Wrong arm of the law

Lemming of the BDA desktop “Funny how naughty dentists always make that one mistake, isn't it?”

A recent article and broadcast on National Public Radio (US) described the proliferation of specialized police forces in the state of Texas, including one that was operated by the State Board of Dental Examiners. No true Monty Python fan could read that report without recalling the Eric Idle character known as Lemming of the BDA – “British Dental Association, that is.”

There's been some public debate about the growth of private police forces in North America, Europe,and throughout the world, and some discussion (though not enough) about the creation of private Fire Departments operated by insurance companies in the United States. But Texas may represent the leading edge of another governmental phenomenon. The issue there is not so much the outsourcing of a government function as it is the fractionation of that function among competing departments.

We don't have a word for this phenomenon yet. Maybe we should call it intrasourcing?

Whatever it's called, the question is this: Is this part of a wider phenomenon or just a Texas aberration, the product of that state's fascination with the breed of professional they still call (with pre-feminist brio) the “Lawman”?

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Seriousness is the New Black

Editor's Note: Today we welcome a new writer to 3QD. Sue Hubbard is a freelance art writer based in London writing for a variety of publications from The Independent to the New Statesman. An award-winning poet, she has published two collections of poetry, Everything Begins with the Skin (Enitharmon) and Ghost Station (Salt), as well as a novel, Depth of Field (Dewi Lewis) and a recent collection of short stories, Rothko’s Red (Salt).

The Turner Prize at Tate Britain and Anish Kapoor at The Royal Academy

Sue Hubbard

Turner%20Prize%2009%20Press%2003 Many factors have lead to London’s pre-eminence in the contemporary art world: the importance of Goldsmith’s College to the Hirst generation of YBAs, Saatchi’s ubiquitous influence as a collector, Jay Joplin’s White Cube gallery, the founding of the annual Frieze art fair, and of course, the Turner Prize, that annual award set up in 1984 to celebrate new developments in contemporary art presented each year to a British artist under fifty for an outstanding exhibition in the preceding twelve months. It has always been a controversial affair. There was, of course, that bed (it didn’t win) and Martin Creed’s minimal light bulbs that simply went on and off. Last year, the shortlist was universally derided as opaque and pretentious. But looking back over its history, love it or hate it, The Turner Prize has become a barometer of the British art scene. Those nominated, often previously unknown outside the art world, usually end up as household names.

This year the short list feels subtly different, not only is there an absence of videos (accident not design, it is claimed) but the work is thoughtful, complex, crafted and, in several cases, rather beautiful. There is little irony. Seriousness, it seems, is this season’s new black.

Glaswegian artist Lucy Skaer (the only woman) has named her installation Thames and Hudson, a reference to both those mighty rivers as well as to the celebrated art publisher. Yet, somehow, the whole feels made up of rather too many disparate parts. A dismantled chair has been used to make some rather obtuse prints, while her Black Alphabet is a version of Brancusi’s 1923 sculpture Bird in Space, caste 26 times in compressed coal dust – though her purpose and message remain rather a mystery. Her pièce de résistance, however, is the skull of an adult male sperm whale (a comparison with Damien Hirst’s formaldehyde shark is unavoidable) on loan from a Scottish museum. Suspended so that it is only partially visible through a series of screens, its sad bony hulk is reminiscent of those Victorian curiosities peered at through fairground peep holes.

[Image Credit: Lucy Skaer, Thames and Hudson 2009, including Leviathan Edge 2009, on loan courtesy of the Trustees of the National Museums of Scotland. Photo credit: Sam Drake and Gabrielle Johnson, Tate Photography.]

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Monday Poem

“… scientists (have been) able to trick (fruit) flies into having associative
memories of events they had not actually experienced.”
……………………………………………………
–Nature News, Oct 15, 2009

Which is Which or Who is Whom

They say fruit fly brains
may be made to have memories
of where they've never flown

I’m like a fruit fly in this way
since I remember things I’m not sure
(but feel) I’ve known

events that may be dreams,
or fictions so often told
they’re recollections, or

heart-breaking tales so well rehearsed
that empathetic neurons,
like the mushroom body
of a fruit fly brain,
are excited to the point of déjà vu
remembering an explicit past not mine but
maybe one experienced by you

hours that seem like yesterday
recalled as clearly
as if each sunrise you’ve seen
had been seen by me,
each brilliant tinted crimson fall,
each blazing summer,
each fresh green spring recalled
as if they’d been interred
within a nest of neurons
dark as a womb
to be resurrected
by a universal heart
not so particular about

which is which or
who is whom

by Jim Culleny
Oct 18,2009

The Humanists: Wayne Wang’s Chan is Missing (1982)

