Category Archives: First Draft Blog

Human Trafficking: An Everywhere Story

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10/23 UPDATE: Hidden in Plain Sight, a new study released 10/21 by the Urban Institute and Northeastern University evaluates for the first time the comprehensive state of labor trafficking in the United States. Just one fact from the study shows how little most people understand about this problem. How do these trafficked people come to the United States? Most of us might guess they walk through the desert bordering Arizona and New Mexico. That’s wrong. Some 71 percent of them arrive by airplane. The study’s grim conclusion: “There’s a long way to go when it comes to thinking about how to prevent 21st-century slavery within American borders.”

Original Post:

city street, night, noir

(photo: farm3.staticflickr.com)

Once Governor Rick Snyder signs a series of new bills sent him last week by the Michigan legislature, minors involved in prostitution will be treated as victims instead of criminals, and children will be able to clear their records of crimes their traffickers forced them to commit. Amazingly, such laws are not universal in the United States, according to Rachel Lloyd, who created the New York-based Girls Educational and Mentoring Services (GEMS) to help girls and young women experiencing commercial sexual exploitation or domestic trafficking.

The message of a current exhibit at Mount Mercy University in Cedar Rapids, Iowa, uses quotes and photos to tell the story of four people, three from the local area, to show that “human trafficking is a local problem, and there are things people can do in Eastern Iowa to fight it,” says exhibit organizer Mindy Pfab. She wants people to realize that even if they don’t know someone who is being trafficked, they may well know someone who is vulnerable—runaways and other children with unstable home lives, minority and low-income children, those with a history of sexual abuse, and young women involved with gang members—bearing in mind that the average age when a person is trafficked is 12.

A forum last Thursday in Lima, Ohio, focused on human trafficking in its annual Take Back the Night event at the Ohio State University-Lima campus. As the keynote speaker from the state Attorney General’s Office said, we will not “arrest our way out of” this problem. Reasons other simplistic solutions don’t work, including “why don’t they just leave?” arguments, are explored in Rachel Lloyd’s TEDxUChicago talk. Escape isn’t so easy. A little more than 12 years ago, Elizabeth Smart was kidnapped at knifepoint from her bedroom and found nine months later in a Utah town only 18 miles from her Salt Lake City home. As an articulate advocate for abused children, Smart provides compelling testimony (here in a New Yorker article by Margaret Talbot) about why the determination to survive sometimes means staying put.

It Happens Here

night walk

(photo: freeaussiestock.com)

I focused on these current stories from the American heartland to emphasize that no part of our country is immune from this problem. In the United States, several hundred thousand people—many of them children and teens—are sexually exploited and engaged in forced labor. This number includes both boys and girls, pre-teens, teens, and adults, native-born Americans, people smuggled in from other countries, and foreigners here legally. Journalist Faricour Hemani explores the range of countries and types of trafficking in a TEDx SugarLand talk that includes excerpts from situations uncovered in a 6-part BBC series.

Readers who work in the health care industry may be interested in a 10-minute Catholic Health Initiatives educational video introducing the topic of human trafficking (definitely safe for work). My friend Colleen Scanlon opens the video, which recognizes that many trafficked or sexually exploited individuals come into contact with the health care system, making it a potential point of intervention. Because these young people are living on the margins, solutions also must include economic empowerment, not just for current victims, but for preventing future victimization.

It Happens to Individuals

Prompted by Colleen’s video, I collected resources for this post, and they represent a sea of powerful individual stories, each one unique—stories of cruelty and resilience, tragedy and escape. These are real-life stories in numbers we don’t like to think about. Not just somewhere else. Here. And they are stories that need to be told until laws, such as Michigan’s change and society refocuses on prevention. Swedish crime writer Henning Mankell, shocked by the reality of human trafficking in his own country, took up the challenge in The Shadow Girls, reviewed here in 2013. There’s no bottom line to this, except for the greater need to be aware and beware. In Michigan, in Cedar Rapids, in Lima, Ohio, where you are.

Resources

Huffington Post’s “10 Things You Didn’t Know about Slavery and Human Trafficking and What You Can Do about It” – pleased to see New Jersey has some of country’s best anti-trafficking laws!

The Polaris Project – named after the North Star that guided slaves to freedom in the U.S.

GEMS – Girls Educational and Mentoring Services

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Ravel-Edged Storytelling

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forest poetry

(photo: as0.geograph.org.uk)

A walk in the woods of poetry and prose and pleasantly lost in thickets of words.

The current (subscription only) newsletter from AGNI—Boston University’s well-regarded literary magazine—includes an interview with prize-winning poet and nonfiction writer Rosalie Moffett about “Ravel-Edged Storytelling.”

