Monk is always terrible forever.

Lots of times people people ask me tough questions.  Sometimes these are questions about mental illness that I’m not qualified to answer.  Sometimes these are challenging personal questions, like ones about my personal OCD symptoms, or “why don’t we have grandchildren yet?”

People never ask me the questions I have good answers to.  For instance, people never ask me: “Fletcher, what is the total nadir of human creativity?  What is the single most vile object to pass through the bowels of  mankind’s collective imagination?”

Because it is not reality television, or YA supernatural erotica or fanfiction thereof, or secretly evangelical horrorcore rap produced by men dressed as clowns.

It is Monk.  Monk is the worst.  And finally, finally, I get to tell you all exactly why.

Say no to drugs, even those prescribed by a licensed psychiatrist, evidently.

 


Bioshock Infinite: God Exists, and He Is American

Wrapping up my thoughts on Irrational Game’s excellent but deeply flawed Bioshock Infinite, here’s my take on the topics that have drawn the most ire from the right and the left: the game’s depiction of Christianity and of a bloody populist revolution.

- There have been a couple of predictable challenges to the game from the Christian right.  Which makes sense, because a cursory glance suggests the game is just messing around with Christianity imagery and iconography to check of another item on its list of hot-button issues.  But a more careful analysis reveals the game is an indictment of unearned spiritually, and a reaffirmation of the power of genuine Christian sacrifice.

At the game’s climax, Booker learns that the corrupt theocrat Comstock is actually Booker’s counterpart from an alternate timeline: a parallel universe where Booker found religion, concluded that with God’s forgiveness he basically had carte blanche to do the Lord’s work as he saw fit, and set about spreading the Gospel via Columbia’s airborne armada.  Comstock’s story is the classic refutation of Martin Luther’s doctrine of “salvation through grace” – actually, Bioshock Infinite argues, grace doesn’t help if you rely on it to justify evil actions.  And I’d argue that’s a necessary statement to make in our political climate, where allegedly Christian activists and legislators quote obscure scripture to justify discrimination, then claim they’re doing God’s work by implementing institutional changes that further disadvantage the poor and underprivileged.

So how does Booker respond to the revelation of Comstock’s true identity?  Traveling outside of space and time, he returns with his daughter Elizabeth to the moment of the baptism and allows her to drown him, erasing Comstock from existence and saving his daughter and the people of Columbia from his nefarious influence.  Instead of taking the easy path of unearned redemption, Booker makes the greatest sacrifice possible to ensure a better life for his child.  And in a game about Christianity, the significance of that should be pretty obvious.

That’s not to say Booker’s a straightforward Christ figure – both as Booker and as Comstock he’s an undeniable bastard, not a man in a position to offer forgiveness but one who desperately needs it.  Rather, Booker’s a flawed man who finally does good by following Christ’s example.  On a fallen earth (a fallen earth that even the airborne Columbia remains part of) that’s about as good as anyone can do.

 - The portrayal of Daisy Fitzroy is an embarrassment.  Like, I would actually be embarrassed if I were Ken Levine.  I know how it goes.  I’m a white dude.  I’ve written and even shared stuff that I’ve only realized after the fact could be interpreted as racist or sexist; embarrassment, and then an apology and a hasty correction if possible, is the only reasonable response.

Because the tale of Daisy Fitzroy, scullery maid turned freedom fighter and the only significant person of color in Bioshock Infinite, is something to be embarrassed by.  Daisy’s introduced to the player as a hardened but sympathetic revolutionary, fighting on behalf of racial minorities and the underclass against Comstock’s theocracy.  That is, until Booker and Elizabeth travel to another parallel timeline, where Daisy has become a self-righteous tyrant as bad as Comstock.  Tracking Daisy Fitzroy through an alternate Columbia devastated by civil war, Booker and Elizabeth finally catch up with her just as she executes Jeremiah Fink, the robber baron responsible for keeping much of Columbia’s population in indentured wage slavery.  Which, hey, fair enough.

But then she turns around and, with some half-assed justification, prepares to shoot Fink’s son.  Daisy’s only prevented from doing so because Elizabeth crawls through a vent and stabs her in the back.