Chan by Colin Marshall

There's this farmer. He has a nice, beautiful farm, but one year there's a big drought. So he's got no money, and the landlord says, “Look, I don't give a shit whether you got money or not money — you're going to have to pay me.” So the farmer says, “I got no money!” The landlord says, “Look, money or no, you're going to pay me, even if you have to send your daughter up to me. The farmer says, “It's okay with me if she wants to go.” Well, the daughter doesn't want to go, so she goes up to the guy and says, “Look, I don't want to come here and you know that.” So the landlord says, “I'm a good guy. I'll give you a chance. You see those two doors over there? One leads outside; one leads right into my bedroom. You make a decision.” Well, he knows damn well both of those doors are going to lead right into his bedroom, and the girl knows that too. The girl says, “That door over there is not the door that leads outside.”

A “Chinese lantern riddle,” the protagonist of Wayne Wang's Chan is Missing calls this curious vignette. He's offered it by way of a solution to the mystery that has obsessed him, and it unsurprisingly fails to tie matters up. When Jo, the film's diminutive, deeply worried hero, relates the tale to Steve, his young nephew and sidekick, explaining that its heroine “was trying to use the negative to emphasize the positive,” Steve simply blows it off. “That stuff's too deep for me!” he laughs.

Jo and Steve are what the film calls “ABCs,” or “American-Born Chinese.” Raised and resident in San Francisco's Chinatown, they work as cabbies, ferrying around the locals and repeatedly explaining the distinction between Mandarin and Cantonese cuisine to tourists. Yearning to become their own bosses, they decide to found an uncle-and-nephew taxi company, but licenses are scarce. Forced into the secondary market, Jo scrapes together his and Steve's savings to sublease one from Chan Hung, an acquaintance of the “FOB,” or “Fresh Off the Boat,” persuasion. But when Jo hands over their money and tries to make contact with Chan to obtain the license, neither the fellow nor the license nor the money are anywhere to be found. Chan is, it seems, missing.

The puzzle sweeps Jo and Steve — but mostly Jo — into perhaps the most unusual noir mystery ever shot, not least because it takes place primarily in the daytime. The duo criss-cross Chinatown, eliciting leads from any community members who might once have come into contact with Chan and following them to whichever sketchy situation they might point. A sociology student hilariously provides her complicated academic interpretation of Chan's failed negotiations with a traffic cop — a result of allegedly incompatible “communication modes” — after running a red. The manager of a Manilatown senior center remembers Chan frequently stopping by, his pockets invariably packed with Hostess snacks, to listen to mariachi music. A political activist and head of a language school frames Chan's dilemma as typical: “He wanted to continue to be Chinese, to think Chinese.” (As opposed to other immigrants, who want to assimilate immediately: “that presents a problem — they're not white.”) His estranged wife, bemoaning that he never even wanted to apply for citizenship, pronounces him “too Chinese.” Chan's sponsor considers him, as Jo puts it, “another dumb Chinaman,” not realizing that he helped invent the first Chinese word-processing system.

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The Case for Humility in Afghanistan

A Taliban victory would have devastating consequences for U.S. interests. But to avoid disaster, America must beware the Soviet Union’s mistakes — and learn from its own three decades of failure in South Asia.

Steve Coll in Foreign Policy:

ScreenHunter_04 Oct. 19 10.11 To protect the security of the American people and the interests of the United States and its allies, we should persist with the difficult effort to stabilize Afghanistan and reverse the Taliban's momentum. This will probably require additional troops for a period of several years, until Afghan forces can play the leading role.

However, that depends on the answer to Gen. Colin Powell's reported question, “What will more troops do?” As Gen. Stanley McChrystal wrote in his recent assessment, “Focusing on force or resource requirements misses the point entirely.” Instead — after years of neglect of U.S. policy and resources in Afghanistan and after a succession of failed strategies both in Afghanistan and Pakistan — the United States, as McChrystal put it, has an “urgent need for a significant change to our strategy and the way that we think and operate.” While I cannot endorse or oppose McChyrstal's specific prescriptions for the next phase of U.S. engagement in Afghanistan because I do not know what they are, I do endorse the starting point of his analysis, as well as his general emphases on partnering with Afghan forces and focusing on the needs of the Afghan population. I believe those emphases are necessary but insufficient.

More here. [Thanks to Feisal H. Naqvi.]