A Wallace Stegner fellow at Stanford University, Moffett says she mostly considers herself a poet, but believes that the two genres—poetry and nonfiction—“share a border, and sometimes I look up to find I’ve crossed it.” A work that started out to be one thing takes an unexpected and serendipitous turn to become the other. In reading this month’s submissions to the writer’s workshop I attend, I encountered one 1200-word short story excerpt that seemed to want to become a poem and might have become one, by just changing the line lengths.

Answering Questions

Moffett says she writes prose and poetry for the same reason: to answer questions and, most of the time, poems “end up being the best arena for my mind to answer them.” This suggests a mind that ranges freely through a forest of possible answers, where the ambiguity of words can be pulled into service of meaning and intent. Strung together in a particular way, they can be the perfect example of the whole being more than the sum of the parts. That phenomenon is is one function of subtext.

dinner table, family

(photo: creative commons generic license)

AGNI online offers Moffett’s essay Sidney, whose story she says absolutely required “the ravel-edged” kind of telling offered by prose. Prose also provided a more valid recreation of how she originally heard—or overheard—the family stories, and the stories about Sidney himself, with all their half-bits of information, inferences, and unanswered questions like loose threads in a bag of knitting ravaged by moths or kittens. Prose “puts our stories together in a way they never had the chance to be before people died, got bitter, or went off their rockers.” I urge you to link to it and start reading; you won’t be able to stop!

And Telling Stories

In the essay about Sidney, she talks about how as a child younger than six visiting her grandparents, she got up late in the evening feigning hunger, so she could camp out in the kitchen eating a bowl of cereal and overhearing the adults’ conversation in the next room: “I remember the music of the stories more than their substance. I sensed their pull and power. I wanted, suddenly, nothing more than to have stories to tell, and to sit at that table and tell them.” “Sidney” shows she absolutely got her wish.

I think I resonated with her responses in the interview largely because of the process in the last two weeks, of writing my blog posts, The Rouge Shadow and Coming to Amerika, based on a longer essay about my father’s immigrant parents. So different from Moffett, who can draw on a deep well of family detail—conversations, rooms she’s spent time in—I know next-to-nothing about my father’s parents. Yet, even from the few stray threads I have, many stories could be woven. To write these essays, I pieced together the backdrop for a plausible narrative from minute clues. Moffett says writing an essay “feels like the hunt for an answer.” And sometimes the answer is that there is none.

Further Reading

Rosalie Moffett’s website includes links to some of her poems, including this one, “Gifts from the 7-11.”

Agni is the ancient Vedic god of fire and guardian of humankind, a messenger to the other gods. You can find out more about this aptly named literary magazine here. And about the god of fire here.

The Art of Subtext, by Charles Baxter– The most eloquent and approachable group of essays on subtext that I’ve found. For only $3.88 used to $10.28 new, you can awaken to new possibilities. Reading it was like seeing, after not seeing.

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The Rouge Shadow

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I see my grandfather in the background in Diego Rivera’s North Wall mural at the Detroit Institute of Art, (here’s a link; these famous works aren’t free for reproduction), dwarfed by the scale of the machinery and the enterprise around him. For decades, he worked at the legendary Ford Rouge plant, where Great Lakes freighters brought sand (for glassmaking), iron ore, and coal to the mile-long factory, and, every 49 seconds, out rolled an automobile.

Ford Rouge plant, Dearborn

Ford Rouge plant, Dearborn, Michigan (photo: wikimedia)

Today, a tour of an auto plant suggests a relatively clean job. Robots do the heavy lifting, with just-in-time sourcing of parts. In the 1920s to 1940s, when my grandfather worked there, the Rouge was the country’s only auto factory with its own steel mill, and clouds of sulphurous smoke and grit filled the air. It had a tire-making plant, a glass furnace, plants for making transmissions and radiators, its own railroad, and even a paper mill. As I understand it, one of my uncles was in charge of keeping the steel mill’s fires stoked, which explains why he always had to work Christmas Day.

My grandfather was born in 1888, and I could not find his immigration record until I realized the Hungarian spelling of Frank is Ferencz. Even then I had to search using all the spellings of the family’s last name my various uncles used: Hadde, Hedge, Hegyi, and Heddi. By the process of elimination, my best candidate is Ferencz Hegyi, who immigrated from Fiatfalva, Transylvania, Hungary, in 1906 and arriving at Ellis Island aboard the S.S. Kaiser Wilhelm II. (Alfred Stieglitz’s photo “The Steerage,”—called “one of the greatest photographs of all time,” was taken aboard that ship.)

(2017 research unearthed my grandfather’s naturalization papers, which reveal a quite different story. It was hard for me to give up this Transylvania connection!)

