girlfriend about the conflict, and she struggled to remember who had fought whom, when, and why. Everything felt so concrete to me then, sitting on the other side of the continent. A year later, on the ruins of the battlefield, I suddenly feel like I don’t understand anything at all. 

The pick-up comes to an abrupt halt, dragging me from my thoughts. Around twenty cows block our path, ambling along the road ahead. Access to good grazing has been difficult during this war, and the cows are emaciated. Proud longhorns sit atop the raw outlines of ribs, supported by skeletal legs, as if sketched by a child. Our driver revs the engine and the pick-up snarls at the cows, but they pay it no mind. Our journey slows, all urgency forgotten, and we drive behind them, the truck rumbling along at the pace of their ruminations. Finally, after five long minutes, two boys come running out from the bush and with small sticks, like teachers in front of a blackboard, they guide their recalcitrant pupils off the road.

As we drive slowly past the cows, Guor whispers their names over the throb of the engine, softly enough that each sounds like a seductive promise. “Mior ma nyääl,” he says, pointing at a white bullock splashed with brown spots. “Mior ma nyang,” Guor says of a bullock brindled in brown, “like a crocodile!”

For the Panaru Dinka, reality is—to a certain extent—a cow. The brown blotches on Mior ma nyääl’s skin are said to resemble the pigmentation of the ball python from which the bullock derives its name, while nyang literally means crocodile. One could say that cows derive their names from creatures in the world, but the reverse would be just as accurate: cows provide the patterns according to which the world is comprehensible. Colors, like animal names, are often derived from the markings of cattle. As a child, Guor saw Mior ma nyääl and recognized a color pattern; he still hasn’t seen a ball python. 

As the pick-up clears the cows, Guor starts quietly humming a song. As a young boy, he and his age-mates would walk for weeks with the cattle in search of pasture, singing as they went. This part of his life remains unknown to me. He refuses to explain the song he is singing and flashes the same shy grin he displayed when recounting the SPLA’s recent military victories.

Cattle still determine many of the rhythms of the lives of the Panaru Dinka, but their world is changing. It used to be the case that young men received both an ox and the name of an ox (a young man’s ‘cow’ name) upon initiation, after which they could begin to acquire cattle of their own and think about marriage. Guor tells me there hasn’t been an initiation since 2005. That was the year the second civil war ended, fought largely between the SPLA and the Sudanese government in Khartoum. It should have been the year that everything else began. In 2011, South Sudan would secede from Sudan, and become, as the cliché goes, the world’s newest nation. Increasingly, however, 2005 seems to mark the end of many things. Guor doesn’t dream of cattle and initiation, but of further schooling in Uganda, and then a job with one of the NGOs that minister to South Sudan’s perpetual war.

We manage to drive for another twenty minutes before two more young boys emerge from the bush at the side of the road, a hundred meters in front of us. Rather than cattle herders, these young men are soldiers, and carry AK-47s instead of sticks. They wave us over in a manner which indicates that, despite their tender age, they are accustomed to being obeyed. We stop and the boys approach the driver, holding the barrels of their weapons level with the cabin of the pick-up. I am relatively unconcerned. The government has a firm grip on the oil fields, and the commander of the SPLA’s 4th Division in the area, Nelson Chol, has already informed the soldiers guarding the fields that we are on our way.

The two young men beckon us up a small dirt road towards a copse of trees. There, behind an elephant-grass wall, is a tukul. In front of it are some plastic chairs, and the commander of this group, Achuil. On a table in front of him are keys, tea, and a satellite phone: the must-have items for any self-respecting military leader in South Sudan. He has been expecting us, he says. We exchange pleasantries and I explain who I am and what I am doing, while Guor translates into Dinka. Achuil seems affable enough, but when I ask about rebel positions to the north of the oil fields, he hesitates. He has a problem, he explains, and gestures at the Thuraya satellite phone. Chol’s call about our visit was the first contact with his superiors that he has had this week, and he cannot use his phone, for he has no money. In my pocket, I detach a thin strip of Thuraya credit from my supply and pass it silently to the commander, who begins talking more expansively.

The rebels, he says, are not to be feared. They have forces on the Sudanese border at Panakuach, an hour away, but they are too weak to take the oil fields. The real problem is the United Nations Mission in South Sudan (UNMISS). Last week, a UN patrol moved south into rebel-controlled areas after visiting Achuil. “They just drove straight through,” he says. “We won’t let them pass again. Whose side are they on?” For the UN, such actions don’t seem problematic. “We are impartial,” a UN officer will tell me later on the same trip, “we don’t take sides.”

For these beleaguered soldiers, impartiality is not an option. When the civil war broke out, everyone was forced to choose: At the oil fields, employees who belong to South Sudan’s two largest ethnic groups, the Dinka and the Nuer, engaged in tit-for-tat killings. SPLA units disaggregated and fought against each other, while the Nuer population of Pariang fled south to rebel-held areas. This is war. Everyone must choose, and everything helps one side or another. A UN patrol that sees atrocities committed by the rebels and not by the government can be a useful part of the war effort, and thus the government prevents UN access to areas it is attacking. An aid operation set up in rebel territory will mean that some food or medicine will get to the rebels, and the reverse applies; humanitarian agencies are desirable real estate. 

During the first year of the war, Bentiu changed hands multiple times. By December 2014, the state capital was almost empty, inhabited only by government troops and their families, squatting in the ruins of the city. Bentiu’s former residents peered out at their homes from inside the Protection of Civilians (PoC) site in the UNMISS base, while the state-government muttered darkly about the “rebels” benefitting from UN assistance. Aid agencies had set up shop in the PoC, but the governor claimed this was unfair and two weeks before I arrived in Unity, had insisted that a food distribution should take place in Bentiu itself. “It was a sham,” a humanitarian who witnessed the event told me. “The SPLA had assembled their families in the middle of town, and stood around, telling their wives and children what to say as they were interviewed by aid workers.” To the aid agencies’ credit, many of them refused to participate in an exercise so clearly controlled by the army. Some agencies, though, wanted to ensure they appeared impartial—while also currying favor with the governor—and organized a limited aid distribution. It is undoubtedly true that the soldiers were also hungry. 

What I most urgently want to convey to people who have never been to South Sudan is that there are no neutral positions in this war, and no actions that don’t have political consequences. The soldiers with whom I sit this afternoon see the situation lucidly enough. Everything is recruited, resources as much as people. Talking to these soldiers, the UN’s stance of impartiality seems as impossible to me as it appears inexplicable to them. Where do you stand, they want to know: with us, or with the rebels? 

When we last met, you asked me if I have ever hated South Sudan. I don’t hate these young men, guarding an oil field that has never benefited them, while living off pumpkin leaves and hoping for wages. There is honesty in their world; they know that everything and everyone must take a position. What enrages me is the willful blindness of the UN and the NGOs. Is aid being diverted to an army that is carrying out massacres? The international community shrugs its shoulders and pretends to exist in a purer moral air, which hangs above the battlefield. It doesn’t acknowledge that everything takes a position. The oxygen of morality hides more tawdry bureaucratic injunctions. There is food to be distributed. Boxes to be ticked. Reports written on the amount of aid disbursed. Statistics to be used in funding drives. South Sudan’s crisis will appear—if only for a moment—on North American television screens. Donations will follow. In living rooms across the US, we will hear people asking: “How can we stop the horror?” (As if we were not already part of the horror). The fervent need to help is what I hate—this urge to help, to do something, anything, that comes before, and takes precedence over, precisely the people that the help is supposed to help.

My hatred of the NGOs and the UN is also a question of permissibility. I feel righteous anger because we are kin: foreigners to South Sudan. We all ask what we are doing here, and struggle to exist in a world that is not our own. In contrast, any critique I have of the forces slaughtering each other in Unity state is abstract. I feel I must understand before I criticize, and think I understand the NGO workers all too well. This is the incoherence of my moral compass. I sit with commanders responsible for massacres, and we drink, and exchange jokes all evening, and then when I interact with earnest young NGO workers, fresh off the plane from Nairobi, the best I can sometimes muster is a contemptuous snarl. I become friends with those furthest from me and hate those closest.

On the long flight from Chicago, via D.C. and Addis Ababa, to Nairobi, I re-read the book that you wrote, Chroniques du Darfour, composed of letters to your father. He lived in Darfur in another era, when the lines delineating the distances between people were drawn differently. You wrote:

You liked fieldwork. You felt like a fish in water, as you liked to say. Sometimes, I ask myself what I am doing here, plunging for a few weeks into the everyday life of a country at war, knowing perfectly well I have my return ticket. I do not believe you had these doubts. Because you were born in colonial Algeria, you did not see yourself as a westerner observing foreign bodies. Studying on a scholarship at the colonizer’s school made you erudite, but you remained an “indigene” as they said back then, and you were an early partisan of every independence struggle. In Sudan, you felt you were among your own people.

For your father, a collective way of life was imaginable, in which one could work together with the people of Darfur and share a vision of the future. We arrived in Sudan at a different moment, too late for anti-colonial partisanship. I have long been suspicious of an older generation of Sudan experts who, having missed the anti-colonial wars, found a late variant in the SPLA’s struggle against Khartoum. They remained romantics after the independence of South Sudan, clinging to a heroic image of the war, forgiving the government its sins, even as the country fell apart.

The experts’ identification with the SPLA is another variant of the NGO workers’ paternalistic vision of South Sudan. While the latter deign to help the victims of the conflict and presume to know their desires and problems, the experts romantically chose a side, lending a hand to a struggle not their own. 

Am I with the SPLA or with the rebels? I cannot answer the soldiers’ implicit question. There is no collective subject imaginable between me and these young men, and no shared vision of the future. I will never be South Sudanese, and world history is not at a point at which we could link arms and call each other comrades. The soldiers understand my place. I might think of myself as a researcher, but for them I belong to the world of NGO workers and UN staff: the people of no place, with high salaries and return tickets. The people who have no clear answer to that nagging question: Why am I here? It is a thin solidarity that we share, forged not by common cause, but by air miles.

At the oil fields, no one asked me why I was in the north of Unity state, though I had prepared my uneasy reply. Mabek Lang, the deputy governor, had invited me to spend Christmas in Pariang. 

*

I arrived in South Sudan a week ago to do field research for a report for a Swiss organization on the conflict in Unity state. I was last in Juba, the nation’s capital, in 2012, before the conflict began, and walking around old haunts accentuated the differences. Everywhere I went, eyes narrowed. I met a Nuer contact at the Grand, an old hotel that I thought would be empty in the afternoon. We sat outside amid broken parasols, drinking bad coffee in the stillness of the dry-season sun. Half an hour after we arrived, three Dinka men strolled past, turned around, and immediately started to walk up and down next to us, staring with unconcealed malice, our conversation withering under their gaze. 

I started meeting contacts in my hotel room and playing John Coltrane’s Transition as loud as my laptop would let me, the frenetic saxophone drowning out—or so I hoped—our whispered discussions about the SPLA’s assault on southern Unity. For the government, everyone was a potential rebel, and in bars and hotels, I policed my conversations, doing the work of the national security services to stave off their appearance. Strange to think now that the tumultuous period between 2005-13, for all its difficulties, turned out to be a high point for southern Sudan, and for the possibilities of doing research here. 

All of Juba was on edge. The black-market exchange rate between the dollar and the South Sudanese pound jumped with each new clash in Unity. My Kenyan friends, drawn to South Sudan by the influx of oil and aid money after the signing of the peace agreement in 2005, talked for the first time about returning home. It felt like the end of an era. After a couple of days in Juba, I too was ready to leave, but for Bentiu, rather than Nairobi.

That is not as easy as it might seem. The enterprising firms that provided private sector aerial transportation in southern Sudan from 2005-13 closed their doors shortly after the conflict began. To travel overland from Juba to Bentiu would have taken at least a week, if I could have somehow managed to get past all the government checkpoints. At this point, there are only four functional transportation infrastructures in the country: that of the oil companies, effectively off-limits to researchers; that of the UN; that of the NGO community—itself largely parasitic on the UN agency that organizes flights for humanitarians, UNHAS—and that of the SPLA. To move around South Sudan at war requires ingratiating oneself with one of these communities. This is one of the reasons that journalists and researchers are so reluctant to criticize the UN and NGOs. If you are blacklisted, you lose your means of travelling around the country and access to the officials whose quotes pad out every story on South Sudan. As a Marxist, I never realized how much I would miss free market capitalism until I tried to organize flights out of Juba. 