That’s a big problem.

Bioshock: Infinite takes the only significant, named person of color in its entire cast; railroads her into pointless one-dimensional villainy without an explanation; and then sacrifices her to provide development for one of the (white) heroes.  For a work so interested in criticizing casual racism in American culture, Bioshock Infinite is alarmingly thoughtless about how it treats its own characters.

- And just as bad: Daisy’s implausible leap from rabble-rouser to child-killer, and the descent of her Vox Populi from idealistic revolutionaries to vengeful terrorists, totally neuter whatever political point creator Ken Levine is trying to make.

Bioshock Infinite is remarkably specific when pointing out the sins of the political right, and that’s what makes it effective satire.  Through recordings of Comstock’s sermons and private diaries, through the propaganda he releases to his people, and through the characterization of his alternate self Booker DeWitt, we get a clear look at Comstock’s failure; we see both the beauty of his perfect unfallen America, and the evil he embraces to achieve it.  Were I a conservative, I’d hope that playing Bioshock Infinite would help me understand some of the mistakes my political allies were making; the veneration of the founders and the white-washing of America’s past, the eagerness to inflict violence as deterrent and punishment, the willful ignorance to the systemic injustice inflicted on America’s poor and people of color.

But as a progressive, I’m not sure what I’m supposed to take from Bioshock Infinite.  Don’t murder kids for no reason?  Thanks for the insight, Ken.  Don’t let those Occupy rallies get out of hand?  Son, have you seen Occupy Wall Street?  At its pinnacle, back in 2011, Occupy was a bunch of muddy hipsters and wilted flower children wielding pet snakes and bongos.  We couldn’t hold down a few yards of concrete, much less overthrow a damn city.  There are plenty of criticisms to be made of both the Democratic establishment and the progressive movement, but Infinite doesn’t make them, and its platitudes about how all sorts of extremism lead to violence are condescending and simplistic.  As commentary on the decadence of the modern American left, explaining how its flawed ideology will lead to tyranny, Bioshock Infinite is totally useless.

And even if it works as a general indictment of extreme leftism, it doesn’t work in a game explicitly and specifically about America.  The story of power in America, sometimes for the better and more often for the worse, is the story of a handful of big important men making big decisions and everyone else getting dragged along.  Now, that’s obviously an oversimplication, but we’ve certainly never seen anything like the bloody socialist uprising depicted in Bioshock: Infinite.  The game throws in lots of references of Les Miserables and Marxist rhetoric to try to establish historical precedent for the Vox Populi’s reign of terror, but that sleight of hand doesn’t change the fact that the Vox don’t have a parallel in American history.  Showing a fictional underclass revolution as equivalent to the sort of theocrats and oligarchs who have so much power in real-life America, and then declaring both sides to be just as bad, is intellectually dishonest.

Especially when, in order to sell your false equivalency, you have to paint the leader of the insurgency as a child killer. The only thing that convinced me of was how shallow Ken Levine’s “all extremism is bad” argument is.

I want a “Daisy was right” t-shirt.

- And finally, for everyone who missed it over on Tumblr, a piece of fan art: Compost for Comstock!

 


Bioshock Infinite: Guns of the Patriots

Continuing our discussion of Bioshock Infinite.  Today I want to talk about some of the game’s weapons and features, and how they might have been better integrated into the world of Columbia.

- One of the defining gameplay features of the original Bioshock were the plasmids – superpowered genetic modifications that could be used alongside your arsenal.  They were also a critical part of the game’s narrative, as Rapture’s social breakdown was hastened by widespread and unregulated genetic modification.  I’ve heard criticism that the vigors don’t make sense as part of Infinite’s universe the way plasmids did in the original – it makes little sense that a society as reactionary and fixated on tradition as Columbia is would be so blasé about widespread gene-splicing.  If the anti-vaccination movement has taught us anything, it’s that paranoid types (both liberal and conservative) are extremely hostile towards science and medicine they don’t understand.