Coming to Amerika

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In a historical irony, both of my paternal grandparents listed their country of origin as Hungary when they immigrated to the United States in the early 1900s and continued to do so in census records up through 1940, yet both their towns of origin were lost to Hungary after World War I. The treaty of Trianon punished Hungary for siding with Germany in that war, and gave vast areas of its territory (see map) to surrounding countries. Hungary once comprised all the pink areas, but today is just the red-outlined middle portion of the map that includes Budapest.

Dissolution of Austria-Hungary

Dissolution of Austria-Hungary (source: en.wikipedia.org)

The town I believe with some confidence was the original home of my grandmother—Maria Krausz—is now part of Slovakia. What on the map is labeled “Czechoslovakia” was split in 1993 into the prosperous Czech Republic and the proud but impecunious Slovakia (on the map, the pink part of “Czechoslovakia”). Similarly, the small town in Transylvania that I believe my grandfather—Ferencz Hegyi—emigrated from is now part of Romania. This remarkable territorial loss helps explain the running street battles between the Hungarian and Romanian boys in the Dearborn, Michigan, immigrant neighborhood where my father and his brothers and sisters grew up in the 1920s.

The history of middle Europe is long and complex and generally unknown to Americans, unless they’ve made a special study of it. I learned a tiny portion when we took our 2013 Danube cruise from Budapest to Bucharest, as I did some pre-cruise reading. I hadn’t known, remembered, or thought about the many years in which that part of the world was under Ottoman rule. Centuries before that, the Roman empire had a significant presence there (some remnants of which are still visible). That influence explains why the Romanian language is more similar to Italian than to the Slavic languages (at least in appearance; the pronunciation is different), and the fact that the Hungarian Parliament conducted its business in Latin until the mid-1800s, so I was told.

One tantalizing possibility is that the Mongolian hordes that repeatedly crossed middle Europe from the East, doing what invading hordes do—raping and pillaging—left a legacy for my family, too. Estimates are that one in every 200 males on earth is related to Genghis Khan. In part that’s because Khan’s forces killed off most of the men where they rampaged, which meant his own genetic heritage had less competition from the existing population. Khan, his son, and his grandsons had dozens of legitimate—and who knows how many illegitimate—sons who spread his genetic code far and wide.

In 1241, Mongol forces conquered medieval Hungary at the Battle of Mohi. An idea regarding how this distant episode might relate to our family—if it does—was unexpectedly sparked by an experience I had in the dentist’s chair. The endodontist required a large number of visits to finish my root canal (don’t ask), and finally said, “No wonder it’s taking so long! You have an extra root on this tooth. I hardly ever see that, except among my Chinese patients.” Thanks, Great Khan.

Gizella, Queen of Hungary

(photo: author)

History also explains the tantalizing bit of information from aunts Gizella and Clara that their mother was actually German, which was always a little confusing. It turns out that the immigration of German-speaking peoples into Hungary was widespread and began in approximately 1000, when German knights came into the country in the company of Giselle of Bavaria (Gizella in Hungarian), the German-born Queen of Hungary’s first king, Stephen I. (Boldog Gizella, in the stained glass panel means “Blessed Giselle”). Hungary by the 1800s had numerous German settlements, which is how Maria could be both Hungarian and German.

According to the manifest of the ship Amerika, which by a process of elimination I believe included my grandmother among its passengers, Maria traveled to the United States from Dobšiná (German: Dobschau) Hungary (photo below). Dobšiná is located in the Carpathian Mountains, “to the south of the beautiful Stratená valley,” near the Hnilec (Slana) River, and enclosed on all sides by mountains.The historic postcard below is of a hotel built near the town’s famous Ice Cave.

In the town’s heyday, local tilt hammers produced high-quality steel, and so it was no accident that during the anti-Habsburg uprisings of the 18th century, it was Dobšiná that supplied swords, cannonballs, and rifle barrels to the rebel armies of Ferenc Rákóczi II. When peace was established between the Habsburgs and the rebels, army workshops in the town had to be torn down. With the lengthy history of steel-making in her home town, Mary’s ultimate residence in the shadow of the Ford Rouge plant in Dearborn, Michigan, and the patina of fine steel grit on every surface must have felt very familiar.

Dobsina Slovakia Ice Cave hotel

(source: wikimedia.org)

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Life is a Riddle and a Mystery

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By Linda C. Wisniewski, Guest Blogger

pen and ink, writing, memoir

(photo: c1.staticflickr.com)

At my Unitarian church, we sing a hymn with the repeating refrain, “Mystery, mystery, life is a riddle and a mystery.” I read lots of mystery novels, and I write and teach memoir. For me, the two genres are not that far apart.