On previous trips, I had flown with the SPLA and a variety of NGOs. On my second afternoon in the capital, I had a meeting with an organization with which I had previously travelled around South Sudan, and that had suggested it could assist me in getting up to Unity. Over instant coffee, I met the NGOs’ country team. The director, an affable British woman who had recently arrived in Juba, asked me for my understanding of the situation in Unity state. I launched into an impromptu presentation. The director was seemingly impressed with the whirlwind of information that I summoned up, though by the end of my talk, she seemed somewhat surprised, and there was a guarded pause before she responded, “Well, that is all very interesting.”

I asked the director what she knew about the situation in southern Unity, where her NGO had operated before it shut down due to the conflict, and she deferred to her security officer. He explained at great length that the area was largely peaceful and pro-government, with some regrettable bandit activity. This was not what I had heard from my sources and it ran contrary to every report on what was going on. It was, in other words, a lie. The director smiled, and said of her security officer, who was a young man almost certainly in the pay of the security services: “He is so knowledgeable.” “Might your organization,” I asked, shifting the conversation to the director, “be able to facilitate my travel to Unity, as we discussed?”

The director smiled. “Everything is rather tense at the moment,” she said. “Rather tense. If we were to fly you out to Unity, and you then made allegations about government activity, that might endanger our operations in the country. However, if you were to restrict yourself to reporting on the humanitarian crisis, and the urgent need for more assistance, well, in that case,” she smiled, “I am sure we could be of help.” 

All across Juba, even old friends told me the same story. Your work is too dangerous. We can’t take the risk. Things have changed. A week before I arrived, a group of South Sudanese aid workers had been arrested at an airstrip in Unity, on suspicion of being rebels. Journalists were being detained. The internationals were deported, while the South Sudanese disappeared into SPLA military prisons. Things, as the director said, were tense.

*

The day after my meeting with the NGO, I went to see M, an old Jikany Nuer friend from Bentiu, who now worked for an American organization. We met at his office; foreigners came and went all the time, and my visit wouldn’t arouse any suspicion. Under the strip lighting of the container, I saw M’s eyes: tired, almost hollow. Since December 2013, when government forces went door-to-door killing Nuer civilians in Juba, he had been living in fear. He sent his family to Uganda, like so many South Sudanese, and remained only because his job provided a thin stream of income for his children’s schooling. We didn’t talk about what happened the previous December. His life had shortened. “I move,” he said, “between my work and my home, and the walk between the two compounds is terrifying. I don’t go anywhere else. Any Dinka can kill me now, and nothing will be done,” he said, referring to the dominant ethnic group in the government. There was a long pause, and we stared at each other, before he asked, “And what, Joshua, can I do for you?”

*

The Unity state coordination office, where the state-level government does its business while in Juba, was a recently requisitioned building, and the long line of rusting black tuk-tuks in front of its yellow walls stood testament to another, more profitable moment in Juba’s recent history. M entered the building twenty minutes before me. The organization he was working for was assisting the government with the migration of Sudanese nomads and pastoralists, groups that annually cross into South Sudan in search of dry season grazing. He had some things to discuss with the commissioner of Pariang county and might be able to introduce me, if I were to show up. 

As I wandered into the building, I was confronted by a stern sign: ‘All employees must go to Bentiu to receive their salaries.’ The government wants its workers in the state capital, while they would rather collect their pay in Juba’s more commodious confines. It is not, after all, as if there is much to do in Bentiu: the city is a ruin, social services non-existent or else provided by NGOs, and half the state under the control of the rebels. Though there is little for the state’s employees to do, it is important that they are paid. Wages are considered an obligation of the state—a way of distributing power and keeping people in line—rather than payment for work done. This isn’t corruption or laziness, but the reality of a country that war has dragged to a stop.

Over the following week, I spent a lot of time at the coordination office. The county commissioners and ministers competed for the few available desks. I am sure you have been in offices like this before. There were no computers, only occasionally electricity, and no papers to be seen. The governor of the state, Joseph Wejang Monytuil, never came in. Some employees claimed he was there very early in the morning, before I arrived, but this wasn’t credible. Juba’s real politics takes place in hotels, where powerful old men hold court and make decisions during meetings whose existence is not marked on any office calendar. The state-level administration, in contrast, is populated by young men sitting on aged couches. I spent hours there, waiting for ministers who often failed to show up. The young men slouched around me were waiting for a meeting, a job, some money—an opportunity to make something of their lives. Mostly, though, they were just waiting. Their passivity is structural. In Juba, power and money flow downward, and without the intercession of a higher being there is little to do but wait. 

That first morning in the office, I asked one of the young men draped across the couches in the entrance hall where I might find Monyluang Manyiel, the Pariang county commissioner. Guor stopped playing with his phone, and walked me into a dark room, with cheap faux-wood paneling. M was already there, a satellite phone in his hand. He introduced me to Monyluang, a small man in a cobalt safari suit, and then made his excuses—he had to go and arrange the migration into Pariang that was to occur the next week.

Monyluang and I talked about the migration, life in Pariang since I last visited in 2012, and how proud the Panaru Dinka were of their favorite son, Mabek Lang, once the county commissioner and now the deputy governor of the state. It is Mabek who was behind the commissioner’s appointment, but of this, I say nothing. In a country made suspicious by war, and tired of the foreigners who move in and out of South Sudan, I have learned that to get someone to trust you takes a long time, and immediately asking direct questions rarely gets you very far. At the end of our chat, I hazarded simply to ask whether Monyluang would be returning to Pariang anytime soon. Why yes, he replied, smiling, we must return with everybody’s salaries, in time for Christmas.

*

My other options exhausted, I had to get on that plane to Pariang. So began my wooing of Mabek and Monyluang. The county commissioner had taken up residence at The Africa Hotel, on a rough, unpaved road behind the university. After our first encounter, we had decided to meet at 10 am the next day, at the hotel. When I arrived, Monyluang had already left, and calls to his phone were left unanswered. Finally, after hours spent drinking cups of strong Ethiopian coffee, I got through. We made another appointment. Monyluang again did not show up, and the process began anew. Some mornings, I simply went to his hotel and waited. 

At Logali House, where I was staying, my days spent pursuing Monyluang were met with knowing smiles from NGO workers and journalists. The South Sudanese, they said, have no sense of time. I disagreed. Monyluang has a very acute sense of time; it was simply that he did not have time for me. South Sudan has neither had a long history of generalized wage labor, nor endured the long decades of the 19th century that it took Britain to work to a clock. Meetings start when the right people arrive, and the right people only arrive when the meeting starts. Time clusters around relations. Monyluang’s sense of time revolves around himself and his place in the political hierarchy of Unity state. I come somewhere close to the bottom of the list. Why should he have made time for me?

I took this state of affairs as something of a personal challenge. Through Guor, I had already suggested I might join them when they returned to Pariang, and he had no doubt passed this information to Monyluang. After three days, I finally managed to meet the commissioner outside his hotel, as he was getting into his car. Pariang? “Yes,” he said, “we will see. Have you spoken to Mabek?”

Mabek Lang was staying at the Concord, a rather better hotel than The Africa, as befits the deputy governor of the state. Early the next morning, I walked past a tired buffet of ageing ham and eggs and into the dark main bar of the hotel. I hadn’t seen Mabek since 2012. During the second civil war, he was the military commander of Pariang, and with the signing of the peace agreement, he had become the county commissioner, though his hold on the territory was no less absolute. He was sitting in a corner booth, and I was about to walk over and introduce myself when he raised his hand, indicating that I should stop. I took a seat at the bar, and slowly realized that the room was an antechamber. Everyone was waiting to meet Mabek. I ordered a coffee and took my place at the end of the queue. 

Our meeting, when it finally occurred, was over quickly. Not knowing whether I would get another chance to talk to Mabek, I asked him direct questions. What part did you play in Taban Deng’s termination as governor in 2013, when South Sudanese president Salva Kiir removed him from office after Taban Deng decided to ally with Riek Machar, the Nuer vice-president? Why did Monytuil, the current governor of Unity state, side with Kiir over Machar when the civil war broke out? His answers were pat, formal. I could have written them out in advance. Finally, indicating that my audience was at a close, he said, “And I do hope you will join us in Pariang for Christmas.”

*

The biplane taking us to Pariang shook so much that conversation proved impossible, and we all vibrated together, withdrawing into our own thoughts. Back in Juba, Monyluang had promised me a car, a full tank of petrol, and an armed guard, with free remit to go wherever I wanted. For a researcher in South Sudan, this is akin to being promised a unicorn, and as we flew north, I couldn’t quell the doubts gathering in my mind. At the airport, I had met two journalists who were to accompany us north. Mabek had apparently decided that Pariang had some good news to share with the country, and both journalists seemed happy to come along. South Sudanese writers don’t have an easy time; there is no money to get around the country and heavy censorship. An invitation from the government can’t be turned down. I didn’t dislike either of them, but their presence made me anxious, and filled my head with visions of the three of us dutifully attending the Pariang beauty pageant, my hopes of research reduced to a series of public relations exercises devised by Monyluang.

From the landing strip at Yida, South Sudan’s largest refugee camp, a welcoming committee whisked us away to an arrival celebration. Outside a large tukul, a thin chalk line had been etched into the clay, its border zealously guarded by SPLA soldiers. Children amused themselves by skipping around the edge, while the soldiers chased them away, weapons raised in mock seriousness. Inside, we sat on plastic chairs in sweltering heat, listening to the first of many speeches praising Mabek’s leadership and the wonderful gift of this Christmas visit to Pariang. After an hour, I excused myself, and went to wander around the market; it was there that I understood the meaning of the speeches.

“Life is hard,” Abdulrahman said, his keen eyes assessing me as if I were a prospective bulk purchase for his stall. He was from Darfur, one of many traders who use a network which now stretches across both sides of an international frontier, and for whom the creation of a new nation was a business opportunity. He moved to Yida shortly after South Sudan seceded, when the camp was created. “Business is bad,” he complained. Before independence, this part of southern Sudan was always more economically connected to Khartoum than to Equatorial Juba, a thousand miles to the south. Goods used to come from Heglig and Kharasana, just across the border in South Kordofan. After 2011, and South Sudanese independence, the Sudanese government closed the border as a means to put pressure on the South Sudanese government, and now many goods have to come by plane from Juba. Prices have skyrocketed, and some traders, connected to Sudan, have found alternate means of getting stock. “Everything I have here,” Abdulrahman told me, gesturing at the neatly pressed clothes hanging all around him, “comes on motorcycle, smuggled across the border.” Despite the availability of goods, the market seemed subdued, and as we sat drinking tea, Abdulrahman told me that no one was buying. Though Yida is a refugee camp, it is also a garrison town, reliant on the salaries of the officials and the SPLA soldiers stationed there for injections of fresh currency. No one had been paid in months.

Still, he said, things will soon be better. Better? I ask. Better. Mabek and the officials have arrived, and they have brought the salaries of the officials and the soldiers. For the holidays. I didn’t tell him that I didn’t see any large bags of money heaved onto our plane. With the government in Juba continually flirting with economic collapse, I wasn’t optimistic that salaries would be paid any time soon. 

I arrived back at the celebrations in time for a late lunch, and then, finally, we left: a cavalcade of pick-up trucks kicking up red dust as we cut through town, the dignitaries in the middle of the procession, armed units of the SPLA at the front and back. The sun was falling rapidly from the sky by the time we arrived in Pariang. While the commissioner greeted local luminaries, I walked across the road to the place I was to sleep. It was an old school building, most of it now in ruins, destroyed during the fighting. One central room was still standing, a constellation shining through the holes in the ceiling. I was to stay here with Peter Majong Majak, Unity’s minister of agriculture, and an older man who looked at me distrustfully without fully meeting my gaze, Simon Matuele, the deputy minister of government. Though we had all taken the plane from Juba together, and I had already had lunch with Matuele, he greeted me at the entrance of the school building as a stranger. “You visit us,” he said, “in reduced circumstances.” Matuele’s evident suspicion was combined with a sense of shame that a guest must be shown Pariang in these conditions. There are appropriate times to visit.

Matuele said none of this, as a soldier brought us some water and we washed gratefully, the dust of the journey turning to mud at our feet, before returning to the commissioner’s compound for dinner. We sat under the cuei tree as dusk dusted the compound, and dined on aseeda, while Matuele proceeded to conduct a good-natured investigation. “Maybe, Joshua, you are here because you are angry at Scotland? Do you want to punish South Sudan as an example for all states thinking about secession?” There is laughter around the table, and Matuele, sensing an audience, continued. “My father,” Matuele said, “knew the last British district commissioner. He told me that the British were scared of only two things: the angry German and the naked Dinka. But I am not naked. Are you scared?” More laughter.