But I see the vigors as more of a missed opportunity for additional social commentary.  Infinite’s Columbia is fixated on racial purity and conformity – seeing the populace abuse genetic modification to better embody Farther Comstock’s ideals could have been creepy and appropriate to the setting.  It could have led to some compelling moral problems for the characters: workers investing in genetic modification for their children to give them a better shot at climbing the social ladder, for instance, or Booker having to splice himself to go incognito among the populace. Imagine a Grand Theft Auto-style scenario where the cops are pursuing you and you can literally modify your genetic makeup to evade detection.

But while summoning waves of angry crows to fend off Colombia’s fuzz isn’t as creepy or as thematically resonant as spawning swarms of bees from your pores was in the first game, I’ll be damned if it isn’t more satisfying.  I’ve cut back both on drinking and on spending money on useless nerd merch since college, but I’d be sorely tempted to buy a “Murder of Crows” vigor flask.

- Speaking of which: it’s striking how often crows appear and reappear through the game.  I suspect it’s economic use of existing graphic assets but the birds also remind the player of Booker’s role as an invader/scavenger in this self-contained world.

- On the same subject as the vigors, I thought the original Bioshock was extremely clever in that it explained the freely available firearms and ubiquitous ammo dispensaries of most FPS games not as a concession to genre requirements but as the ultimate consequences of a totally deregulated libertarian dystopia: in a world where there’s no government to control the distribution of weapons, the bad guys all use guns and then everyone has to take arms to defend themselves.  (Sadly, this element of Bioshock has recently proved prophetic, as lax gun laws have encouraged random shootings, and conservative lawmakers insist the solution to this is more armed citizens.)

That kind of reasoning doesn’t really work in Columbia, but I think the ubiquitous firearms could still have been part of the game’s satire.  As Comstock’s Hall of Heroes and Soldier’s Field demonstrate, his nationalism and religious fundamentalism also include militarism; why doesn’t that extend to the populace as well?  Give everyone a gun.  It’d lend additional unease to the carnival scenes, as you gradually realize the cheery revelers are all packing heat, and could lead to some cool emergent gameplay as untrained civilians get involved in shootouts.  It could also add some poignancy to Infinite’s commentary on racism if armed civilians reacted with greater hostility to minorities, and the player had to decide whether to risk breaking cover to intervene or allow an innocent to be shot.

We’ll conclude the discussion on Friday: I’ll talk about two big controversies surrounding the game, its use of Christianity and its depiction of the Vox Populi worker’s uprising.  Bring popcorn (or dig some out of a garbage bin, if that’s more your style).


Bioshock Infinite: Who Will Survive in America?

I’m about halfway through a second playthrough of Irrational Games’ Bioshock Infinite and I’m totally obsessed with it.  As I wrote last week, it’s a wonderful mess of a video game that does so much right and so much wrong, and I’ll probably never get sick of it.  I’ve put together some thoughts about different elements of the game I find interesting, and I’ll be posting them over the next few days.  Spoilers ahead, and although I suspect the game’s still enjoyable even if you know the twists (I only played the original Bioshock this year, and knew all about the big twist), those of you who haven’t played yet may wish to avoid for now.

- I’ve seen a lot of complaining about the violence in Bioshock Infinite and I’m faintly baffled by it.  The purpose the violence serves is obvious and, as far as I’m concerned, totally justified.  You’re strolling through Columbia, enraptured by the lush scenery and scientific marvels, totally seduced by this impossible wonderland of turn-of-the-century Americana.  And then BAM!  You’re invited to participate in the lynching of an interracial couple and then BAM!  You’re driving a grappling hook/chainsaw into a policeman’s cranium.  It’s a one-two punch that shatters Columbia’s eerie tranquility and establishes the atmosphere of juxtaposed wonder and horror that will permeate the rest of the game.

Now, I’ve heard arguments that the ultraviolence will scare off queasy players who might otherwise give the game a fair shake, and awaken to the creative potential of video games.  My response is that Ken Levine isn’t obligated to advance the medium.  He’s obligated to follow his muse, and produce the art he wants to make.  When artists deliberately set out to create conventionally “great art” we usually end up with boring nonsense: Oscar-bait with massive production values and a soaring orchestral soundtrack but no unique or interesting qualities.  I’d take an interesting, repulsive, messy contraption like Bioshock Infinite over a dozen works like that, no question.