Writing a memoir is a lot like unraveling a mystery. Where you think you are going is often very different from where you find yourself at the end. Good memoir writing, and I mean good for the writer as well as the reader, always involves the process of self-discovery.

Just as all stories begin with the main character’s motivation or desire, the same is true in memoir. The writer wants to discover something about his life, or the characters in his life story. Quite often the process of writing changes the motivation of the memoirist.

In my memoir, Off Kilter, I wrote that “I wanted to understand why my mother couldn’t protect me from my father’s verbal abuse. I wanted to know why she cut me down instead of building me up….She let herself be silenced. She silenced herself. More than anything, I want to understand.”

While writing is not therapy, it can be therapeutic. It wasn’t so much that writing helped me understand my mother, but rather that it helped me accept who she was. I discovered the answer to the mystery of my life: I held in my hands the ability to create my own happiness, as a grown woman, apart from her. After Off Kilter was published, friends suggested more ways I could try to understand my mother. Call relatives, research history, read self-help books. But I was no longer interested. My motivation had changed.

In his memoir, Elsewhere, Richard Russo comes to suspect his mother suffered from obsessive-compulsive disorder and feels tremendous guilt, seeing himself as her “principal enabler. Because…like other addicts, obsessives can’t do it on their own. As they gradually lose the control they so desperately seek, they have little choice but to ensnare loved ones.” He holds this discovery for the very end, creating a powerful resolution for himself and the reader.

Years ago, I opened my lunchtime talk at a senior citizens center with the rhetorical question, “Why should you write your memoir?”

A tiny woman in the front row piped up so all could hear, “Yeah, why should I?” She made me laugh, but I totally get where she was coming from. I’ll bet her children and grandchildren were always telling her to write down the stories of her life. But she didn’t want to, and I was hard-pressed to convince her otherwise. I listed the mental and physical health benefits of writing about emotionally significant events, but she did not sign up for my class. And she had a very good point. She could see no reason to revisit the past.

Critics complain there are too many “confessional” memoirs, perhaps recalling the confession or romance magazines aimed at working-class women. In the New York Times Book Review Neil Genzlinger wrote a piece called “The Trouble with Memoirs,” in which he asked for a “moment of silence for the lost art of shutting up.” It caused quite a stir, but the conclusion can be drawn that he was complaining about badly written memoirs, of which there are many.

Stephen Elliott wrote in The Rumpus that “…celebrity memoirs are rarely interesting, despite how interesting their lives appear from the outside. The problem is not that they don’t live interesting lives, it’s that they’re not writers.”

Memoir writing is a risky proposition. “I see you in a whole different way now,” said my book club friend after reading Off Kilter. When I started to write seriously, I joined an online group called Risky Writers. We wrote and critiqued short pieces which involved emotional risk when shared. What would others think if they knew we had done these things? We learned to critique the writing, not the life style of the writer.

Despite the temptation to judge the lives of memoir writers, we don’t think of judging fictional characters. “She shouldn’t have done that!” Well, yes, she should have. That’s how she got into trouble, and why we keep turning the page, especially in a well-plotted mystery. Will she get what she wants in the end? Or does she discover something better?

Genzlinger ended his Times Book Review piece like this. “Maybe that’s a good rule of thumb: If you didn’t feel you were discovering something as you wrote your memoir, don’t publish it.” I would add, don’t publish it yet. And don’t give up looking for the mystery.

Linda Wisniewski

Linda Wisniewski (photo: courtesy of the author)

Linda C. Wisniewski lives in Doylestown, Pa., where she teaches memoir workshops and writes for a local newspaper. Her credits include newspapers,  Hippocampus, other literary magazines, and several anthologies. She has been nominated for a Pushcart Prize and won first prizes in the Pearl Buck International Short Story Contest as well as the Wild River Review essay contest. Linda’s memoir, Off Kilter: a Woman’s Journey to Peace with Scoliosis, Her Mother, and Her Polish Heritage, was published in 2008 by Pearlsong Press. Visit her at www.lindawis.com.

Junot Díaz & Difficult Characters

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Junot DiazJunot Díaz, fellow New Jerseyan and one of America’s top young writers, winner of the Pulitzer Prize for The Brief Wondrous Life of Oscar Wao(2007) and a certified MacArthur Foundation “genius,” is interviewed in the fall 2014 issue of Glimmer Train. Last year, he published a book of short stories, This is How You Lose Her. (This is the book a friend of mine starts reading whenever she and her husband have a disagreement.)