The group of women who cooked dinner cleared away the plates as quietly as they had served them, and the commissioner and the journalists announced that they were going to bed. Tomorrow, after all, was Christmas Eve. Majak, Matuele, and myself were left in the darkness, smoking cigarettes and drinking bittersweet tea. It was then that Matuele began the real interrogation. 

“Joshua, why are you here? There is no good food. No good water.”

He held up a cup of the tanned water we had been drinking, though it was pitch black, and I saw nothing.

“There is no electricity. No this. No that. Why are you here? You are CIA!”

I laughed, but I was slightly flustered by this, more insistent, hostile line of questioning, and I answered as honestly as I could.

“I want to understand.”

Matuele found this rather pompous answer hysterical and collapsed into laughter. “To understand!” He gestures to an invisible audience. “He wants to understand!”

What do you say when people ask you this question?

I could have given the simple answer I give most people. I am a researcher with a Swiss organization, contracted to write a report on the conflict in Unity state. Matuele knew that already. Why am I here? The easiest answer is that I’m paid, but that truth hides a lie. Some people do come to South Sudan to make money. However, as you know, the organization I was working for doesn’t pay much, and I take these contracts to have an excuse to come to South Sudan. I don’t come to South Sudan for the contracts. I come because I want to understand what is going on, and because, in some dimly felt sense, I hope that in understanding the situation here, and my place in it, I might find some measure of freedom. Perhaps, I hope, in understanding, and in reflecting on what I am doing, and how I am bound up in this country, I might be able to create a space outside of the traps in which I find the international community enmeshed. 

Other internationals have more convincing answers. The evangelical interventionists who work for the Enough Project believe their publications can change the situation in South Sudan for the better; they appeal to the American government as if it were an angel of history, ready to rush in and save the world. I can’t believe that. South Sudan’s fate is largely in South Sudanese hands, the actions of the international community are both generally baleful, and unlikely to be changed for the better by my writing. On occasion, to be sure, the state department or the UN takes up something I have written, but their reasons for doing so are internal, determined by institutional priorities in which I have no say. They use my work to achieve purposes foreign to me.

I have friends, war photographers, who come to South Sudan for the purity of their art—in search of the beautiful, the notable, or the historic—or else for the vicarious pleasure of being in a war zone. Some come because it is their job to come. These friends belong to a closely related species, but they are different to us. We come back to this country, year after year, decade after decade. For many war photographers, Congo and South Sudan are essentially similar. For us, they are entirely different propositions.

Why do I come here? It’s too late to ask that question, I want to say. I’ve already been coming here. I’m in it now, up to my neck. It’s too late to turn away. What I want to understand is what I am doing, and that means understanding where I am.

For Matuele, my answer was ridiculous. Knowledge for knowledge’s sake is not a meaningful posture in a warzone. Understanding requires an end. Matuele knows, better than I, that there is no knowledge that is not bound up with a will to know, even if his reductions are too simplistic. Not all knowledge is a question of state power, not all researchers are with the CIA, and the instrumentality of knowledge is not as obvious an equation as Matuele might think. 

Still, his laughter haunted me as we walked back to the school, and I lay there, the air hot and still, listening to Matuele snore. What was I doing there? Why did I feel so happy, so fulfilled, that night in Pariang town?

*

The next morning, I awoke early and bounded out of bed in search of a unicorn. Before anyone else had stirred, I was sitting in Monyluang’s compound, writing up my notes and enjoying the sun’s first blush. Finally, around 10 am, the administration of Pariang gathered to eat breakfast. Mabek was staying at another compound. I asked Monyluang about the car. “Yes, Joshua, of course, but after the holidays. You cannot work on Christmas Eve!” 

We sat around drinking tea and chatting until the sun was almost at its apex, and I resigned myself to spending the day exploring town. With the two journalists, I set off for Pariang market. The streets were quiet, almost entirely without people, and I felt as if I were walking through the business district of a city on the weekend. Finally, we found some people in the market: a group of young men, idling by stalls that had not been set up, who entertained our questions about life in Pariang.

The year before, the fighting had begun on 17 December, as tensions over the SPLA’s killing of Nuer civilians in Juba led to clashes at the oil fields. A few days later, the fighting moved to Pariang town. Most of the SPLA’s 4th Division, which is based in Unity state, was Nuer, and sided with the nascent rebellion. Up and down the state, SPLA units split. In Pariang town, the rebellious soldiers fought against both those Dinka elements of the 4th Division that remained loyal to the government and local Panaru Dinka. It was never in question which side the Dinka would take. Unity is a Nuer-majority state, and for much of the second civil war, Nuer militia forces headed by the feared general Paulino Matiep dominated the territory, and fought against the SPLA, while terrorizing Dinka civilians. Pariang is one of only two Dinka-majority counties in the state, along with Abiemnom, and remained in the hands of the SPLA-loyalist Mabek Lang throughout the last civil war.  

When the current civil war started, the young men explained, the Panaru Dinka felt trapped. They feared that if the whole state joined the opposition, the Nuer would attack Pariang, a small Dinka-majority island, perched precariously at the tip of the north of the state, with no easy means of getting reinforcements. Last December, every young Panaru Dinka man felt he was part of a conflict whose equation was posed in existential terms. The young men I met in the market were among those who fought the rebels last year. The previous Christmas, the air was full of bullets. The rebels moved through this market, helping themselves to some free gifts. They targeted the stalls of Darfuri traders because, the young men said, they didn’t want to pillage the stalls of relatives (Nuer and Dinka frequently inter-marry) or friends, and the Darfuris were perfect strangers, largely unlinked to pastoralist networks of marriage and kin.

The young men looked proud as they explained how well the Panaru Dinka had acquitted themselves. By Boxing Day, the rebels had abandoned their attack on Pariang town and moved south, towards the bulwark of the rebel forces in Bentiu. No one, however, could be sure that the rebels were really moving south and wouldn’t suddenly return to sack the town. Every young man bristled with anticipation and no one else dared leave their tukuls. The streets were empty, and, the young men said, it felt like Pariang had been abandoned. 

This image of an abandoned town stayed with me as I said goodbye to the young men and walked aimlessly through Pariang, in search of signs of existence. Christmas had emptied the streets. War and ritual both create moments outside of time, in which we sit in the suspension of the everyday, hiding or resting, unable or unwilling to enter, once again, into the daily life of a place, as if we were on a stage set, and had not yet arrived at the appointed hour for the performance. 

Finally, towards the outskirts of town, we found an old woman serving the sweet black tea that fuels my days in South Sudan. I sat in the shade of an abandoned building with the two journalists, Afandy and Francis, and whiled away a few hours drinking tea by the side of the road. Both were Shilluk, one of the ethnic groups that lay claim to the title of being South Sudan’s third largest, after the Dinka and the Nuer. They grew up in Khartoum, displaced by the second civil war, and came of age in the Sudanese capital. Neither came to South Sudan until after independence. Afandy, a broad, tall man whose hands move frenetically, creating worlds as he talks, told me that he didn’t speak Shilluk, and didn’t want to learn. “I am a human, and I am Sudanese,” he said. He was a pan-Africanist, urbane and cosmopolitan. “Why,” Afandy asked rhetorically, “are we fighting tribally? Why divide ourselves?” He felt ambivalent about South Sudan’s secession, and struggled to find his place in a country increasingly divided on ethnic lines. 

We sat together and talked about politics. I felt at home with these two men, with whom I could speak almost without monitoring myself. If I had to choose a side in this conflict, it would be the side of Afandy and Francis. They, of course, had no side. Both men lived in Juba and worked as journalists. After independence, Francis had moved to Malakal, the capital of Upper Nile, where his family was from. He told me he got a good job, working for the local radio station. He had a girlfriend, owned property, and could speak Shilluk. Unlike Afandy, who had stayed in Juba, he had felt optimistic about the new South Sudan. 

The previous December, as Malakal became the center of clashes within the SPLA, and Nuer forces rampaged through the town, Francis had hidden in a church compound. His residence was burned down. He didn’t know what had happened to his family or girlfriend. He left on foot. “I’ll never forget those days,” he said, “wandering in the swamps, not knowing if we would live or die.” After Francis got to Juba, he had to begin life all over again. Our conversation slowed as Francis talked, the silence eventually encompassing the story, and we sat quietly, drinking tea, as the sun began slowly falling towards the horizon.

At dusk, we watched as the streets suddenly sprang to life. From seemingly deserted buildings erupted processions of young people, holding flags and singing, as if this were a mixture of a Scout jamboree and a carnival. From the edges of the town, groups from the surrounding villages moved in, all of Christianity’s multiple variations finding a place amid the banners and the dancers. As the worshippers converged on Pariang’s churches, we discussed which we should attend for the Christmas Eve festivities. The town’s administration had divided themselves up between the churches, so none should feel offended, but as Francis was a devout Catholic, we decided to join Monyluang at the largest celebration.

The church was dark and empty. This would be a Christmas held outdoors, in the intense heat of the dry season. In front of the church, wooden benches had been set up under awnings made of tarpaulin, candlelight flickering in the impromptu eves. We were some of the last to find space; people already filled the benches, while more streamed in from town and the surrounding villages: in one family, a particularly energetic child clasped a miniature Christmas tree fixedly between eager palms. Old women, wrapped in scarves, with the bright eyes of the devout, sat clasping rosaries. I suspected they had been there much of the day. Inexplicably sitting next to them, there was a man wearing a fluorescent yellow Dar Petroleum jump suit and a pair of work goggles, as if he had just arrived from the oil fields.

Then many of the groups of young men and women that we had seen parading into town put on a display in front of a central fire, and the singing and dancing lasted for hours. Have you ever seen Dinka dancing? The young men leap high into the air, and then swerve mid-leap, their bodies turning abruptly as they dive down, their hands cutting the air, as if spearfishing, or vanquishing an enemy, while the young women behind them sway, and then take their turn, in a dance both athletic and religious. The performance was at once one of combat, seduction, and religious praise, and I marveled at how these different registers combined as we gave thanks for the birth of Jesus.

Towards midnight, the service concluded, and groups of young people started to drift away, holding their banners and singing snatches of song. Francis and I walked towards the commissioner’s compound, cautiously finding our footing in the darkness. On our right, incandescent in the darkness, was a brightly lit stall. Its generator was running but the roar of the motor merely functioned as a growling bass for the highly pitched Dinka rap that was playing out into the night air from someone’s phone. Four young men swayed and laughed, continuing to dance. This, I supposed, was the after-party.

After we passed the group, we descended into darkness again, and I used my headlamp to show the way, wary of potholes. Suddenly, stars exploded through the sky, an angry yellow streaked with red, and we heard the crack of automatic firearms. Francis immediately ducked and ran into a ditch by the side of the road, pulling me with him, as the world erupted in small arms fire. After a moment, amid the crackle of the small arms fire, I could hear laughter. The soldiers were celebrating a Christmas without warfare by firing into the air. 

Francis, slightly abashed, dusted himself off and returned to the road. I could see he was trembling slightly; the memory of a Christmas past still lived bright within him. Back at the compound, our ditch escapade had already been reported to the administration and Matuele enjoyed giving me a hard time. “Did you think the rebels had come, Joshua? Or just the naked Dinka? Were you scared?”

Monyluang was less amused. The soldiers were wasting ammunition and would be disciplined. We should not be giving presents to the enemy. 

*

The day after Christmas I walked into Monyluang’s compound, early in the morning, and saw a unicorn. It was an improbably new pickup truck. I had to find fuel for the vehicle, but I was free to use it, just as I had been promised. Guor, myself, Afandy, and Francis piled in, along with our driver, a very young soldier whose feet barely touched the pedals, but who proved adept at handling the pot-marked road as we raced to see Nelson Chol, the 4th Division commander who was to organize our trip to the oil fields. 

