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Roiling the Newness

Recent NYRB piece on the poets Ida Vitale and Tomasz Różycki—of Uruguay and Poland, respectively, is deserving of elevation and you, dear reader, deserving of its riches:

“Poetry,” Ida Vitale remarks in the essay included in her new collection, “like death, perhaps, is surrounded by explanations.” Now living again in Montevideo, Uruguay, where she was born in 1923, Vitale can take poetry’s prestige for granted. Over the past century or more Latin America has commanded a world stage: the writings of César Vallejo, Jorge Luis Borges, and Pablo Neruda, among others, hardly require explanation or defense. Her own cohort, the Generation of 1945 (the “Generación Crítica”), was instrumental in keeping Montevideo abreast of cosmopolitan developments in literature, theater, and critical theory. Vitale has received numerous prizes in Uruguay, Mexico, Spain, and France, as well as the rank of Commander of the Order of Arts and Letters of France in 2021. Yet her first selection of poems in English translation (over seventy years’ worth of work, presented in reverse chronological order) contains just one brief manifesto, “Poems in Search of the Initiated,” registering a delicate protest against the diminished readership for poetry:

The challenges awaiting a less confident reader may include unusual verbal constructions, not worn out by use, and a richer vocabulary. These are not impossible to face. The pleasure of enthusiastic decipherment releases a mysterious energy that moves not only the pages of poetry, but also the world’s great prose.

Mystery, Vitale notes, is “that which is reserved for the mystai, the initiated,” and “on the other hand…leads us to the idea of ministry.” But in a democratic age—or, more accurately, an age when democracy is teetering toward authoritarianism—“the initiated” evokes the specter of an elite despised on all sides: “rarefied poetry for the few, almost for specialists.”

Speak, dear authors. Everyone needs to be intrepid about everything, and that definitely includes reading and writing, but also looking at sculpture and paintings, watching dance performance. Hearing poetry.

If we are what we pretend to be, as Uncle Kurt, it’s past time to get serious about that.

Image: Author photo with Mrs. G in the old part of an old city.

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For-profit Hate

How does one set of people loathe another whole set? Individuals, sure – it happens all the time, and some many deserve it. But it’s usually sincere, in that it doesn’t pay. You actually loathe them. But entire groups? Is something else at work? Can green mean stirring up resentments?

Steven Emerson has 3,390,000 reasons to fear Muslims.

That’s how many dollars Emerson’s for-profit company — Washington-based SAE Productions — collected in 2008 for researching alleged ties between American Muslims and overseas terrorism. The payment came from the Investigative Project on Terrorism Foundation, a nonprofit charity Emerson also founded, which solicits money by telling donors they’re in imminent danger from Muslims.

Emerson is a leading member of a multimillion-dollar industry of self-proclaimed experts who spread hate toward Muslims in books and movies, on websites and through speaking appearances.

Leaders of the so-called “anti-jihad” movement portray themselves as patriots, defending America against radical Islam. And they’ve found an eager audience in ultra-conservative Christians and mosque opponents in Middle Tennessee. One national consultant testified in an ongoing lawsuit aimed at stopping a new Murfreesboro mosque.

But beyond the rhetoric, Emerson’s organization’s tax-exempt status is facing questions at the same time he’s accusing Muslim groups of tax improprieties.

“Basically, you have a nonprofit acting as a front organization, and all that money going to a for-profit,” said Ken Berger, president of Charity Navigator, a nonprofit watchdog group. “It’s wrong. This is off the charts.”

But a spokesman for Emerson’s company said the actions were legal and designed to protect workers there from death threats.

“It’s all done for security reasons,” said Ray Locker, a spokesman for SAE Productions.

Emerson made his name in the mid-1990s with his documentary film Jihad in America, which aired on PBS. Produced after the first World Trade Center bombing in 1993, the film uncovered terrorists raising money in the United States.

Via Juan Cole. Hate to share this on a nice Friday. No groups or individuals, beyond the for-profit co-nationalists mentioned herein, were loathed in the writing of this post. And certainly not you.