“She’s sensitive, too. Takes to hurt the way water takes to paper.”(TIHYLH)

About his recurring character Yunior, who narrates much of sci-fi addict Oscar’s story, and who also features in the short story collection, Díaz says “He is the classic dumb-ass character who makes all the right mistakes to produce, for me, in my mind, great stories.” Yunior shares some biographical details with Díaz, a parallelism that he believes makes writing—or reading—a little easier. “You get free heavy lifting from readers . . . by blurring that line between fiction and biography, a confusion that adds an extra serving of real to the tale.” Getting readers to do some of the work for him, some of the world-creation that keeps them on the page, is especially important in fiction, he believes, when writers “are asking them to confuse our work for the world and often to connect to characters who are difficult.”

“Dude wore his nerdiness like a Jedi wore his light saber or a Lensman her lens. Couldn’t have passed for Normal if he’d wanted to.”(BWL)

“Her rage filled the house, flat stale smoke. It got into everything, into our hair and our food, like the fallout they talked to us about in school that would one day drift down soft as snow.”(BWL)

Junot DiazOne of the ways Yunior is difficult is in his relations with women, his infidelities, and his objectification of women, and Díaz explains that he includes that aspect of his character because it’s “one of the standard ways our culture operates.” Díaz gets some blowback on this, and says the shock of recognition when readers see this aggressively masculine point-of-view on the page “in what I think is so honest a way, it often repels us in ways that the very presence of it in our real lives doesn’t. . . . It’s as if it’s only in this book where these guys exist.”

“You can never run away. Not ever. The only way out is in.”(BWL)

While the writer of the Door Stop Novels blog called Brief Wondrous Life “incredibly offensive,” she added, “it is also absolutely one of the funniest books I have ever read in my life.” Her bottom line: “I think that is what I like most about Díaz —the man goes for broke.” He isn’t writing allegory, with a lot of message overlaid about his real political views; he isn’t writing religious. He is describing the worldviews of very particular people, and it’s in the detailed rendering of those views that make people love or hate his work, but, either way, to believe it’s real.

“The half-life of love is forever.”(TIHYLH)

 

Ed Snowden: Hero or Traitor?

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This post is not going to settle that question for you, and it’s not one I thought I’d be writing about, a recent resurgence in coverage of Snowden has made me think more deeply about him, now that the original panic and dismay have subsided. Most of the coverage is prompted by reporter James Bamford’s recent article, published in Wired. Bamford conducted the longest set of in-person interviews with Snowden since he went to ground in Russia a year ago. I’ve also been studying Stuart Taylor, Jr.’s, essay, published by Brookings, “The Big Snoop: Life, Liberty, and the Pursuit of Terrorists.”

Who Is Ed Snowden?

Ed Snowden, NSA, privacy, security, TED talk

Ed Snowden’s TED talk (photo: wikimedia.org)

Snowden’s position from the beginning has been that he is a patriot and a whistleblower, “bent on saving his country from becoming an Orwellian security state,” as Taylor puts it. Others have recorded his ambition, his highly visible, well-polished initial announcements and PowerPoints, and his more recent TED talk, which may suggest more complex and troubling motivations. Washington Post reporter and author David Ignatius (whose novel about a rogue CIA cyber-expert is reviewed on my home page) has said, “Snowden looks these days more like an intelligence defector, seeking haven in a country hostile to the United States, than a whistleblower.”

Ironically, given the current fractured state of U.S.-Russia relations, Snowden was offered asylum there only if he stopped his work aimed “at harming our American partners,” Russian President Putin stipulated. Snowden first withdrew his asylum application, but ultimately agreed not to release more intelligence secrets. The stolen National Security Agency (NSA) documents are no longer in his hands.

Security vs. Privacy

You will recall that in Snowden’s jobs, he accumulated evidence that the NSA was collecting and storing phone records, emails, and other private Internet activity of a great many American citizens, not just those suspected of terrorism, associating with terrorists, or even remotely connected to any—we “ordinary Americans.” This revelation led to retired NSA director Keith Alexander’s famous haystack analogy: If you want to find a needle in a haystack, you need the whole haystack.

In polls, the majority of Americans oppose this wholesale domestic spying, and the government has damaged its credibility as a result. Yet, Snowden worries the public will become inured to disclosures of mass surveillance, as the PBS News Hour reported. Our acceptance may be in part because Ordinary Americans feel privacy is already hopelessly lost, in part because we believe we are helpless to stop the spying, and in part because people tend to become numb to successive outrages and risks

By spying on foreign citizens and leaders, NSA also has damaged relationships abroad. What the public has heard most about, however, is the spying on German Chancellor Angela Merkel’s cell phone calls, while “the violation of 80 million Germans is a nonstory,” Snowden says.