As we drove into the barracks—a collection of tukuls, boots hanging from trees, soldiers washing, or else lounging around—I saw a parade ground at the back of the compound, and on it a man, topless, lying face down, his hands tied to a spike driven into the ground, his back a labyrinth of welts. Guor and the journalists wandered around the barracks, while I entered a tukul where Nelson Chol sat gingerly on a plastic chair, his enormous frame constantly threatening its sagging blue legs. I made our request and he walked outside, issuing instructions into his satellite phone, before entering the tukul once again. I cautiously asked him about the man tied to a stake in the parade ground. Chol smiled and told me that the man was beaten for wasting ammunition the night before by shooting into the air. He assured me that the SPLA, despite the reports of some journalists and researchers… He paused, looking at me. The SPLA is a disciplined army. There is no wasting of ammunition here. I felt trapped, certain that the soldier was being beaten as part of a spectacle that I was meant to witness, so that I could inform the world that the South Sudanese army is indeed disciplined. Plaintively, I appealed to Chol, and told him that I was already convinced of the army’s discipline, and no such treatment was necessary on my account. 

Back in the pickup, now accompanied by three soldiers in the back of the truck, and one squeezed between us in front, we pulled out of the barracks and headed west. Guor could read the unease on my face and asked me what was wrong. I told him circumspectly about my encounter with Chol and Guor laughed. “That man is not being beaten for firing in the air, Joshua. He is not even a soldier.” Apparently, Guor told me, soldiers had come and taken—requisitioned—the man’s property, and he had had the temerity to come to the barracks and question the soldiers’ actions. “Chol only told you that to try and impress you,” Guor assured me, laughing.

*

After our meeting with Achuil near the oil fields, we collect even more soldiers, so now our merry group consists of two journalists, the driver, Guor, five soldiers, and myself. As we continue west, towards the Tor oil field, the landscape superimposes itself on my memories of being here in 2012. Nothing seems to have changed. The lil is still a browned green, and cattle can still be seen. It is as if the war had not touched this part of Pariang. On that trip, though, I was with a good friend, a Nuer. I ask Guor whether there are still Nuer left in Pariang county. He smiles and shakes his head. “They would be killed the moment they entered,” he says. The rebels’ movement south last December effectively left Pariang as a mono-ethnic territory. While cross-border travel and trade continues with Sudan, inside South Sudan the war has produced new lines and new, more absolute delineations between people.

It takes us another half an hour to reach the oil platform, which resembles a giant children’s playground. There are metal pipes shining out of the earth, as inviting as slides. Long staircases perch next to huge cylindrical oil tanks, now empty. Containers dot the perimeter of the site, their walls green after the last rainy season, their floors a patchwork of half-burned documents, the carbonized remnants of life in the oil industry. I flick through paperwork in Arabic, Chinese, and English: production figures, requests for leave and the records of workers’ complaints about the late payment of salaries. 

The soldiers are as curious about the site as I am. The sticky black residue on the red earth belongs to a world that stretches north, following the pipelines, to Port Sudan, and onward to a global commodity market. It was manned by Chinese engineers who fled the conflict along good roads, constructed by the oil companies, to the oil production sites in Sudan, at Heglig. From the paperwork I can see that while the oil field was operative, the Chinese oil workers often came here during the day and returned to Sudan at night. While the production of oil and the distribution of its revenues didn’t touch these young soldiers, its economic logic crossed national boundaries.

The soldiers responsible for guarding this site are one mile to the north. As we drive up, the small company assembles under a tree. They look bored and grateful for the company. We talk, tell jokes, and I ask them about life. The Tor field has been peaceful since January 2014. Oil production was turned off in a hurry, the soldiers say, and the oil has seeped into the ground. The commander gestures for one of the soldiers to come forward, and he does so shyly, before proffering his arm like a gift: swollen, red, and engorged. It is impossible to know whether this is the result of oil, but I have seen enough of it lying on the surface of the earth to think it might have entered the water table, as it certainly has elsewhere in South Sudan. “There is no good water,” they tell me, showing me a cup of muddy water, drops of oily residue on the surface, “and no medical assistance.”

Everyone looks tired and emaciated. The soldiers await the end of the rainy season, and the hunger it brings. Normally, the rains bring with them two harvests, but the war has disrupted the agricultural cycle, and since June, the soldiers have been without pay, surviving on pumpkin leaves. When they learn we came from Juba, you can see the question burning behind their lips: did we bring their salaries? Before anything else, in the northernmost part of Unity state, Juba means money. For Juba, though, these areas of Pariang are important only insofar as they help a war waged for control of the capital. 

The way Juba often seems to see the rest of the country isn’t that different to the view from Luanda: troops are arranged as on a Risk board, with commanders in full control of their forces issuing directives in a war game, as if the fate of South Sudan depended on the actions of just a few men, 21st century Napoleons, and that life was simply a matter of their intentions, unconstrained by the world around them. 

So much of the war in South Sudan, though, is slow and boring, and nothing to do with intention. It is war as a duration, not a narrative, into which everyday life slips ambiguously. The troops guarding the Tor field all want to return to the surrounding villages to plant. The line between civilian and soldier here is thin. These young men plant pumpkins and drink bad water, guarding an oil field whose global coordinates remain a mystery, while they dream of heading home to farm, and of a salary and ammunition, delivered from a distant Juba. Their war is the one I want to understand. 

*

The next morning, I again bound out of bed, and go to the commissioner’s compound, which looks just as it did the previous morning, with one exception. The pickup truck. When Monyluang finally wakes for breakfast, I ask him when the pickup will arrive. He tells me that it has been requisitioned by the SPLA: they are sending troops to the east of Pariang again, to secure the area, so that maybe people can return to their fields. “But my petrol!” I exclaim, having filled the tank up in anticipation of a week of travel. Monyluang smiles, and there is low laughter around the breakfast table. “Think of it, Joshua, as your contribution to the war effort.” 

I laugh, and head to Pariang town, in search of a vehicle to rent—not an easy proposition in a town where the army owns almost all the pickups and petrol prices are stratospheric. As Guor and I pass the gate, I come across Matuele, all smiles, wandering in to have breakfast. “So, Joshua,” he asks me, “have you understood yet?” 

Warmly,

Joshua

Sibley’s Guide to Midwest Birds

Interview with the artist, conducted November 11, 2021.

What is the most beautiful bird in the Midwest guide? What is the most beautiful bird you’ve seen in McKinley park (Chicago neighborhood in which the artist lives)?
The Northern Cardinal and the European Starling are the most beautiful. In McKinley Park: Brown Headed Crow Bird. 

What is the most exciting bird in the guide?
Nuthatch. 

The ugliest bird?
Crow. 

The most boring bird?
Wild Turkey. 

Have you seen all of these birds in real life?
Yes (smirking). 

What bird do you most want to see, but haven’t yet seen?
Yellow Cardinal. 

What was your favorite bird to draw?
Red-Crested Nuthatch. 

What is the most interesting bird behavior you’ve observed?
Once there were some birds who were fighting at the feeder in my backyard over bird seed. I also like watching Nuthatches because they are fast and move their bodies in funny ways. I’ve also seen a House Sparrow chase a beetle.

Do you think birds are the best animals? Why or why not?
Birds are the best animals, because they can fly: south, west, east, or north. If I could be any bird I’d be either a Bald Eagle or a Double-crested Cormorant.

Posted in Art

Getting There: A Review of Michael Heizer’s City

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There is a certain type of person to whom it is never a mistake to entrust your time, provided you are willing to go where they want to take you. They are characterized by a peculiar expertise. Among this group are Sherpas, gardeners, film-lovers, passionate computer-programmers, elderly museum guides, bird-watchers, and aficionados of tea. When you accompany them into their element, however far it may be from your own, they invariably infect you with their own overflowing well-being, and the pleasure of sharing their most secret smiles. My friend Dhruv is of this type, and his element is the open country. To watch him set up camp beside some babbling creek—hefting the boxes of old and battered supplies from his car, which seem to contain everything he needs, or contentedly stringing the hammock in which he will sleep, as the dusk grows deep and the insects start up—is to watch a man who seems perfectly at home in isolation; a man whom you feel would trade the comforts and duties of civilization without a thought, to live like a turtle and carry the world on his back. 

He is muscled like a David on the frame of a street urchin. At 5’9”—an inch taller than me, a fact he rarely lets me forget—the effect is not imposing. If you can convince him to take off his shirt, which is always long and baggy out of a kind of modesty, watch how he moves. He is not graceful like a dancer, although he loves to dance. His muscles are too compact on his bones for that, beaten too hard for anything but strength. His beauty is all monkey. Take hold of his hand, and you will find that it is always slightly curled, as though about to seize something. Dhruv has climbed so much that his forearms have grown imbalanced. He is not strong enough to uncurl his hands. They hang at his side, vaguely claw-like, but never threatening. His whole body is so cheerful, so energetic in its movement, that it is impossible to be afraid of. Atop it perpetually sits a broad, white grin, as genuine as it is habitual, and above that a proud nose, hooked like an eagle. 

I have rarely looked closely at Dhruv’s eyes. We tend to stand shoulder-to-shoulder, or more often on either side of a car, looking out at the vanishing road. We talk to the view as freely as though we were alone. Dhruv asks me riddles and I answer with vulgar jokes. He explains the solution to the riddle, and I tell him he’s wonderful, by saying he’s ugly, misshapen, and truly the most abominable of all freaks to walk the earth. He accepts this praise silently. When I do happen to look in his eyes, there’s something surprising there. They are furtive, almost hunted. They dart from side to side or maintain a steady, blank stare. Usually, if he sees me watching, he can pass this off as a look of trickery. He will then tell me a series of lies to prove this trickery. I am invariably convinced for a moment, until I spot the tell-tale curl of his lip. Then we laugh and I look back at the road. But there is something else in Dhruv expressed in his unguarded gaze. I can’t say exactly what it is. Only I have the feeling that, for all his vitality and ease, there is something he holds close to himself and protects.

Once, in the course of a psychedelic trip, Dhruv and I found ourselves caught in a sudden thunderstorm. I crouched under some rocks to wait out the storm, and fancied as I waited that I would make an excellent trap-door spider. Another friend blundered into a pavilion, and had to endure the rain in the company of a pack of Juggalos. He later told us that the experience had decided him: civilization was definitely a mistake. Dhruv, on the other hand, the moment the rain began, wandered up and away into the woods. He told us later, as he emerged again, dripping and grinning, that he had spent the entire storm struggling to protect a single object against the deluge. With the moisture steaming off his hair into the hot summer day, he uncurled his hands to show us. In the center of his palms, perfectly dry, lay a single, rotting orange peel. 

Perhaps Dhruv’s protectiveness concerns something as simple as an orange peel. I can’t say. I’m not certain Dhruv himself knows. He has often told me that he doesn’t like to look inwards; he prefers not to know his own secrets. Lorca, a poet I only know because of Dhruv’s recommendation, once spoke of duende, a concept I only believe in because of Dhruv’s life. Lorca says that “the duende is a force not a labour, a struggle not a thought … it is not in the throat: the duende surges up, inside, from the soles of the feet. Meaning, it’s not a question of skill, but of a style that’s truly alive: meaning, it’s in the veins: meaning, it’s of the most ancient culture of immediate creation.” Dhruv’s not a thinker. He’s got duende. I don’t mean that thought is alien to him, or brooding even. You can tell when he’s thinking by the vague look of astonishment on his face. He is perfectly at home with intellectuals, only he disdains to share their neuroses. 

He once asked me where I located myself in Mr. Ramsay’s schema from To the Lighthouse. There the failed philosopher conceives of enlightenment as an alphabet, and each leap in understanding as a move from A to B, B to C, and so on to the rarefied Z, which only one man in a generation may reach. I put myself down as a K, believing, at that time, that I had already just about solved the problems of philosophy (Hegel: good. Everyone else: insipid), and only leaving a healthy portion of the alphabet unclaimed as a kind of charitable gesture; a modest allowance for the aspects of life I hadn’t yet encountered. Dhruv replied, with a dreamy smile, “I think I’m at A. Maybe not even A.” 

For everything astonishing about Dhruv, there is one thing that has never surprised me. There isn’t a single person I’ve met who dislikes him.

City is a mile-and-a-half long sculpture of granite and steel, hidden deep in the Nevada desert, begun in 1972 and still unfinished. The man behind the monument is Michael Heizer, a cowboy-cum-artist known for sprinkling his discourses on negative theories of art with liberal amounts of “goddams” and “fuckits.” As far as I can tell, with the exception of City, most of his art up to this point has consisted in hanging large boulders in increasingly precarious places. Heizer, in keeping with frontier traditions, is known for being highly protective of his massive, unfinished work. There are tales of intrepid art-lovers who, in their foolish attempts to break onto the property—hoping, no doubt, to catch a glimpse of the sublime—instead find themselves held at gunpoint by the gnarled old artist, disabused of their cameras, and chased screaming back into the desert. The website is unequivocal: “Please note that City is NOT[!!] open to the public, and visiting City without prior permission of the artist is NOT[!!] currently permitted.” 