- The plagiarized period covers of modern pop songs broadcast through time are neat, and I suspect there’s some intended commentary on intellectual property and the entertainment industry.  Maybe something about how the media exploits artists by hacking up their work to make it suitable for mass consumption, then reaping the profits?

- I’ve seen very little writing on the Comstock House asylum seen towards the end of the game – obviously, the treatment of the mentally ill is an interest of mine, and if I try to produce an actual essay on the game it will probably tackle this stage.

"Boys of Silence" is also the title of my forthcoming Don Henley/Depeche Mode mashup.

But briefly: the House is pretty clearly based on the Bentham panopticon, and Foucault’s critique of itThe Boys of Silence are especially interesting as living instruments of the panopticon, surrogate eyes for the central intelligent, beings that can observe but cannot act.  And the patients we see are an effective representation of how society stigmatizes and ostracizes the mentally ill; ghostly and intangible, suspended between parallel universes, they are literally outside our reality.

- I know a lot of people haven’t been sure what to make of the Handymen, Columbia’s cyborg enforcers, constructed by permanently fusing the aged and infirm into massive exoskeletons  – I figured they were a commentary on end-of-life care, “death panels,” and our obsession with extending the quantity of life at the expense of quality.  And even if that wasn’t what the creators were trying to say, I’m declaring DotA and saying it’s true anyway, because it’s too good to pass up.

- So how about Elizabeth, eh?

Little Anna DeWitt.  Grew up.  Filled out.

There’s something a little queasy about Elizabeth’s sexualized depiction, and how it colors her interactions with her parents (all three, across dimensions).  Thankfully, the designers modified the pandering design that appeared in the game’s 2011 trailer (breasts or eyes, I couldn’t tell you which were bigger, but the overall effect was uncomfortably evocative of the combination of sexualization and infantalization of animated women that the otaku kids call moé).  But there’s still some male-gaze stuff going on in the version that appears in the final product.

Seriously, the one on the left is kinda embarrssing.

It’s especially queasy in light of twists of the game’s ending: Comstock and Booker are the same man across universes, Elizabeth is Booker’s daughter.  So there’s some really creepy subtext when Elizabeth changes from her original outfit, now torn and bloodied, into the form-fitting, cleavage-emphasizing gown of her mother, Lady Comstock; we now have the daughter playing dress-up as the mother so dad can get an eyeful.  And this is before the Lady herself is resurrected as a shrieking, undead harpy (well, Siren, technically) that Elizabeth and Booker must rebury.

What makes this seem deliberate and thematic instead of just Freudian is that this part is immediately followed an alternate-future scenario in which an elderly Elizabeth adopts the mantle of her father, the Prophet Comstock, raining fire-and-brimstone sermons (as well as literal fire and brimstone) over the world below.  So we have two sequences in which the child play-acts as each of her parents, before forging her own path at the end of the game.

And having Elizabeth act out the roles of both of her parents, and showing that neither of these options is healthy or appropriate, goes a long way to turn the creepiness of her Lady Comstock cosplay into an asset.  I’m not sure this totally excuses the way the designers sexualize her, but at least it gives a solid thematic reason for why the game encourages the player to oogle the daughter figure through the eyes of her father.  It’s supposed to be wrong and uncomfortable and it’s something the narrative explicitly rejects.

(Well, at least that’s my DotA explanation for it.  We all know the real reason is that the creators were probing the middle space in the Venn diagram between “Sexy” and “Tasteful” and that they misjudged the final design just a bit.)

- Tomorrow, I’ll talk a little about the game’s implementation of weapons and “vigors” (genetic superpowers) and how it might have been done better.


Til We Have Faces: The Identity of the Hero in The Legend of Zelda: Majora’s Mask

I recently snagged a preowned Playstation3 from Gamestop, along with a copy of Bioshock Infinite, which I finished up last night.  B:I is a fascinating mess, a big tangled knot of theme and character and historical reference and criticism of the medium that can’t quite be solved.  Pull at one thread and another comes undone.  I suspect there will be as many interpretations as players.  I can’t say I loved it but I’m glad it exists, and I’ve enjoyed reading other people’s takes on it, and I’m looking forward to playing it again.  I might try to get up some more coherent thoughts about it up here next week.