A fundamental and inevitable tension Taylor explores is between national security and individual privacy and the irony that a security apparatus is needed in order to protect privacy. He covers, in a readable way, the basic tenets of relevant U.S. law going back to the Bill of Rights, in which the Fourth Amendment obligates the U.S. government to ensure that citizens “be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures.” Before the telegraph, before the telephone, before the Internet, securing one’s “papers and effects” was relatively simple.

Snowden Fallout

Today, we must entrust the transmission and disposition of our communications to third parties that may or may not have an interest in protecting them or be able to do so when the NSA comes calling. However, the bad publicity Snowden’s revelations generated for the telephone companies and Internet giants has prompted a rethinking of corporate policies and strengthening of encryption practices.

Those steps haven’t come cheap. Tech companies have been hit by both substantial additional expenses and loss of income, as foreign clients become wary of their products—a potential $180 billion revenue loss, according to Forrester Research analysts.

In addition, the State Department says Snowden has not only damaged U.S. intelligence-gathering, but also potentially endangered U.S. agents abroad, without citing specifics.

Evolution of Law

After Watergate, Fourth Amendment protections were purportedly strengthened by the Foreign Intelligence Surveillance Act (FISA), which put a layer of judicial review between U.S. citizens (or permanent resident aliens) and the intelligence agencies that want to spy on them. But post-9/11, the Senate outflanked the FISA mechanism, in the hurriedly adopted Patriot Act. That new law widened the government’s authority to conduct surveillance and investigations.

Although critics predictably labeled the sweeping reforms President Obama proposed last spring as “going too far” and “not going far enough,” the changes may have begun to move the needle. And, the US House of Representatives overwhelmingly voted to halt the NSA’s practice of conducting warrantless searches of its database containing millions of Americans’ emails and phone calls—“one of many proposed reforms that never would have happened had it not been for Snowden,” Bamford claims.

Evolution of Technology

The “exponential leap” in authority under the Patriot Act coincided with greatly increased technical ability to collect, store, and monitor electronic communications data, a combination that, in Taylor’s words, has “run roughshod over laws, standards of conduct, and international norms,” jeopardizing the desired balance between national security and individual privacy contained in the Fourth Amendment.

NSA’s new million-square-foot data storage facility in Bluffdale, Utah, potentially can hold “upwards of a yottabyte of data, some 500 quintillion pages of text,” Bamford says. Every hour, billions of phone calls, faxes, emails, computer-to-computer data transfers, and text messages from around the world flow through this facility. “Some flow right through, some are kept briefly, and some are held forever.”

Then, there are the leaks. And, as Bamford points out, evidence suggests that Snowden is not the only leaker, because some media reports cite documents that apparently did not come from him. This put NSA in a real bind: “accused of rogue behavior in its snooping,” Taylor says, “and of incompetence in protecting the information it had collected.” Snowden says NSA cannot seem to tell which documents he just electronically “touched” and those he actually stole, though he says he left digital clues to enable them to be differentiated. “I figured they would have a hard time,” he told Bamford. “I didn’t figure they would be completely incapable.”

Solutions?

A second major tension, is “the severe limit on the degree to which transparency can be reconciled with functions of government that must be opaque — that is, secret — in order to be effective,” Taylor says. Certainly, the solutions Snowden himself suggests do nothing to reconcile that tension. In Bamford’s article, he suggests, for example, “making encryption a universal standard—where all communications are encrypted by default.” Regarding future leaks, he says, “The question for us is not what new story will come out next. The question is, what are we going to do about it?”

Further Information

Check out the upper left corner of the Brookings article to see what its computers are tracking about you, as you read.

NSA surveillance capabilities allow it to map your movements by monitoring the unique identifiers emitted by your cell phone, computer, and other electronic devices. You can get the flavor of this by checking out what Google can do, unless your device has this feature turned off (how to turn it off).

Read about the MonsterMind, a real? program designed to counter international electronic threats. It poses two dangers: the ability to wage autonomous retaliatory attacks that have unanticipated consequences; and, to the privacy point, the system’s need to monitor virtually all communication between people in the United States and those overseas, as Snowden says, “without a warrant, without probable cause or even a suspicion of wrongdoing. For everyone, all the time.”

Experts’ views on the future of the Internet, in light of a range of security concerns, reported in July 2014 by the Pew Internet & American Life Project.

What’s Your Green?

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Rorschach

(photo: wikimedia.org)

Having a political discussion with my friend Don is almost impossible. In conversation, I avoid the hot-button issues I know will set him off. Unfortunately more of those topics crowd the landscape of his mind than I anticipate, and stumbling on one is like setting off a land-mine. Why is it we can’t just have a conversation? It’s because our points of view are so different, there’s little room for mutual understanding, and we might as well be speaking different languages. Point-of-view determines not only which facts each of us takes in, but also what we see when we look at something as quotidian as three people standing on the street corner.