I had no inkling of any of this when I agreed to join Dhruv on a road trip out west, having learned I was to accompany him almost immediately before the trip began. He was scant with details. We were to meander about in the Rockies for a week or so before plunging into the desert. At a fitting time, he would continue on to California, depositing me at the nearest convenient airport. There would be rock climbing, he said, and probably camping.

Only upon landing in Denver did I learn that our trip was to culminate with a breaking-and-entering into City. Dhruv filled me in halfway through a long climb, as we perched on a narrow cleat jutting out from the side of a cliff. Having promised to teach me how to rappel down once we got to the top, he went on to explain his plan. As an afterthought, gesturing out at the expanse that spread below us, he added, “I don’t really care about views anymore. It’s just stuff, just looking at stuff. It only really matters if it’s hard to get to. The difficulty matters as much as the view, it makes the view.” Then, pouting his lips and scrunching his eyebrows, in Charlie Brown wah-wah voice: “It’s the journey, baby, not the destination.”

Several hundred feet up, the roar of the highway below had become almost inaudible. The silence was only ruffled by the gentle creaking of our ropes and a whispering breeze: pleasant, nautical sounds. Listening to Dhruv in that dreamy air, all self-consciousness seemed to have been lifted from me. Retrieved from its usual clamor, my mind gave way to a steady procession of sensations: breeze, breath, warmth, silence. I would have agreed to anything.

Around Dhruv, one has a sensation like the warm and solid drowsiness that comes after hard exertion, only it’s lighter and more changeful. Your breath comes easy, seems to fill you up like a good meal; doubts and guilt vanish; self-consciousness lifts and is replaced by something transparent and somehow pleasing. Look at your hands: they seem closer, more a part of you. Look out: isn’t the view inviting? There seem to be paths where once there were only dead ends. This is all an effect of Dhruv’s glamor, the way his presence changes you.

City works in a similar way, with its huge mounds and tumbled monuments. A strange order is manifested there. You step from the chaos of the desert into City’s long lines and find that, suddenly, the distant cliffs seem to be leaning towards you, and the ground has been arrayed for your feet, and at every point the dome of the sky is thundering down. You surmise that somehow in this place a secret agreement has been reached between things, near and far, to turn their faces towards a new center, and reveal themselves there.

​​Dhruv is a center like this. Within the circumference of his glamor, everything turns in you towards something else. Everyone has a world huddled in them—that’s surely uncontroversial—and great artists can sometimes show you a picture of that world and transfix you with it, but Dhruv does something an artist can’t. He invites you into that world; he shows you where to put your hands and feet, and then suddenly, before you know it, you find yourself dangling from a cliff, and up above, right at the edge of the sky, there’s Dhruv, dangling down from you.

It was only once we were wedged into a convenient alcove, separated by a sturdy looking boulder from the drop, that Dhruv informed me, with a mischievous grin, that rappelling was far more dangerous than climbing itself. Most deaths that he knew of could be attributed to the descent. This is because, in rappelling, you support your own weight on a single rope, with the result that it is possible, in a moment of distraction, to lower right off the end. No doubt the intoxication of success has something to do with this morbid statistic; all obstacles shown to be conquered and conquerable, the blithe hero lets the rope sing through his hands, and suddenly, as in a dream, finds himself accelerating, without a rope, almost flying, perhaps with just enough time to realize his mistake, to let out a last sound, to think a last thought, as the ground rushes up… 

I began to procrastinate. I hemmed and hawed, and had Dhruv explain the technique of the thing three or four more times. I was confident that it would go without a hitch. It had all been explained to me. Just hold the rope, don’t lower too quickly, and don’t fall off the end. Any doubts were irrational. But despite my assurances, peering over that stony precipice still gave me the jitters, and my head was filled with premonitions of a violent death. 

Dhruv himself does not seem to suffer from this kind of anxiety. To matters which commonly awaken fearful quibbles—heights, airplanes, elevators, trains—to situations of implicit faith, where failure, however unlikely, means death, Dhruv is cold. He has no dread of the physical. I think that his confidence comes, in part, from familiarity; the long experience of depending on simple human contrivances for his life. Where I believe that the belay device will work, because Dhruv told me so, he knows that it works. He also knows how it can fail. As for the rest—matters of chance; an undetectably frayed rope; a subtle manufacturing defect in the belay device—he is resigned. Everything that can be controlled is within reach of his own two hands. The rest is not worth thinking about.

There is something both deeply courageous and atavistic about this attitude in Dhruv. It has the whiff of pagan solidity, from a time before firearms and precision-targeted drone strikes, when threats were always visible and the human body was to some extent commensurate to the forces arrayed against it. The man with a knife can be grappled; the distance to be traversed, no matter how immense, can be reckoned in steps. It’s only a matter of making the attempt. 

Physical strength—now something of an abstract quality, more often pursued for aesthetic or sexual purposes than for use—is for Dhruv the index of his mastery over the world. Death, for him, is not an inevitability that lurks in the closets of nursing homes, waiting to deliver the feeble and overripe. It is a visible enemy, with obvious ploys—the poorly knotted rope; the scree beside the precipice—something to be defeated, not avoided, every day in each shape it assumes. It’s for this reason that I can’t imagine Dhruv having anything but a violent death. He says he plans to die before fifty. When I asked him what he’ll do if by chance he reaches that age unharmed, he said he’d probably just lie down in a ditch somewhere. I don’t believe that last part. That would be a surrender to death, not a defeat. Dhruv wants to be defeated in the end.

This is the other side of his strange, atavistic courage; the part that can seem morbid, almost a death wish. I have often, against my will, watched him climb without a rope, as I cluck nervous warnings at him, emphasizing how I will be personally irritated by having to clean up his brains, inform the interested parties of his demise, etc. For a time in college he voluntarily exempted himself from being housed, preferring instead to camp under bridges and negotiate temporary stays with indulgent friends. He had a long-cherished dream of getting into a street fight (negotiated in advance), which eventually was realized in Montana by three people at once. Constantly he is on the lookout for opportunities to be reduced entirely to his body, to the position of having to win his way out of a corner, with nothing but his own strength and craft. I don’t think this is a search for the adrenal shock that is the aim of your average thrill-seeker. Nor do I think Dhruv is an everyday masochist, bent on his own destruction without knowing why. Rather, it seems to me that Dhruv sees something essential in this close contest with death; without it, life would lose any semblance of a thing won or made, and become instead an accumulation of meaningless comforts, inside of which cringes a nervous, watchful beast. 

He confided to me one of his earliest memories as we drove away from the climb, into the mountains, having rappelled down the cliff without incident despite my fears. It was of a summer camp that he had attended as a child in India, which was held entirely outside, on a dilapidated old running track, in heats which regularly exceeded 100 degrees. One day, for a series of reasons which Dhruv had forgotten, but which he suspects were not his fault, he came to camp wearing shorts instead of pants. In response to this grave affront, he was ordered to run continuously around the track, all day in the blazing sun, as his more orderly compatriots enjoyed camp activities on the field. 

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I watched the shadow of the mountains fall onto Dhruv’s face as he spoke, eyes turned to the road. Something like a smile was lifting the corners of his lips. “It sounds terrible,” I said, which made him laugh. “I might have died,” he said. “They hardly ever let us get water. They would be sued in a second if it was in the US. I ran all day. They had to tell me to stop … it was so hard … it was excellent …” 

We were hundreds of miles from Michael Heizer’s City. I was flush with wellbeing, going somewhere after months of quarantine isolation, and seeing an old friend after years of separation. As I watched Dhruv’s glad eyes darken in the shadows of dusk, headlights flicking on all around us, I felt again the frisson of being in the presence of a powerful atavism. This was the man who would take me, kicking and screaming, into the heart of Michael Heizer’s City. I do not understand Dhruv, but I trust him completely. 

A day later we were cooking a stew at the foot of Mount Elbert, the highest summit in the Rocky Mountains. A fog had gathered on the surface of the lake and begun to roll towards us. The chill of the mountain dusk and the crackle of the fire filled me with energy. I serenaded Dhruv with Sinatra songs mixed indiscriminately with snatches of opera remembered from cartoons. He said my singing was abominable. I sent a little smooch in his direction.

Dhruv was quiet as I cooked and sang. He walked aimlessly about the camp, his head swiveling slowly from side to side. It is a state familiar to me. Dhruv will occasionally draw inward, regarding the world as though surprised to find it there. It’s hard to reach him when he’s like this. If you call, he will raise his head towards you, but the eyes will be looking past you, and any remark will be met by a blurred sound of assent, or nothing at all. I don’t know what he thinks about during these times. I doubt he would tell me if I asked. He would laugh and change the subject, and if I persisted, he would return to himself completely, as though nothing had ever happened.

But there’s something lonely in his silence, something lovely and soft, about which he is intensely private. It’s not the yearning of a narcissist, who cherishes his loneliness, as a time to despise and adore himself. No, Dhruv is not fascinated by himself. More often he seems indifferent, and his moments of withdrawal are perhaps not a looking inward, but only a stepping aside. It is as though he has never really grown familiar with things, as though repetition has never dulled. Rather, he always seems to be quietly watching the world, as something infinitely strange and constantly new. When he is not contesting with it, grasping it in his rough hands; when there is nothing to do or win, Dhruv wonders at it. Then there is a loneliness in him. Sometimes I think he wonders too much to trust.

Walking around the camp in the shadow of Mount Elbert, Dhruv looked for all the world like a lost child. I love him most when there is this kind of confusion in his eyes. I feel I am in the presence of a melancholy, wandering spirit, set to roam in a world half hidden from him, hearing and seeing as though at a distance, unknowing, alive. I want to draw this spirit close, give him refuge in myself; I want to astonish him with friendship, but I know he would refuse me. I would be too unfamiliar, too unknown. So I love him from afar, with one eye on the pot. I know that when he returns, his smile breaking out like a whale surfacing, I can poke him in the ribs, invite him to eat. It can be a kind of homecoming.

Bob Dylan is on the stereo, one of his recent albums. Dhruv likes even Dylan’s worst stuff. Currently he is subjecting me to a seventeen-minute ballad about the assassination of JFK, “Murder Most Foul.” The lyrics are mostly incomprehensible, but it is clear that Dylan thinks murder is bad. We’re switching off songs, and when mine goes on, Dhruv grimaces and turns the volume down. I protest. He shrugs and says it’s because he doesn’t like music. We listen for three or four minutes to the few parts of the song that can be heard above the noise of the road. It sounds like an ambient piece made up entirely of snare drum and snatches of the upper register of a guitar. Dhruv’s song goes on next. It’s “Brownsville Girl,” run-time: eleven minutes. He turns it up and makes drum noises with his mouth. We are driving 100 miles an hour through absolutely nothing. The desert is flat and brown and littered with dead-looking cacti. My song comes on and he turns the volume down. Of course. He doesn’t like music.

We had travelled about 500 miles from Mount Elbert in this manner, heading towards the northwest tip of Arizona. There, Lake Powell awaited us, an enormous man-made reservoir filled with the waters of the Colorado river. Unlike other reservoirs, which tend to look like unusually boring lakes, Lake Powell is complex and beautiful. Its dammed waters flow through a series of natural canyons, creating a labyrinthine system of islets and grottoes. Long fingers of water stretch out from the main body into cracks in the canyon wall. The whole thing is navigable given a small enough boat.

It was 100 degrees on Lake Powell, though you wouldn’t know it without a thermometer. A cool wind skates across the surface of the waters there, gathering droplets to fling before it, and these coat you in a protective layer against the white-hot sun. From the middle of the bay, where Dhruv and I had drawn our kayaks abreast to take counsel, not much can be seen besides the brilliant blue of water and sky. Motorboats captained by hefty American men were speeding in every direction, throwing out long lines of wake which battered our little kayaks. We had launched into the lake’s westernmost fringe, planning to row south into a narrow canyon, which was supposed to give access to Antelope Island, our campground for the night.

Dhruv had us circling the bay for several hours before we finally found the canyon that led to Antelope Island. The sun began to set as we paddled down that thin strait. The red cliffs rising on either side of us were deepening into purple. Occasionally a laggard motorboat would speed past us in the opposite direction, returning home to the marina, but besides this the only sounds were the oars gently breaking the water, and the rustling of a slack breeze.