I’ve been thinking a lot about videogames and narrative, and I was reminded of the videogame theory class I took back at Swat and one paper I wrote in particular: a take on The Legend of Zelda: Majora’s Mask for Nintendo 64.  I was a die-hard Zelda fan growing up, and although I’ve cooled on the series with  recent installments, for better or for worse Majora’s Mask was one of my defining gaming experiences as a teenager.  The weirdness of the thing, how it took gameplay conventions and NPCs I was familiar with and pushed them into uncomfortable (uncanny?) places, got inside my head.  It’s one of the games I’ve replayed the most, and the one that I’m most frightened to replay again, because I’m confident the combination of time and circumstance and adolescent psychology that made it so potent ten years ago can’t be recreated.

I wrote this paper my senior year of college: it’s a little clunky, and it gets a little academic at points (I still love the Tarot symbolism of the moon and tower but some of you might roll your eyes).  Anyway I thought it was worth sharing.

Til We Have Faces: The Identity of the Hero in The Legend of Zelda: Majora’s Mask

Shigeru Miyamoto wanted to create for videogame players a “miniature garden that they can put inside their drawer”[1].  This was the genesis of the Legend of Zelda franchise, as series that includes some of the most-loved and best-selling titles of all time.  True to Miyamoto’s ambition, the Zelda series has excelled in presenting players with a complex world to explore and challenge.  Yet the series includes one entry that, bizarrely, subverts the ludological and narrative principles of the rest of the series.  The Legend of Zelda: Majora’s Mask was released in 2000 for the Nintendo 64 game console, as a direct sequel to the best-selling and groundbreaking The Legend of Zelda: Ocarina of Time.  Yet to the disappointment of many the title was radically different from its predecessor.  Few of the major characters from the previous game returned, and the series’ beloved kingdom of Hyrule was replaced by a surreal alternate universe.  Majora’s Mask was a profoundly unusual game, one that bent backwards to subvert the heroic fantasy so crucial to the success of previous Zelda titles.  In the context of the extremely popular Zelda franchise, Majora’s Mask daringly undermined the series narrative premise by offering an adventure based, not on violence, but on compassion and transformation.

You've met with a terrible fate, haven't you?

Read the rest of this entry »


IOCDF’s 1 Million Steps For OCD Awareness

Everyone, my family and I will be participating in the IOCDF’s One Million Steps For OCD Awareness event in June. The IOCDF does great work, so please consider donating – they’ll really appreciate anything you can contribute.

Here’s the letter I wrote for the IOCDF, explaining how the disorder has affected my family, and how the organization helps sufferers:

“OCD is the pathological intolerance of risk, however minute, and the surrender to protective ritual, however unbearable…As an OCD sufferer, I did any number of asinine, irrational things not because they would protect me, but because I thought they might,and I’d be darned if the one night I failed to properly pray the lord my soul to keep was the night I died before I woke….” 

Not a lot of people get this about OCD.  People associate repetitive behaviors such as hand-washing and counting with the disorder. In reality, most of the action is actually happening inside the sufferer’s head – the physical (or mental) rituals are a way to ward off the ceaseless, cyclical thoughts that torture the sufferer.

I’ve suffered from OCD for as long as I can remember, but wasn’t diagnosed until I was twenty.  My particular variant of the disorder involves uncontrollable, intimately disturbing intrusive thoughts, with no visible compulsions.  OCD severely impacted my childhood, adolescence, and young adulthood.  It wasn’t until I was properly diagnosed and received appropriate treatment at the McLean Hospital OCDI and The Anxiety & OCD Treatment Center of Philadelphia that I found myself on a path of learning to manage this insidious disorder.