In a recent Glimmer Train essay on point-of-view, Bret Anthony Johnston, director of creative writing at Harvard, wrote that his students get this concept when he trots out the old saying, “To a hammer, the whole world looks like a nail.” He says writers need to understand their characters’ obsessions—their hammerness—and those ten-penny features that loom so large in their minds. Sometimes their preoccupations are so consuming they don’t see the pile of screws right nearby or, more likely, interpret it as another pile of nails. “To the brokenhearted, every couple looks happy,” he says.

I’ve read Johnston’s award-winning book of short stories Corpus Christi: Stories, and this year he published the novel, Remember Me Like This (NPR review and interview). The novel deals with a family whose son disappeared, then is returned to them four years later. While he understood going in that this lost, this hiatus in relationships, would color every aspect of his characters’ lives, “what I didn’t know was how different and revelatory their perspectives would be.” Each family member reacted in a unique and shaping way, and required of Johnston—and the reader—different levels of empathy. “In fiction,” he says, “every detail is a Rorschach test” to be interpreted through the lens of the character. We ask about a character’s experience not “what does it mean?” but “what does it mean to her?” If we didn’t, we could never read with understanding the story of anyone not exactly like ourselves, should there be such a person.

Despite the popularity of multitasking and our self-deception about our skill at it, in truth our brains are pretty much wired to handle one thing at a time. This inattentional blindness, Johnston says, is “point-of-view in its purest form.” What captures our characters’ attention demonstrates what they are most interested in and care about the most. This is perhaps why the unimportant details that new writers include in their scenes—in a misguided effort to make them concrete—are so distracting. “Find out what your characters notice, find out where their gazes linger and why, and you’ll find out who your characters are.”

Johnston has published a nifty set of writing exercises, too, and he included one with this essay. You might try it. He suggests grabbing pen and paper and moving through your surroundings making a list of everything you see that’s green. (This will be a long list in my case, as I always say, “I don’t care what color it is, as long as it’s green.”)

see, eye, green

(photo: c2.staticflickr.com)

Done? Did you notice particulars you’d forgotten about? Will you see items in your surroundings in a new way for a while? Were memories stimulated? Briefly, “green” was your mind’s obsession. I’ll bet dyed-in-the-wool environmentalists would create a somewhat different list than would a graphic designer.

“Now do the same thing for your characters,” Johnston says. “Find out what their ‘green’ is.” What readers need to know isn’t just what your characters look at, but, more important, what they see.

 

Creativity is UP!

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Up, Navy Pilot

(photo: wikimedia.org)

Metaphors We Live By (George Lakoff and Mark Johnson) is a classic study of the way metaphor shapes our understanding of the world. Published in 1980, it dismisses the idea that metaphors are strictly a matter of language, the frosting on the cake of meaning, as argued by various competing philosophical and linguistic traditions. In what I usually read, the search for truth is conducted not by academics, but by a fictional detective, so some of this was heavy going. Where the authors dig into the language, their examples are fascinating.

Lakoff and Johnson are not generally talking about literary metaphors, but rather about the ones so thoroughly absorbed into the language that we no longer notice them as metaphors. One fundamental set of such metaphors reflects “orientation”: up-down, in-out, back-front, and so on. Although some metaphors in this set appear to be more or less universal across languages, others are more culturally determined. In Western culture, many common phrases reflect the metaphor “happy is up” and its opposite, “sad is down.” Examples are:

  • That boosted my spirits.
  • I’m depressed.
  • It gave him a lift.
  • My heart sank.
  • Being up-beat.

Extending this pattern, health and life are up:

  • It’s time to get up.
  • He’s at the pinnacle of health.
  • Lazarus rose from the dead.
  • She sank into a coma.

More is up (this one, we even represent graphically):

  • My income rose last year.
  • The Dow reached a new high.

Having control is up:

  • He’s at the height of his powers.
  • She has control over the situation.

And so on. This metaphor is so pervasive, we don’t notice it. The other orientation pairs are embedded in the language in much the same way, and from the various concepts they signify, they form a coherent way of understanding our world.

Lakoff and Johnson also discuss how we depend on metaphor to help us structure inherently vague concepts, like emotions, in terms of more concrete things we may have directly experienced. Complex emotions, like love or anger, have inspired many overlapping (and sometimes conflicting) metaphors. For example:

  • Love (vague) is a journey (concrete).
  • Anger (vague) is hot (concrete).

The “love is a journey” metaphor underlies statements like: “We’re on the road to romance” (think Sinatra’s: “Nice ‘n’ Easy”); “It’s a rocky road to love.”; “We went in different directions.”; or “This relationship isn’t going anywhere.” The “anger is hot” metaphor leads to: “I was boiling mad”; “Cool it!”; and “in the heat of the moment.” (Icy cold anger is scary perhaps because it’s so counterintuitive.)

