Talking With ‘Red Ken’ Talking With ‘Red Ken’
London's new mayor is Thatcher's old nemesis. Is he also a leading indicator?
Nov 30, 2000 / Feature / Maria Margaronis and D.D. Guttenplan
No Health, No Wealth No Health, No Wealth
Foundations formed when nonprofit hospitals became for-profit are often not living up to their obligations.
Nov 30, 2000 / Feature / Annette Fuentes and Rosemary Metzler Lavan
Rush to ‘Closure’ Rush to ‘Closure’
Here's the Bush idea of electoral reform: Cancel the election. The Florida legislature's move to choose the state's electors and declare George W. Bush the next President is only...
Nov 30, 2000 / The Editors
Nativity Scene Nativity Scene
"Throughout my life, I have been searching for a way to connect with other human beings," writes Tobias Schneebaum. That search for human connection has led him--a New Yorker born on the Lower East Side to Orthodox Jews from Poland; a painter and a gay man--to live among people who couldn't have been more different from himself: cannibal and headhunting tribes in the jungles of South America and New Guinea. Schneebaum is best known for his first book, Keep the River on Your Right (1969), an engrossing, often astonishing account of his experiences among a tribe living a Stone Age existence deep in the Madre de Dios rainforest of eastern Peru. In 1956, Schneebaum, a successful painter, was awarded a Fulbright Fellowship to study art in Peru. But once he arrived there, he abandoned his studies to venture, alone and unarmed, into the jungle. A knapsack on his back, sneakers on his feet and the admonition to "keep the river on your right" to guide him as he walked, he was unprepared for what he might encounter yet open to whatever might come his way. Seven months after Schneebaum went into the vast equatorial forest, the US State Department presumed that he was dead. Back in New York, newspapers reported the mysterious story of the prominent local artist who had vanished in the Amazon. But after a year Schneebaum emerged, naked and covered in body paint. He had found the settlement of the Amarakaire, a tribal people who ended up adopting him and initiating him into their culture, which, to his surprise and delight, sanctioned same-sex relations among men. Schneebaum spent many a happy night in the Amarakaire communal lodge, entwined with his comrades in the all-male sleeping piles. For much of the book, the recounting of his experiences reads like a combination boy's adventure story (albeit a particularly strange one) and an amateur anthropologist's report. But the tale eventually takes a very dark turn. The Amarakaire were hunters, and on occasion their prey included other human beings, as Schneebaum found out to his horror when he unwittingly accompanied them on a raid of a nearby village. He witnessed young Amarakaire warriors, with whom he had enjoyed friendship and sex, efficiently and remorselessly slaughter the male villagers and butcher the bodies for a feast in which he partook, eating a piece of a heart. This horrific episode constituted only a brief moment of his time among the Amarakaire, and it takes up only a little more than a page of the book. But it was surely the most shocking and sensationalistic of his experiences, and it has haunted him ever since. Indeed, it took him nearly fourteen years, from his return to New York till the publication of Keep the River on Your Right, to disclose what happened. (In a 1988 interview with the London Sunday Telegraph, he said that he wrote the book to "exorcize those demons.") Traumatized though he was by his encounter with cannibalism, he never lost his appetite for traveling to and living in distant places, always preferring to take the isolated and unknown path, often discovering his destination along the way. His wanderlust has carried him through South America, Europe, Africa and Asia, and he has related his experiences in several books. It's not a large oeuvre. Since River--a countercultural classic, also popular with gay readers, that has never gone out of print--he has published Wild Man (1979) and Where the Spirits Dwell (1988), and he is the author or co-author of several volumes about the art and culture of the Asmat people of Irian Jaya (West New Guinea). Now, nearly 80, Schneebaum has a new book, Secret Places: My Life in New York and New Guinea, in which he reflects on his amazing life. He is also the subject of a first-rate new documentary, Keep the River on Your Right: A Modern Cannibal Tale. The film, by the siblings David and Laurie Gwen Shapiro, has been winning awards at film festivals and has footage from Peru and Irian Java. (More on the doc, hereafter referred to as KRYR, later.) In Secret Places, Schneebaum writes that he has lived two lives, one in New York City, the place where he was born and grew up and from which "I made forays into distant parts of the world," and New Guinea, "a place