The OCD Foundation is doing critical work on the frontlines of the battle against OCD using the most powerful weapon we have: education, both to raise public awareness and to instruct treatment providers in diagnosis and care.  Sadly, there are still many areas of this country where no one is trained in the appropriate treatment modalities for addressing OCD; there are many areas of this world where clinicians have little familiarity with its diagnostic definition.  I’ve met friends in treatment who battled undiagnosed OCD, not just through college like I did, but for most of their adult lives.  The IOCDF is working to change that, and I’m walking to help them out.

Please consider making even a small donation – the website is simple to use, fast, and totally secure.  If you’d like to create your own page and join my team, Team Triggered, I’d be happy to have you.  Also, if it isn’t too much trouble, please post this on Facebook and pass it along to anyone who you think might want to donate.

Thanks for your support. I really appreciate it.

Best,

Fletch


HuffPost Live: “Colleges Fail Students With Mental Health Issues”

It’s a bit short notice, but I’ll be participating in a conversation this afternoon on HuffPost Live about colleges and mental health care with Dr. Jenny Hwang of Stony Brook University and Allison Prang of the University of Missouri.  We’ll be taking questions and comments on air, so definitely check it out if you’d like to be part of the conversation.


Odds and Ends…

It’s been a busy few weeks for me, though it’s been pretty quiet around these parts.  It seems like a good time to kick the cobwebs out of the ol’ WordPress and let you guys know what I’ve been up to.

  • I have a new column up today at Psychology Today about things high school students with mental disabilities should  look for in a college.  Not quite as jokey as some other stuff I’ve done recently, but I know I’ve spoken to a number of young people about the difficulty of balancing mental illness and college life, so hopefully some of you will find it useful.

  • Titling the scale from “serious,”  zipping past “funny” and careening headfirst into “horrifying”:  I published another article with Cracked.com recently, this time about the 5 most soul-destroying attempts at videogame marketing I’ve ever seen.  Not safe for work, unless your workplace condones mutilated body parts, breastfeeding zombies, and crudely illustrated bits male anatomy.
  • I’ve been very busy over with odds and ends at my new Tumblr account.  Over the past few weeks I’ve covered rejected Republican convention performers, Andrew WK’s sex body spray, a hypothetical fandom RTS game, and most recently a rap battle between NBC comedy titans Ron Swanson and Abed Nadir.  Tumblr’s a fun outlet for ideas not quite worth expanding into a full essay, so I suspect I’ll be busy there for quite some time.
  • For anyone following my annotations for Andrew Hussie’s Homestuck, I started a second Tumblr dedicated exclusively to the project.  I’ve put up some excerpts from the annotations, as well as a few attempts at fan art.  I’ll be putting up my (mammoth) annotations for Act 5 Act 2 of Homestuck sometime over the next week – probably after the hubbub over the rumored 4/13 update dies down – so keep an eye out for those as well.
  • Finally, I’m going to be a keynote speaker at the Parent/Professional Advocacy League‘s upcoming Conference and Celebration at the end of May!   They’re a great organization, and I’m thrilled to be working with them.  The conference will be in Marlborough, MA, so check out the links and think about swinging by if you’re in the neighborhood.

Being White in Philly: I can’t believe it’s not racism!

Robert Huber, of Philadelphia Magazine, has taken a ton of flack for his cover story Being White in Philly.  It may stun some of my readers to learn that white people in Philadelphia don’t just sell innovative cat-related products and compose epic allegorical rock operas while huffing paint… apparently, they sometimes say stuff that, if interpreted uncharitably, sounds an awful lot like racism!

Surely Huber didn’t mean for himself or his interview subjects to sound racist?  I’m sure that, if only he had the opportunity to clarify his points, we’d realize this was all a big misunderstanding.  Well – as a fellow Philadelphia resident, white person, writer, and also not a racist, I’ve taken the opportunity to make that opportunity happen for Robert Huber!

What I’ve done is applied literary “close reading” critical techniques to Being White in Philly to extrapolate Robert Huber’s personality, beliefs, and “voice” (his “character”, as we call it in the writing biz).  After that, I’ve used my ”creative” writing skills to expand on Huber’s original essay, and extrapolate how Hubert might clarify his not-racist argument.  I assure you, reader, that I have executed this process with scientific rigor; it is totally infallible, in no way legally actionable, and above all NOT RACIST.