How Messy it All Is

David Runciman reviews Richard Wilkinson and Kate Pickett's The Spirit Level: Why More Equal Societies Almost Always Do Better in the LRB:

The argument of this fascinating and deeply provoking book is easy to summarise: among rich countries, the more unequal ones do worse according to almost every quality of life indicator you can imagine. They do worse even if they are richer overall, so that per capita GDP turns out to be much less significant for general wellbeing than the size of the gap between the richest and poorest 20 per cent of the population (the basic measure of inequality the authors use). The evidence that Wilkinson and Pickett supply to make their case is overwhelming. Whether the test is life expectancy, infant mortality, obesity levels, crime rates, literacy scores, even the amount of rubbish that gets recycled, the more equal the society the better the performance invariably is. In graph after graph measuring various welfare functions, the authors show that the best predictor of how countries will rank is not the differences in wealth between them (which would result in the US coming top, with the Scandinavian countries and the UK not too far behind, and poorer European nations like Greece and Portugal bringing up the rear) but the differences in wealth within them (so the US, as the most unequal society, comes last on many measures, followed by Portugal and the UK, both places where the gap between rich and poor is relatively large, with Spain and Greece somewhere in the middle, and the Scandinavian countries invariably out in front, along with Japan). Just as significantly, this pattern holds inside the US as well, where states with high levels of income inequality also tend to have the greatest social problems. It is true that some of the most unequal American states are also among the poorest (Mississippi, Louisiana, West Virginia), so you might expect things to go worse there. But some unequal states are also rich (California), whereas some fairly equal ones are also quite poor (Utah). Only a few (New Hampshire, Wyoming) score well on both counts. What the graphs show are the unequal states tending to cluster together regardless of income, so that California usually finds itself alongside Mississippi scoring badly, while New Hampshire and Utah both do consistently well. Income inequality, not income per se, appears to be the key. As a result, the authors are able to draw a clear conclusion: ‘The evidence shows that even small decreases in inequality, already a reality in some rich market democracies, make a very important difference to the quality of life.’ Achieving these decreases should be the central goal of our politics, precisely because we can be confident that it works. This is absolutely not, they insist, a ‘utopian dream.

Brian Leiter on Nietzsche Myths

Over at Philosophy Bites:

Friedrich Nietzsche is famous for many things, including the idea of the Übermensch, The Will to Power and his sceptical beliefs about truth that make him a precursor of much postmodern thinking. But according to Nietzsche expert Brian Leiter (the man behind the Leiter Reports Weblog) close reading of his work tells a different story.

Listen to Brian Leiter on Nietzsche Myths

Brian Leiter's Nietzsche Weblog

1989!…Twenty Years Later

20091105-prague Timothy Garton Ash in the New York Review of Books:

Unsurprisingly, the twentieth anniversary of 1989 has added to an already groaning shelf of books on the year that ended the short twentieth century. If we extend “1989” to include the unification of Germany and disunification of the Soviet Union in 1990–1991, we should more accurately say the three years that ended the century. The anniversary books include retrospective journalistic chronicles, with some vivid personal glimpses and striking details (Victor Sebestyen, György Dalos, Michael Meyer, and Michel Meyer), spirited essays in historical interpretation (Stephen Kotkin and Constantine Pleshakov), and original scholarly work drawing on archival sources as well as oral history (Mary Elise Sarotte and the volume edited by Jeffrey Engel). I cannot review them individually. Most add something to our knowledge; some add quite a lot. It is no criticism of any of these authors to say that I come away dreaming of another book: the global, synthetic history of 1989 that remains to be written.

Over these twenty years, the most interesting new findings have come from Soviet, American, and German archives, and, to a lesser extent, from East European, British, and French ones. They throw light mainly on the high politics of 1989–1991. Thus, for example, we find that the Soviet Politburo did not even discuss Germany on November 9, 1989, the day the Berlin Wall would come down, but instead heard a panicky report from Prime Minister Nikolai Ryzhkov about preparations for secession in the Baltic states and their possible effects in Ukraine and Russia. “I smell an overall collapse,” said Ryzhkov.

It’s All a Dream

From The Washington Post:

City Jonathan Lethem's brilliant, bloated new novel about the hollowness of modern life should delight his devoted fans — and put them on the defensive. They will point, justifiably, to the exquisite wit and dazzling intricacy of every single paragraph. In the pages of “Chronic City,” all 467 of them, this super-hip, genre-blurring, MacArthur-winning, best-selling novelist proves he's one of the most elegant stylists in the country, and he's capable of spinning surreal scenes that are equal parts noir and comedy. But ultimately, these perfectly choreographed sentences compose a tedious reading experience in which redundancy substitutes for development and effect for profundity.

This is a strange study of the shimmering unreality of New York City, full of knowing references to its culture, politics, celebrities, aristocrats and authors. The story takes place as a series of long monologues and conversations, both cerebral and silly. The narrator, Chase Insteadman, is a handsome bon vivant, “a Manhattan gadabout,” who skates on “frictionless ball bearings of charm” and lives off residuals from his days as a child TV star.