I let Dhruv go ahead to scope out a spot to camp, watching him from the middle of the channel. He beached his kayak on the sloping rock of Antelope Island and scrambled nimbly up its sides before disappearing behind a boulder. I had told him I wanted to fish, but in reality I was troubled by the hint of sadness that seemed to be gathering in the cliffs around us, and wanted to stay a moment on the water.

I cast my line and watched the reel spin. It let out for much longer than I expected—the water was deep here. At that moment the entire trip seemed a shock of color and noise that had burst in front of me and would just as quickly disappear. Dhruv was a kind of magnetic center at the heart of this burst. Without him the images would fall apart, decompose into thoughts or abstractions and scatter across time. The thought made me shiver.

From afar I watched him stretch and lug the tent from the kayak, his body as animal as ever, but more distant somehow, darkening into a silhouette before passing out of sight. That small body seemed to hold everything sensual, everything intoxicating and bright that had accompanied us. I was grateful for it—I loved that body, that grappled the world to itself, and me to the world. But as I watched him scramble back down the rocks, pausing to send a big wave in my direction, I felt a sadness too. I saw just how easily Dhruv could leave, how his body always seemed to be turned as though just then departing.

The ease that I feel in Dhruv’s company has something to do with this spirit. There is nothing grasping or possessive in him; he’s always on the move towards something else. This fills him with life and sets you trembling with it, but at the same time soothes, because you know his gaze is always turned out, away from you. You owe him nothing and he has no obligation to you. If you happen to be walking the same path, he will be glad for you, but at the crossroads he will just as gladly depart.

In the last days of college, when he and I and those we loved were about to be scattered to the winds, I remember this fatalism. He was sure that we would never meet again. He told me this offhandedly, as though it were a simple thing, explaining that it had always been the way for him—he lived for a moment somewhere, loved and was loved, and then left. Things pass on, they slide into their opposite. We wouldn’t call, he said. What would be the point? It was no use trying to hold onto each other. Time only marched away.

 I must have sat out there on that kayak for at least an hour, without even a single nibble. I think the worms had got wet somewhere and died. It’s a melancholy thing to feel the loss of something while you still have it. In a few days I would be back home, and Dhruv somewhere else. The only thing left for us was City.

Dhruv eventually shouted me back to the shore, promising a meal. Up behind the boulder he had built a perfectly lovely camp, and a soup was bubbling above the blue flame of a stove. It felt like a homecoming; I couldn’t have kept up a tragic tone if I tried. As we ate, perched on the soft belly of Antelope Island, the stars winked on one by one above us. From our height you could see every horizon and the sky was enormous. Dhruv turned in soon after finishing his soup. He had already seen the Milky Way. For a time a soft light filtered through the canvas of the tent, revealing his blurred outline bent over a book, but soon enough it jiggled and snapped out.

I looked up at the thousand lights, and the comets, and the thin clouds that drifted between them, and all the while a Rilke line was running through my head, over and over:

            O and the night, the night, when the wind full of worldspace

            gnaws at our faces—

Rilke’s great theme is transience and death. In the Elegies, the night is an enormous void that hangs overhead, shot through with impossibly distant stars. That emptiness—the world beyond us; impermanence; death—gnaws. I don’t see it like that usually. Usually I’m helplessly comic: ends become beginnings, everything is resolved happily into the whole—you get the point. I’m drawn to tragedy because it’s not how my head is shaped. It’s something in a book for me, a thing of art. But, though joy billows off him like steam, I don’t think that’s how it is for Dhruv; I don’t think he shares the sight he grants to others. He is looking up at different stars.

When I was a child, I often tried to see the stars properly, at their actual distance from us. I would practice with a penny, holding it right next to my eye, and then slowly pulling it away, to see how it shrank with distance. The same procedure applied to the stars. What you do is imagine them right in front of you—enormous, consuming the entire world many times over—and then slowly push them away in your mind until they become the tiny dot in the sky. If you do this right, the moment your mind’s star lines up with reality, you will suddenly perceive, with a dizzying sense of vertigo, a vast emptiness above you—so immense it feels you should peel right off the earth and fall into it.

Something like that vertigo took hold of me there, as I gazed up into the night. Dhruv suddenly seemed distant, no longer foreshortened in my mind’s eye, his body arcing up and away; though I knew he lay close by, breathing slow in sleep.

            For our part, when we feel, we evaporate; ah we breathe

            ourselves out and away; from ember to ember

            we give off a fainter scent.

Dhruv was evaporating and so was I. The days ran like water through our hands and gathered into dark balls of night. They strung out one after another on a long but finite chain, and each one would evaporate. The fog lifts. Everything goes clear and there are no fish.

Michael Heizer built his city to last ten thousand years, but eventually it will crumble. Over its ruins the stars will whirl a billion years more, and then they too will crumble into night. Dhruv’s clarity and brilliance, the ease I feel around him: all of this is founded on loss. He is not a durable thing, even in human terms. He is too in love with movement, too canted into the wind. He moves me because I clutch too tightly to things. I want to hold onto every night. But he uncurls my hand and grasps it. His is a calloused hand, supple and thickly lined. It is marked by long acquaintance with the earth. But even those callouses will eventually find the hold on which they rip, and that will be a sad day. I will climb no more mountains after that. And Dhruv—what will become of you then? Will you be happy? Will you remember Antelope Island, and the friend you took there? Will you wait a while at City? Or maybe none of this will matter then, and you will be different and I will be different, and even the stars might be different, changed just a little, in your absence.

In the tent the night could no longer be seen, and sleep crept slowly into me. I felt the warmth of Dhruv’s body beside me with a great intensity, and for the first and only time, that sleeping bag and body seemed like a gated double fence, enclosing Dhruv and keeping him from me.

Nobody in Tonopah had ever heard of City. We asked everybody: the guy at the first gas station, the guy at the second gas station—even the proprietor of The World Famous Clown Motel. Either Heizer had completely covered his tracks, or the citizens of Tonopah were woefully ignorant of the twentieth-century Land Art movement. The World Famous Clown Motel, incidentally, boasts the largest collection of clown-based or influenced objects in the world, according to piece of paper taped the wall. I found it while searching for a place to stay in Tonopah, which is the closest town to City—a mere four hours away.

Dhruv seemed physically repulsed by the idea of staying at The World Famous Clown Motel. He doesn’t like clowns, or anything uncanny for that matter. Watching a horror movie with him makes you fear for your life—not because of the film, but because every jump scare produces an extremely violent, bodily effect on Dhruv, jettisoning him uncontrollably away from the screen and delivering a fat whomp to whatever might be in his way. But he gave in after an hour or two of repetitive chanting of the words “Clown Motel.”

The World Famous Clown Motel lies at the very end of Tonopah’s single street, on a small rise that looks out over the wastes. Those wastes stretch on for miles and miles, and are only broken close to the horizon by a cluster of small, brown hills. Everything in Nevada is this same uniform brown, except for the Clown Motel, which is painted, as you’d expect, in a nauseating combination of yellow and purple. A couple steps down from the parking lot, in a shallow brown depression, lies the old town graveyard. This was almost a bridge too far for Dhruv, but I had already booked the room, so he accepted the situation with a sigh. 

There are no birds in the desert morning; everything is clarity. I woke early and walked in the graveyard, waiting for Dhruv. There were no clouds in the sky, no cars. The road to City ran straight west, all the way to the horizon, and the sun, anticipating our aim, rose up the other way. It was in the graveyard, waiting, that I felt the first tremor. Eventually that shaggy head bumbled through the door, black against the purple and gold. It shone in the light from the east. 

Dhruv explained the landscape as we drove Route 6 to the west. To me, it looked like a bunch of dirty rocks, varying slightly in size, with the longest, straightest road you’ve ever seen running between them. But Dhruv knew more. He explained that the long, flat expanse we drove over was once an enormous canyon, which had been filled over millennia by a steady trickle of dust. The rough outcroppings we saw were in fact the peaks of mountains, thrust up through thousands of feet of dust, like volcanic islands in the sea.

Beside the car suddenly appeared two pronghorn, heading towards the green mountain which was growing in the distance. I know what they’re called because Dhruv said “Pronghorn!” and pointed. The pronghorn, he explained, is the fastest land animal in the western hemisphere. He knew how they had been made too. At one time there had been an equally fast variety of tiger that the pronghorn had evolved to outrun, and which was now extinct. The pronghorn remained on, with no more use for its speed. Now its only predator was man.

The tremors increased as we passed over the mountain. The road was treacherous, pitted with holes and covered over by tumbled trees. I interpreted my feelings as anxiety. Now that City was approaching, I was uncertain whether it was a good idea to break in. I imagined Michael Heizer leveling a gun at me. I didn’t want to see City bad enough to get shot or arrested. I didn’t even know what it would look like.

Bob Dylan was loud on the radio as we came down onto the dusty roads of the valley floor. He sang:

Well, I keep seeing this stuff and it just comes a-rolling in

And you know it blows right through me like a ball and chain

A gate grew up out of the road in front of us. On it hung a large white sign that read “No Trespassing.” I voiced a little of my apprehension to Dhruv, who laughed and smiled, and got out of the car to examine the gate. His eyes looked out and over it and away. There was nothing shifting in them, nothing withdrawn. He was searching for a path, and that brought everything in him to the surface. A broad, white grin was stretching his face when he returned to the car. “We’ll drive around it,” he said, “and if they catch us we’ll just say we never saw the sign.”

We drove around it, agreeing to take the road that went more obliquely towards the trees. A sliver of the house behind them was visible now, and beside it a jumble of construction vehicles, their characteristic yellow muted by a covering of dust. “This is the last road,” I thought, “the last chance to turn back.”

The tremors were increasing, and had begun to hollow a pit in my stomach. Images of black futures crowded in on me. A judge in dark robes, eyebrows at an angry slant; ants swarming over an oozing bullet-hole. I watched the phrase “We never saw the sign” smack against that wall of futures and fall to the ground.

The car began to slow. Dhruv was looking past me to the southwest, his eyes dancing. I turned: a series of small rises seemed to be mottling the horizon. They were stained a dark gray which separated them from the land around. Their lines were clear and full of intent. “I think that’s it,” said Dhruv, his voice like a bell and full of excitement. He brought the rumbling car to a halt.

When you step from a car out into the desert, everything suddenly seems to recede from you and grow enormous, as though to emphasize your disproportion to the world. Stripped of that small frame where everything is within reach, where a roof blocks out the dome of the sky and movement comes at a twitch of the foot, you re-enter your body with shame, and shudder to see how it plods forward in the most insignificant of steps.

I tried to still the tremors by voicing some tentative doubts, but Dhruv had already locked the car, and strode out towards the gray shapes to the southwest. I followed him automatically, as I had done so many times before. The familiar situation eased me for a moment, and in that moment the wall of futures drew back a little, lifted an inch like a curtain; I thought I glimpsed something behind them … but in another second all that was forgotten, and the black wall seemed to crowd even closer than before.

A barbed wire fence had risen before us. Every thirty feet, as far as I could see, was hung a white sign that read in triply bolded characters “NO TRESPASSING!!” Dhruv gave a contented sigh and said, “Well, I guess now we can’t say we didn’t see the sign.”

The loss of this last crutch brought all the objections that had been swirling in me to the surface. I let them loose all at once. This was a silly idea, I said, that was very high risk and very low reward; we had no idea how far we had left to go and it wasn’t clear that those shapes even were City; we had already had a wonderful trip anyway after all and wouldn’t getting shot by a wrinkly monomaniac at the end of his rope do a bit of an injustice to that; and wouldn’t we be better off just going back home and forgetting about City? Wouldn’t that be enough?

I saw my words roll off Dhruv and disappear. His eyes were knowing and glad. I paused to take a breath, and he took advantage of the momentary silence to propose a deal. “Why don’t we flip a coin? Heads we go, tails we keep talking about it.” I pondered it for a moment. It felt impossible for me to go over that fence. Even imagining it, feeling the necessary muscles tense in my legs, gave me the sensation of being forced headfirst into a sack, with the darkness closing in all around. I counter-offered: “We’ll do two flips. Two heads we go. One heads and one tails we keep talking about it. Two tails we leave.” That gave me some leeway, at least. Dhruv accepted. We both liked the deal.

As he fished around in his bag for a coin, Dhruv told me about a thing he had read recently, which he called the “irrational moment of decision.” The thought was that after all the internal dispute that goes into making a decision—all the arguing of pros and cons and trying on of different perspectives; all the hemming and hawing and confusion and vacillation—there comes a moment of pure, irrational contingency, in which all that drops away, and the decision is suddenly made, suddenly makes itself for no reason at all. He casually flipped the coin as he spoke; it came up heads.