I’m trying to understand all this (which is the tip of the tip of the iceberg, you understand) in terms of writing. “We draw inferences, set goals, make commitments, and execute plans, all on the basis of how we in part structure our experience, consciously and unconsciously, by means of metaphor,” say Lakoff and Johnson. The orientation metaphors and their many variants perhaps explain why, a writer’s attempts to create a literary metaphor sometimes miss the mark. Perhaps they have violated this coherent, and implicit language system.

A linguistic exploration of the metaphors underlying emotion seems to me like an endorsement of the frequent dictum: “show, don’t tell.” Simply saying that a fictional character feels love or anger or happiness conveys little to the reader, because readers will have different ways—and many competing ways—of interpreting that emotion, depending on the metaphors through which they see the world. The metaphors underlying those feelings must be expressed—and in some fresh way that is consistent with the existing substrate (safer) or totally new, stretching both writer and reader.

Read more at: The Literary Link and, for some juicy literary metaphors, Welcome to the World of Metaphor.

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History, Mystery, or Miss-story?

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4th of July, early America, John Lewis Krimmel, Philadelphia

John Lewis Krimmel, Fourth of July in Centre Square, Philadelphia, 1819 (photo: wikimedia.org)

A panel of six mystery writers explored the elasticity of history at the Deadly Ink 2014 conference this weekend. They were, in chronological order by their topics:

One of the most interesting questions these panelists were asked is how comfortable they are changing facts to suit the fictional purposes of their story, and the division of opinion was striking. Belsky’s point of view seemed to be “It’s fiction—do what you want,” whereas others, including Alfieri and Inglee, especially, believed that if you incorporate real historical individuals, you have to be true to their attitudes and actions.

Belsky pointed out that we may never know the whole story or maybe even the true story of past events—and Irving pointed out that applies to current events as well—freeing the author to fill in the blanks. (My own opinion on this is there’s a big difference between not knowing a fact and making one up.)

When an author must change a fact, a date, or other detail, they can use author’s notes to describe what and why. With that manes, Scott Turow acknowledges some of the liberties he took in several pivotal event in the WWII novel Ordinary Heroes: “There was no ammunition dump at LaSaline Royale, which is actually situated a few miles from the site I describe . . . Heisenberg (Werner Heisenberg, physicist) did run from Hechingen, but not because anyone had attempted to blow up the secret location of the Kaiser Wilhelm Institute on Haigerlocherstrasse. FDR’s death was announced near midnight overseas, not in the afternoon of April 12, 1945.” This last detail seems to be one that could have been fictionally accommodated. It was an event, like the Kennedy assassination, that every American alive at the time remembers vividly.

Alfieri created a character drawn from life down to his toenails and gave him his own name, much as real people appear in the novels of E.L. Doctorow, but when her mystery plot required this character to commit a violent act for which there is no evidence, she renamed him. She was able to build the character in the first place because of the strength of her research, and several panelists endorsed immersive research for fiction, which must appeal to many writers’ innate inwardness.

When an author knows enough about a period—how people thought, what they thought about, what they ate, how they made a living, what they feared—new story elements arise organically from that substrate. They fit the story, the story isn’t made to fit them. Such an approach makes for an infinitely richer reader experience, even if most of that research never appears explicitly in the book. The writer moves forward with confidence.

Another reason to get the details right is that readers will be sure to ding them if they don’t. Errors can destroy a book’s credibility and readers’—and reviewers’—interest in it. To avoid mistakes, Kelly and Rubin said they work with historians. Rubin, especially, because he is published by LSU Press, has to meet scholarship standards.

A final difficulty for historical writers is language. The conversations among characters have to read as if they are of the period, yet a precise rendition of old-fashioned language—by writing “forsoothly”—may be unreadable. David Mitchell, discussing the language he used in The Thousand Autumns of Jacob de Zoet (I loved this book!), described writing dialog for characters who were native speakers of Japanese, who were Dutch and speaking Japanese, Dutch and speaking Dutch, English upper-class sea captains, English lower-class seamen, and so on. Plus, the book begins in 1799, with two hundred-plus years of language evolution in between. Mitchell developed a language he called “bygone-ish,” which had the ring of the old and the clarity of the current, with variants for each nationality and class.

Mitchell’s approach points out an important issue that applies not just for words and phrases. Even if an event actually did happen or a word actually was in use at the time a story is set, writers of historical mysteries may avoid it anyway, because it will sound too modern, out of place. In this way, truth is more powerful than fact. And if this seems like another way of saying, “it’s fiction—do what you want,” it isn’t.

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