More here.

Presence: Collected Stories by Arthur Miller

From The Telegraph:

Book Arthur Miller’s foreword to his first collection of short stories from 1967 won’t delight the more bullish champions of the form – and not just because, as reprinted here, it keeps misspelling “Hemingway”. The idea, he writes, that short stories are “more or less casual things at the lower end of the scale of magnitude” is one he is quite happy to accept. In fact, this is precisely why he enjoys writing them. For a playwright, they’re a chance to escape “the terrible heat at the centre of the stage” for something less grand and more self-effacing.

The rest of the book triumphantly lives up to these modest claims. The 18 stories – which include the two collections published during his life, and a third, Presence, published posthumously (here making its first British appearance) – lack the crunching power of Miller’s best drama. The compensation, though, is a rich, even touching sense of intimacy. With a few exceptions, these stories are not just good, but good in a way that may well come as a revelation to Miller fans. “I feel I know Chekhov better from his stories than from his plays,” he says in that same foreword – and after reading Presence you have exactly the same feeling about him.

More here.

Sunday Poem


Carrigskeewaun, County Mayo, Ireland

The Leveret
………….

This is your first night in Carrigskeewaun.
The Owennadornaun is so full of rain
You arrived in Paddy Morrison’s tractor,
A bumpy approach in your father’s arms
To the cottage where, all of one year ago,
You were conceived, a fire-seed in the hearth.
Did you hear the wind in the fluffy chimney?
Do you hear the wind tonight, and the rain
And a shore bird calling from the mussel reefs?
Tomorrow I’ll introduce you to the sea,
Little hoplite. Have you been missing it?
I’ll park your chariot by the otters’ rock
And carry you over seaweed to the sea.
There’s a tufted duck on David’s lake
With her sootfall of hatchlings, pompoms
A day old and already learning to dive.
We may meet the stoat near the erratic
Boulder, a shrew in his mouth, or the merlin
Meadow-pipit-hunting. But don’t be afraid.
The leveret breakfasts under the fuchsia
Every morning, and we shall be watching.
I have picked wild flowers for you, scabious
And centaury in a jam-jar of water
That will bend and magnify the daylight.
This is your first night in Carrigskeewaun.

by Michael Longley, 2004

Photo: Carrigskeewaun, County Mayo, Ireland

Herta Müller: being watched, bugged, filmed or scanned

DEU_Buchmesse_Buchpreis__FRA1074ad4c5b224bf

Herta Müller has eyes like spotlights that drive out the darkness night after night. She is small, featherweight even, and is the last person you would suspect spent to have spent a childhood herding cows. Of her background, she says: “I was born in 1953 in Nitzkysdorf, the year in which Stalin physically died – mentally, he continued living for years. The village,” she continues, referring to her place of birth, “lies in the Romanian Banat, a two-hour drive from Belgrade and Budapest. A peasant population, white, pink, pale blue gables – and triangular houses in symmetrical streets. My father hated working in the fields and when he returned from the SS in 1945, he became a lorry driver and alcoholic. The combination is possible in the countryside. My mother was and remained a peasant in the corn and sunflower fields. Corn for me is the socialist plant par excellence: it displays its colours, grows in colonies, blocks the view and cuts your hands with its leaves while you’re working.”

more from Verena Auffermann at Sign and Sight here.

Midnight Pussycats (!)

Vonnegut

“The only way I can regain credit for my early work is to die,” Kurt Vonnegut once said, sounding more amused than worried about it. Ever the realist, ever the stoic, ever the cynic, Vonnegut got how the lit game works. Reputations soar, tumble into the trash and rise mysteriously again. The good news is that quality tells in the end; and so here we are, 2 1/2 years after Vonnegut’s death, celebrating new books and handsome reprints by a man who, by the time he passed on, had been a part of the liberal furniture for so long (“counter-culture icon,” proclaimed the New York Times obituary) it was possible to forget he’d done a life sentence at the typewriter, fighting his suicidal tendency and instead making magic happen. Vonnegut started publishing in the early 1950s and, in 1969, came out with “Slaughterhouse-Five,” recently reissued by Dial Press — along with “Sirens of Titan,” “Mother Night” and “Galapagos,” all $15 — a miracle book that both distilled everything its writer knew and caught the wave of America’s damaged, deranged Vietnam-era mood. The worldwide splash made by “Slaughterhouse-Five” turned Vonnegut into a wealthy celebrity, and thereafter it came to seem that everything he’d written before had been a kind of preparation, while what he wrote after merely drifted in that book’s wake. That judgment is true in a way and yet totally unfair — a very Vonnegutian formulation — although “Slaughterhouse-Five” does remain central.

more from Richard Rayner at the LA Times here.