I play-acted some outrage and demanded the right to make the next flip, but in reality I wasn’t mad at all. Something was clarified in me the moment I saw that heads, and Dhruv’s laughing eyes above it. The black wall seemed to thin and become a screen, on which a silhouette was thrown, outlined in light.

I was still trembling when I picked up the coin, but the sensation had changed. It no longer felt like anxiety, but something else. And as I turned the coin back and forth in my hands, from heads to tails, I looked out for the first time beyond the fence which stood in our way and saw as an indisputable fact that those gray mounds rising in the distance were the first forms and indications of Michael Heizer’s City, silently waiting for us, as they would wait for all time.

I flipped the coin—it spun—it began to fall. And all at once I recognized the tremors, and I recognized those distant strange geometries, and I recognized the man in front of me, whose rough hands had bid me: flip.

A hole appeared in the sack in front of me; the dark wall drew back—and behind it ran a stream of daylight, backwards, into the sun. An old sedan rumbled down a dusty mountain road; a dark figure flew from the end of a rope; white teeth turned in the flaring of a fire. The images were combining and separating and changing, and they flowed in the light as easy as breath. And though they mounted up they were not lost, and they did not fall away, and they gathered in the sun, compounding themselves there, and flowed back again to me. It felt like a homecoming, like an end and a beginning.

I understood the tremors were only a foretaste of the memory that getting to City would become. I understood, through a strange trick of perspective, that what I saw would slip from me, and be lost, and then return again. Dhruv would leave and return, City would leave and return, and in all their brief absences they would notch the stars.

Then the coin came up heads.

Our Last Summer

For nine months in 2018 I paid my rent by helping wealthy families get their children into college. Later, when the Felicity Huffman stuff emerged, the work seemed pretty benign by comparison: I always refused to outright ghostwrite anybody’s homework or admissions essays, and at no point did I Photoshop anyone’s face into a scene of athletic triumph, even though like everybody in my generation I was serviceable at Photoshop. But the work still felt bad and unredistributive, like I was pretty actively concentrating wealth in the hands of the few, and I’m happy not to do it anymore. 

My official job, for which I charged handsomely, was to help kids write their college admissions essays and sometimes practice for the verbal parts of the SATs. I also usually ended up listening to stay-at-home Gen-X dads talk through their art practices or novels in progress—I was able to muster up a lot of enthusiasm about these things and suspect this quality was why I continued to get new work. Anytime I met a new family, I took careful notes afterward about how the parents talked to the kids, whether the siblings were mean to each other, and how well-adjusted or damaged everyone seemed by wealth. The work felt easiest to justify when I could imagine that it was in the name of social science, like I was taking a kind of census of the ruling class.

In May, after a pair of twins I’d helped get into Dartmouth left for a summer-long bike tour of Thailand, their dad, a hedge fund manager and sometime street photographer, gave me an email address for their neighbors. He said I’d really like them: the parents were extremely loaded and insecure about their son’s future, and could likely pay me enough to live on until September. Most of the families I’d been working for were leaving for the summer for Europe or upstate. I sent an effusive email. 

“We forgot to sign him up for camp,” Howie’s mother told me apologetically as she showed me around their house, which was two stories and beautiful, full of high-dollar sunlight and weird lamps. Possibly they owned the whole brownstone. She and her husband were famous documentary filmmakers whose work I’d been superficially aware of for a long time, but even so, I wasn’t sure how they afforded the life they did, until a Google search a few days later revealed that one of them had recently been named a MacArthur Genius and the other was a descendent of the actual MacArthur family. It occurred to me that this was the most prestigious source of income I would likely ever receive, however indirect the trickle-down. 

My task was to come by a few afternoons a week and help Howie, who was seventeen, write a slam-dunk college admissions essay. He wanted to go to film school and had, his mom whispered to me, very ambitious ideas about where he could get in: only the country’s top program would do. “But I don’t think his grades are quite up to it,” she said sadly. “That’s why we need to knock the essay out of the park.” (This was how all the parents I worked for talked.)

She led me upstairs to a second-story kitchen, which was painted a color that I thought was very brave. Howie sat at a big table in the center of the room, eating a stone fruit and looking at a laptop. He stood up to shake my hand congenially, which none of the kids I’d worked with had ever done. “Hello!” he said, chipper and a little formal. He nodded at his computer screen. “I’m watching Gossip Girl.” I looked: he was.

We spent our first few meetings just getting to know each other, shooting the shit in what I told his parents was an elaborate brainstorming process for which they paid me the clean and indefensible sum of $60 an hour. Howie was extraordinarily likeable and easygoing, with a self-assuredness I couldn’t remember any of the boys I knew in high school possessing. Possibly this was what extreme wealth was really good for: well-adjustment and charisma. He appeared untroubled by any of the problems that were supposedly plaguing the nation’s adolescent and postadolescent boys. He wasn’t, for example, at all interested in Reddit or right-wing memes. Jordan Peterson came up at one point and he’d never heard of him, and anyway didn’t seem alienated enough to ever be redpilled. He was very nice to his mother, at least when I was around, and he looked at his phone only a moderate amount. 

Was this normal? I didn’t know very many members of Gen Z except for the handful I’d met through my job, most of whom had been surly and mean to me. But Howie just seemed affable all the way down. And he was so cute! He looked like a farm animal. His big thing was that—with apparently no hang-ups or self-consciousness about following in his parents’ footsteps—he loved movies and dreamed of working in Hollywood. He had, for six weeks the previous summer, worked as an unpaid intern in the Midtown post-production room of the movie Mamma Mia! 2: Here We Go Again, I think via a family connection. (The summer before that, he’d gone to some kind of summer institute with Sasha Obama.) Every day, he said, he’d watched the crew tinker with a single scene of the film—occasionally fetching coffee or printing out documents, but mostly just passively watching the post-production come together. The scene in question, which he estimated he’d seen probably six hundred times, comes at the movie’s end; the credits play over it. It’s a dance sequence set to “Super Trouper,” which was coincidentally my favorite ABBA song. “What happens in the scene?” I asked him. The movie wouldn’t be out until July.

“It’s hard to explain,” he said. “Haven’t you seen it six hundred times?” I said. He said it involved a meeting of history and the present and that I’d have to see it for myself, which I promised to do—I love history.

I asked what drew him to his parents’ profession. “I think a great movie can make the world a better place!” he said sincerely. Did he want to make obtuse, arthouse left-wing documentaries like his parents? (I’d just watched one of their films, a dreary cinema vérité situation about intermodal transportation, on Kanopy). No, he said—he dreamed of making commercial blockbusters—but good ones, which he said we were witnessing a dearth of in our contemporary moment. “I would never make a superhero movie, those are dumb,” he said. “But I want to do like a really good, warm, inventive rom-com. A space opera at some point. Mamma Mia!’s great, but musicals are a little ambitious—maybe later in my career.”

Was Howie gay, or just a poptimist? I found his devotion to the culture industry sweet but difficult to agree with. Lots of my friends had been hustling for years after graduating from prestigious colleges to get gigs like the one Howie had been pubescently handed, and most had given up and applied to law school or jobs in marketing. Meanwhile, at the same time that I was working with Howie, I also had a part-time job as a research assistant for a film theorist, who was publishing a collection of capsule reviews of the 100 worst-ranked films on Rotten Tomatoes. I also worked a few hours a week as a proofreader for a VC-funded glossy called VOM Magazine, which specialized in aggressive short-form content about fashion (its slogan was “a finger on the pulse and a finger down your throat”). Everyone I knew had at least two jobs, including the theorist, who wasn’t even a millennial. (She wrote copy for a trendy dental care startup on the side, in exchange for free teeth-whitening.) It all made me feel like culture, whatever that was, was basically threatening and untenable, and no place to locate political optimism. 

Still, after spending a few afternoons at his beautiful house, I wished the best for Howie, whose relentless enthusiasm was quickly winning me over. He wanted, he told me, to write about his experience with the Mamma Mia! crew for his application essay, the prompt of which was “Why I Want to Go to Film School.” It would be due that autumn.

I liked this idea a lot. I’d seen the first Mamma Mia! movie years ago, and could already envision the essay: a kind of wide-eyed account of Howie as a conspicuously young creative-class laborer with an obscene degree of inherited cultural capital, doubling as a flashy demonstration of our combined analytic prowess would be sure to wow the admissions committee. Plus it could be an ideological vehicle for Howie’s utopian feelings about the filmic form, which—probably—indexed a spirit of Gen-Z optimism that I could spend the summer learning about and possibly assimilating into my own life!

At the same time, the essay’s 1000-word word limit was very short, and it occurred to me that I would have to have to stretch out the writing assignment in order for it to take all summer and thus pay my rent. I decided to construct a kind of general liberal-arts curriculum around Mamma Mia! 2: Here We Go Again—to use the movie as an empty slate on which to practice whatever introductory critical or hermeneutic modes I was in the mood for, and then to craft some writing assignments around those lessons. My idea was that some of those assignments could be used as starting points for the essay draft, which we’d think about in greater depth later.

We started out by screening the first movie one afternoon. In the Mediterranean spirit, I brought an olive pizza over to Howie’s parents’ house, and Howie found us a torrent. 

The plot of Mamma Mia!, I reflected, watching it for the first time since its release in 2008, was ripe for generational analysis. The film’s structuring conflict is that Meryl Streep is worried that her millennial daughter Sophie, played by Amanda Seyfried, will be judgmental about how many men Streep slept with (three!) during the ABBA-soundtracked ’70s. Consequently, Streep withholds the possibility that all of them might be Sophie’s father. Sophie, who initially seems to be a kind of cryptoconservative hetero-normie intent on marrying her cheesy Eurobro boyfriend Sky (Sky, in turn, brings the film a flavor of real-estate drama by promising to make, basically, an Airbnb page for Meryl’s charming-but-dilapidated Greek hotel), eventually finds out and essentially says: OK boomer, your sexual history is totally fine. Instead of ditching her boyfriend and pursuing free love like her mom, Sophie gets married, with all three of her possible dads in attendance, and then she and Sky stay on Streep’s utopian island and put all their energy into building a website.

As the movie wound down I concocted a plan to discuss the ways in which it registered the relationship between the New Left logic of sexual liberation and the late-capitalist precarity that disabled it under Reagan’s long shadow, plus illustrated the internet-enabled export of real estate markets to far-flung places like this picturesque Greek isle. But I had a hard time articulating all of this to Howie, or possibly to myself. Instead we got stuck on what it meant that, at the end of the film, one of Sophie’s dads comes out as gay, which we theorized somewhat meaninglessly about for a few minutes until it was time for me to leave.

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Whether or not I was an especially good pedagogue, I really liked going to Howie’s house, where sometimes his parents would offer me espresso or fancy sandwiches. Plus, our work—which mostly involved sitting in an air-conditioned apartment and watching people sing power-pop anthems in the Mediterranean sunshine—was way more fun than anything else I was doing. Most days I would ride my bike between my apartment, Howie’s parents’ house, and the VOM offices, after which the evenings seemed kind of threateningly empty. I tried to fill them by reading articles about climate change and meeting up with friends at the park.

A bunch of my friends were leaving in August for grad school or various research fellowships. Somehow it felt like half my social group had gotten Fulbrights, which became a topic of intense scrutiny and competition. “Oh, teaching or research?” everyone kept asking each other, eyebrows raised nastily.

That was my question too. Was I imparting anything to Howie, or just passively observing the weird new life-rhythms of zoomers? Howie was by far the most contemporary person I’d ever met, and almost everything about him bewildered me. All his friends, he said, were bisexual; three of his teenage neighbors were in a queer throuple and had been profiled as a group by New York magazine. He had a roster of fussy, 21st-century food allergies, and he vaped! He was born on September 11, 2001. And he spent real money that he’d earned walking dogs within a made-up economy internal to a video game I’d never heard of. One afternoon, he showed me his three Instagram accounts, which functioned like a sort of turducken of decreasing wholesomeness—one for his relatives to follow, with images from track meets and prom; one for raunchy, inscrutable memes; and one with just a handful of followers, on which he posted hazy candids taken at parties.

Throughout June and July I refined our Mamma Mia! syllabus. We spent whole sessions watching single scenes, breaking down the camerawork and composition. We read queer-theory deep cuts about camp and the aesthetic gestures of the musical. I had him practice rhetorical analysis by performing close readings of ABBA lyrics, which was a mean trick because the Swedish pop group wrote all their songs by randomly consulting a rhyming dictionary and the lyrics thus signified very little. We rewatched clips of the film and talked about Greek austerity; we read Perry Anderson on Syriza. Analyzing the cast of local villagers and workers who compose the film’s literal Greek chorus, we spent what I calculated to be exactly $45 of my time discussing the labor theory of value.