NOT RACIST

Quotes from the article will be presented in quote boxes; Hubert’s hypothetical clarifications will be given after the quotes.

Later, driving up Broad Street as I head home to Mount Airy, I stop at a light just north of Lycoming and look over at some rowhouses. One has a padlocked front door. A torn sheet covering the window in that door looks like it might be stained with sewage. I imagine not a crackhouse, but a child, maybe several children, living on the other side of that stained sheet. Plenty of children in Philadelphia live in places like that. Plenty live on Diamond, where my son rents, where there always seem to be a lot of men milling around doing absolutely nothing, where it’s clearly not a safe place to be.

RH: “I can’t emphasize enough: I did not at any point imagine a crackhouse while scrutinizing that sketchy ghetto domicile.  At no point did it even cross my mind that crackheads (of indeterminate ethnicity) might be shooting or smoking crack inside, their forearms bulging, their crazed eyes veined with red.  I only imagined innocent little brown babies, tragic victims of America’s racial injustice, pooping hard enough to stain that meager sheet with sewage.  Just babies poopin’ everywhere.

“Also: note that I did not specify the race of the ‘men milling around doing absolutely nothing.’  There were just a whole lot of suspicious men, of indeterminate ethnicity, loitering. You know how it is.  Grown men, drifting.  Guys acting all lackadaisy.  Bros getting their lollygag on.  Fellas skipping with a spring in their step, whistling a merry tune, footloose and fancy free.

“I find that… suspicious.”

Another story: Dennis, 26, teaches math in a Kensington school. His first year there, fresh out of college, one of his students, an unruly eighth grader, got into a fight with a girl. Dennis told him to stop, he got into Dennis’s face, and in the heat of the moment Dennis called the student, an African-American, “boy”…

Dennis apologized, knowing how loaded the term “boy” was and regretting that he’d used it, though he was thinking, Why would I be teaching in an inner-city school if I’m a racist? The stepfather calmed down, and that would have been the end of it, except for one thing: The student’s behavior got worse. Because now he knew that no one at the school could do anything, no matter how badly he behaved.

RH: “It’s disgusting how these ruffians abuse the Racial Slur Victim Disciplinary Immunity Act of 1995.  Sadly, once these rapscallions are subjected to even a single instance of racially questionable language, they receive total exemption from detention, wrist-slappings and spankings.  It’s a disgrace.”

Yet there’s a dance I do when I go to the Wawa on Germantown Avenue. I find myself being overly polite. Each time I hold the door a little too long for a person of color, I laugh at myself, both for being so self-consciously courteous and for knowing that I’m measuring the thank-you’s.

RH: “No, I don’t consider myself a hero.  Why do you ask?”

Everyone does have a race story, it turns out, and every story is utterly unique.

RH: “But none of them are racist.  (Also: when I said ‘everyone’ I meant ‘every white person’.  It’s an easy mistake to make!)”

I buttonhole a woman I’ll call Anna, a tall, slim, dark-haired beauty from Moscow getting out of her BMW on an alley just south of Girard College. Anna goes to a local law school, works downtown at a law firm, and proceeds to let me have it when we start talking about race in her neighborhood.

“I’ve been here for two years, I’m almost done,” she says. “Blacks use skin color as an excuse. Discrimination is an excuse, instead of moving forward. … It’s a shame—you pay taxes, they’re not doing anything except sitting on porches smoking pot … Why do you support them when they won’t work, just make babies and smoking pot? I walk to work in Center City, black guys make compliments, ‘Hey beautiful. Hey sweetie.’ White people look but don’t make comments. … ”

RH: “First: I cannot overstate how sexy this racist was.  On the universal scale of hot racists she was like, maybe not a Prussian Blue, but at least a Dr. Laura.  I’d ‘buttonhole’ her any day, a-wink-wink.

“Second: at first I assumed she was exaggerating - I figured this little Moscow mama had a little too much vodka under her ushanka - but as I spent the afternoon following her silently to observe her from a distance (looking, but never making comments!) I was stunned.  Every single time she passed an African-American man, the fellow produced a joint as if from nowhere, made a beeline for the nearest porch, plopped his ass down and proceeded to complement her.  Every single time.  Black businessmen, cops, priests, everyone.  It was surreal.”