I was making everything up as we went along and had no sense of whether any of it was taking hold. The movie offered a convenient program for discussing a lot of massive and depressing issues—homophobia, economic inequality, the racist decay of the EU. No injustice seemed to faze Howie, but I wasn’t sure if it was because he was failing to pay attention or because he was a member of a more evolved generation than mine. Everything I’d learned in college—Howie’s coveted goal—had reinforced in me a set of essentially pessimistic and suspicious interpretive methods, and I worried sometimes about eventually grinding Howie down, but he was so cheerful and cute that he seemed like a totally ahistorical person, pure contemporaneity. It was like he’d been born so long after the end of history that history failed to register on him entirely.

He was not an especially gifted writer, even compared to my other students. But he was engaged when we talked about movies, and after a few weeks I convinced him to show me some of the short films he and his friends had shot with his iPhone. They were pretty good. My favorite had the makings of a stoner buddy comedy, and was framed as a parody of 2001: A Space Odyssey (Howie said he’d wanted to find the perfect midpoint between Kubrick and his other favorite movie, Pineapple Express). He showed me the first scene, which was subtitled “The Dawn of Dank.” It depicted Howie along with a group of teenagers in a wood-paneled basement, wordlessly playing a video game. After a few minutes—cannily soundtracked by the same thudding Strauss that opens 2001—a slightly older kid walks down the basement steps holding a Juul, black and shimmery like Kubrick’s monolith. From below, the camera zooms in on the Juul-monolith as the character takes a huge rip, and then they all pass around the Juul and also a big bong that someone pulls out from behind the couch.

“The Juul is supposed to represent the arrival of a new epoch,” Howie told me, beaming. “It symbolizes that we smoke weed now.” 

This confession felt like a big step toward my unspoken goal of turning our relationship into an honest and democratic dialogue between two comrades, rather than the transactional exchange it really was, and I asked him what would come after this scene. “We haven’t filmed it yet,” he said. “We want to cut to a scene set in the future, like in ten years. We have this plan to all reunite then, as adults, and finish making the movie when we’re all super successful and editing technology has gotten really good. Then it’ll tell the story of our lives as young professionals, but we’ll still smoke weed together.”

I wasn’t sure about this. Wasn’t Howie’s generation supposed to be uniquely attentive to the precarity of the future? Why was he so secure about the future of both his creative career and of the world-historical conditions that would enable him to have one? What if one of his actor-friends died in a school shooting, or committed one? What if movies stopped existing and all we had left was Amazon Prime Originals and TikTok?

But I told him his movie was a great idea and reminded me of Boyhood, a film I loved in an embarrassingly ardent and identificatory way. At this he rewound the video excitedly. “That’s Ethan Hawke’s nephew!” he said, pointing to the actor with the most expensive-looking haircut. 

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All summer I stayed up late, stoned, watching Mamma Mia! 2 with more rigorous focus than I’d seemed able to apply toward anything else, possibly ever. I listened to ABBA Gold constantly, soundtracking my routinized days. Here we go again, I’d think, riding my bike into Howie’s neighborhood.

As the movie’s posters became ubiquitous over the course of the summer, I’d been trying to figure out from Howie’s context clues whether Mamma Mia! 2 was a sequel or a prequel. Finally, he told me that it was “a sequel and also a prequel.” I found this very funny and somehow appropriate to our relationship, within which I felt myself both regressing—sometimes I talked like a teenager around him; I couldn’t help myself—and also mimicking the authority of a much older person who I hadn’t yet become. Instead of telling Howie about all that I made him read the poet Dana Ward’s great essay “The Squeakquel,” in which Ward uses the second Alvin and the Chipmunks movie as a site from which to consider the nature of the commodity under historical time. I hoped it would kickstart his essay draft, which still barely existed despite my little assignments.

I finally saw Mamma Mia! 2 on an afternoon in late July. I used my MoviePass. MoviePass was this great, almost utopian thing that was apparently, according to the steady stream of business writing I read all summer, doomed to fail. I didn’t even use it that much—between Howie and my job at VOM, which was slowly pivoting to video, I felt like I basically had enough of the cinema in my life—but its inevitable failure bummed me out a lot, and it felt good to pay my monthly dues, like I was contributing to something before it collapsed.

It felt so good that I joined DSA as well, which seemed even more utopian and redistributive than MoviePass, and which also sent you a nice card to carry around in your wallet. But I didn’t use that card much, either. The couple I lived with were active members of working groups and were always talking about their inspiring new socialist friends, but I didn’t seem to share their knack for the slow boring. I guess it was clear to everyone that I mostly joined out of FOMO.

Was socialism also merely experiencing a brief effervescent moment before an inevitable crash? That was how lots of things had been feeling all summer: optimistic, but in an obviously and tragically short-lived way. There was poor Howie, whose oversized ambitions for the near and distant future were tempered by the fact that he was in all likelihood not going to singlehandedly revive the form of the midmarket blockbuster. He probably wouldn’t even get into film school! And then Cynthia Nixon was running for governor, which was a very nice idea that was clearly never going to work. (When, in early September, she did indeed lose the primary, it made me want to sleep for three days like Carrie in the Sex and the City movie, another timeless classic from 2008.) 

Everything felt, actually, remarkably similar to how things had appeared to me in 2008—like a sequel to that moment of Obama-inaugurated, recession-modulated optimism. Or maybe a prequel, like we were somehow, in our moment of inflation and supposedly high employment, prior to that historical moment, with its reoccurrence (here we go again) just around the corner. I’d been younger than Howie in 2008, the year the first Mamma Mia! movie had come out, and a vague range of cultural forces, like anthemic indie rock and the new president, seemed to promise a kind of cosmopolitan liberal future that I was eager to take my place in. Now, having any kind of desire at all about the future felt naive and adolescent, and I was skeptical about Howie’s excitement about the promises of college. I thought a lot about quitting my job. I would have, if I hadn’t liked Howie so much.

By the time I went to see Mamma Mia! 2: Here We Go Again, in which Howie’s name appears in very small print toward the end of the credits, I had an unsubstantiated hunch that the movie might in some way answer to the uneasy feeling of historical repetition that I’d been sensing. A prequel and also a sequel! That seemed just right to me.

The viewer learns early on in Mamma Mia! 2 that the original movie’s charismatic star and anchoring force, Meryl Streep, has tragically died. This seemed, I thought as I settled into my seat, like a dark premise for a jukebox musical, and it was true that the whole film felt muted and defeatist compared to the jubilant 2008 original. The mise-en-scene is a little darker; the ABBA songs are all second-rate because all the good ones got used up in the first film. There’s a sequence, starring Sky the real estate–savvy husband, set in a sleek new tower in New York’s financial district. At one point some of the background characters talk about how austerity has devastated the Greek fishing industry. This was what all those sunny, utopian subway posters had been advertising?

The basic structure of Mamma Mia! 2, following the reveal about Streep’s death, is to cut scenes from Sophie’s life in the present—puttering around the Greek isle, planning a memorial service for her mom, realizing she’s pregnant—with parallel scenes from her mother’s youth in 1979: travelling through Europe, having flings with Sophie’s potential fathers, also realizing she’s pregnant. The conceit, of course, is that their lives look very similar, forty years apart—that history, inherited, repeats itself. But, I thought, stoned and distressed, the repetition was all wrong! The scenes set in the late ’70s were so fun, with their random sex and disco heels. Everything set in 2018 just looked like 2018, dour and financialized.

The credit sequence, though—Howie’s contribution to the film—is where things get very strange, and where Mamma Mia! 2 belatedly announces itself as a true avant-garde project. Breaking from the outdoor mise-en-scene of the rest of the movie, the scene opens on a dramatically spot-lit stage. A figure emerges, stepping into a sea of writhing bodies. It’s Cher. With lights trained on a face from which the long arc of history has been Botoxed away, she begins to sing “Super Trouper,” an iconic anthem about how you can be a pop star with an amazing life but still be depressed. Suddenly the actress who plays young Meryl, along with her girl gang from the 1970s, appears, and joins the performance. But then Amanda Seyfried and her husband are there too? And dead Meryl Streep? Soon every character from the 1970s timeline is dancing with their aged-up 2018 avatar, history and contemporaneity stomping along together to the song’s militaristic time signature. Death is fake, and time has collapsed! Ghosts of 1979—the year of the Volcker shock and of the inaugurations of Saddam Hussein and Margaret Thatcher—intrude on the present and they all do karaoke together, singing exuberantly, psychotically, about the emotional power of spectacle. It redeemed the whole movie, I thought.

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When I saw Howie the next day I told him, with great excitement, about the idea I’d had for his essay while watching Mamma Mia! 2: he should structure his admissions essay so that it mirrored the insane, hallucinatory narrative architecture of the film’s final minutes, a triumphant meeting of form and content would somehow bridge a hybrid analysis of Mamma Mia! 2 as a utopian, almost Bergsonian deconstruction of historical time with an account of Howie’s own banal involvement with the film, which itself—in the way all boring underpaid labor stretches time into new shapes—would be described as a kind of temporal experiment. He should, I told him, get very stoned and write out a vision of himself in the future, as a filmmaker, or at least as a film student—and then make that character interact with his current self, like at the end of the movie. “And!”—I added, pleased with myself—“you can incorporate some of the language and tools we’ve been working with this summer.”

Howie was agreeable to this, because Howie was agreeable to everything. He promised to write something up while he was away. Later that week, his mom had reminded me when I’d arrived that day, Howie and his parents were leaving for a two-week trip to the Mediterranean. I’d never been to Europe or anywhere else, and felt a twinge of real envy, for the first time, toward Howie’s wealth. After all our lessons, here he was just literally going to Greece! And I would just spend twelve long, stretchy days in my hot apartment. This setup seemed very unfair. Sourly, I told Howie to please not forget about his assignment, no matter what he was doing and seeing on his fabulous vacation.

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He did not forget about his assignment, which he handed to me the next time I saw him, typed up and freshly printed. I was surprised, glancing at the essay, to see that it was not about Mamma Mia! at all. It was not even about Mamma Mia! 2: Here We Go Again. It was about Howie’s own two weeks in Greece, which had apparently not been a vacation whatsoever but a work trip, part of an experimental participatory documentary filmmaking project on Lesbos. Howie wouldn’t tell me anything else about the project, no matter how much I asked, but I gathered that it involved documenting the atrocities faced by refugees. “I can’t believe the depths of suffering I saw,” Howie said, a little stiffly.

I started reading. The thing about Howie’s essay was this: it was wildly, extravagantly good. I don’t know if his parents helped him write it; I guess it doesn’t matter if they did. But the 800-word piece of writing he showed me was beautiful and clear, a descriptive, empathetic, pared-down account of a series of conversations he had had with people who had lost their claims to statehood. I haven’t gotten back in touch with Howie to get his permission to reprint it here, but I will say that it found Howie working in a new and unfamiliar mode, one I was truly moved by. Unlike the mean, hard, grandiose assignments I had given him all summer about cinema as time-image or whatever, it was not at all theoretically ambitious; it didn’t attempt to interpret the idea of abjection, or witness, or even history. It was not showy or exuberant or formally avant-garde. It was simple and declarative, made economical use of scene-setting and characterization, and had sentences of alternating lengths. It ended with Howie asserting, frankly and confidently, that he wanted to become a filmmaker so that he could continue doing work like the good work he did on Lesbos. It sang.

I felt insane. “This is solid,” I said, after I’d read it twice.

“I didn’t follow your prompt,” Howie said.

“No,” I agreed, comprehending all at once that the things that had felt important to me all summer were not the things that had felt important to Howie.

“It wasn’t a very helpful prompt,” Howie said. Did he need to say that? Something had inverted itself very quickly. “I wanted to think about something actually, like, meaningful.”

When it became clear that I had no feedback to give, Howie did not quite fire me, but he and his parents made it apparent that I was free to do other things with my time. I spent a while feeling a little bereft, alarmed by the emptiness of my days. After a couple of weeks, around the time Howie was starting twelfth grade, my roommate convinced me to come to a meeting of a direct action group she was working with. Lots of people brought their children to the meetings, she said, and they always needed childcare. I stole an expensive video camera from the VOM offices. My idea was, I’d get to know the kids for a while and then we could try, together, to make a movie.