I motion Claire down 26th a few doors, out of earshot of a black guy standing at the corner…

“No,” she says. “There’s no need to be careful if you treat people as human beings.” A black woman comes out of the rowhouse behind us, and Claire adds, certainly loud enough for the woman to hear, and probably the guy on the corner, too, “As long as you don’t have a gun in your hand, I’m okay with you.”

RH: “No, Claire doesn’t consider herself a hero, why do you ask?”

Jen took a look at Bache-Martin, the public school four blocks from her house and 74 percent black: Teachers engaged. Kids well-behaved. Small classes. Plus a gym and an auditorium and a cafeteria, a garden, a computer lab. She enrolled her kids there.

Jen was not in the majority. Other mothers told her, “There is a lot of Greenfield pressure.” That pressure is from fellow Fairmounters: pressure to send their kids, collectively, to the right school. Greenfield test scores are a bit higher. It’s also not nearly so black.

Another mother told Jen: “I didn’t want to be the first”—in other words, the first to make the leap to Bache-Martin. “It takes a special person to be first.” Another told her: “Not everybody is as confident as you.”

RH: “Jen, on the other hand, totally considers herself a hero.  And rightly so.”

Most Fairmounters, of course, aren’t trying to push up into Brewerytown, and their concerns are a little more pedestrian.

RH: “So there’s a neighborhood in Philly called ‘Brewerytown’ and get this, it’s a black neighborhood.  I know, right?  You hear that name and you figure it’s all beer gardens with tattooed waitresses serving you vegan burgers.”

Brewerytown residents tend to stay above Girard, they tell me. “At Halloween,” Eileen says, “that’s the only time we see them. Lot of little kids from the other side of the tracks—African-American kids. People still give them candy.”

“People get upset,” Bruce says. “We used to have a parade on Sunday afternoon, kids would get nicely dressed up, and kids from up there”—he points north—“would come barely dressed up.”

Eileen says, “People say—”

“At least dress up,” Bruce says. “Unless they’re working here, most of them don’t come in this direction. They seem happy to stay in their little lot, as it were.”

RH: “So when I say white people on Fairmount have ‘more pedestrian’ concerns I mean stuff like this: little black kids on Halloween and their unbelievably shitty Halloween costumes.  It’s disgraceful.  Eileen told me she had two or three kids show up pulling that ‘sheet with eye holes’ ghost shit.  Seriously, in this day and age you can get a Batman costume at CVS for like 25.99, who dresses up as a ghost?  She didn’t give them candy and good for her.”

…like many people, I yearn for much more: that I could feel the freedom to speak to my African-American neighbors about, say, not only my concerns for my son’s safety living around Temple, but how the inner city needs to get its act together.

RH: “I can’t emphasize this enough.  This is the real problem.  This is the root (or maybe “the Roots” – I love those guys on Jimmy Fallon!) of all of Philadelphia’s racial strife.  The inner city needs to get its act together.  It’s so obvious!  Why can’t the inner city just get its damn act together?!”

Given the monumental changes he’s seen and his declining health, John no longer risks venturing alone beyond his block. There is a monumental spread, too, in his thinking, when he considers the range of black people who have entered his neighborhood.

He tells me about the time, a Saturday afternoon more than 10 years ago, when he came downstairs to his living room to find a stranger had come in through his front door—“It was a nigger boy, a big tall kid. He wanted money.”

RH: “…

“…yeah, that one guy was a little racist.”


Girls, Interrupted (or, A Very Special Episode)

Another Tumblr post that kinda blew up past its original perimeters, so I decided to repost:

I got a txt msg from my younger sister in Chicago asking if I’d seen the last episode of Girls.  I hadn’t – I like Girls, but it’s also uncomfortably accurate in it’s depiction of self-absorbed privileged kids in their late twenties, and I have limited patience for television that reminds me why I hate myself.

But sister told me this episode was about OCD, and I figured, okay, this one I should probably watch.

Read the rest of this entry »


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