to which I have now been going for more than 25 years." His two lives "are completely separate from each other, each lived intensely and fully," he says. Yet, despite their distinctness, the two worlds, and his experiences in them, do illuminate each other. In a series of related essays, he examines several decades (from the early seventies to the late nineties) of his search for human connection, in the jungles and villages of Irian Jaya, among sexually polymorphous tribesmen, and in Manhattan, among his largely gay circle of writers and artists. Schneebaum confides that his intense need for fellowship and acceptance has always coexisted with a contradictory impulse toward anonymity and independence. He traces this to his unhappiness as a child over the atmosphere of intense religiosity and discipline (including physical punishment) imposed by his immigrant father. "I was obsessed with drawing and with my need to lose myself, willing myself into another world where my father could not wallop me." The young Tobias had glimpsed a vision of another world during a family trip to Coney Island, where he saw a sideshow poster promoting the appearance of the "Wild Man of Borneo." The startling image of this creature, human yet wild, undomesticated, captivated the timid and introverted boy. Many years later, after his discharge from the Army at the end of World War II, the adult Schneebaum traveled to Mexico, making the first of his forays into remote places. There, wandering in the depths of a forest, he encountered a tribe known as the Lacandón. At that moment, the repressed memory of the Wild Man returned: The combination of my recollection of the Wild Man of Borneo and the Lacandón meant the beginning of a new life for me. The intensity of that experience marked the path I would follow for the next fifty years. I became obsessed with looking for a people who would accept me, teach me how to live without a feeling of aloneness, teach me love and allow for my sexuality. It was in West New Guinea, Irian Jaya, among the Asmat people, that he found what he was looking for. He was determined to go from the moment in 1961 when he heard of the disappearance of Michael Rockefeller in Asmat territory. Schneebaum was not fazed by the possibility, widely believed at the time, that Rockefeller had been captured, killed and eaten by the Asmat. (In the documentary KRYR, Norman Mailer, Schneebaum's East Village neighbor when they were young, speaks admiringly and with amazement of Schneebaum's fearlessness: "When he went on to have his extraordinary experiences, I thought, Toby has so much to him. What kind of a novelist am I that I didn't see it?") The artist had been awe-struck by the Asmat carvings that Rockefeller had collected and put on display in the Museum of Modern Art. "That exhibition alone would have been enough to incite me into going to Asmat," he recalls. "The power and ferocity of the carvings, in fact, invaded my dreams and kept me from sleeping for the next several days." It took Schneebaum ten years to finally get to Irian Jaya and Asmat territory. When he arrived, in 1973, he was determined to find a way to stay. Catholic missionaries from the Crosier order had established the Asmat Museum of Culture and Progress in the provincial capital of Agats. The missionaries did not insist that the Asmat forsake their culture in order to adopt Christianity. They instead were intent on helping the Asmat preserve their traditions. (Up to a point, of course. Rather than kill and devour their enemies, the Asmat were convinced to partake in the symbolic flesh-eating of the Eucharist.) Schneebaum offered to catalogue the museum's extensive collection of Asmat carvings and other artifacts. The Asmat had almost entirely given up headhunting and cannibalism by the time Schneebaum arrived. But they retained their animistic belief in the power of spirits, benign and malevolent, to affect human affairs. Schneebaum is particularly good on the spiritual aspect of Asmat art: "Every cut in wood with knife of bamboo, shell or steel used to produce a carving that embodies the spirit of an ancestor is one more step toward the appeasement of the dead, all of whom remain alert.... Until the carving is complete and is being used in ritual life, the spirit is doomed to wander the earth." Schneebaum devotes one chapter of Secret Places to the 1991 visit by some Asmat to the American Museum of Natural History for a demonstration of their carving and traditional dances. Footage of the event appears in KRYR, but Schneebaum provides some additional, wonderful details. Before arriving in New York, where the Asmat were put up at a Hasidic-owned hotel, they enjoyed staying up all night to watch porn videos. "When they dressed at the hotel for performances," Schneebaum reports, "they painted themselves, put feathers in their hair, added necklaces and wrist- and leg bands, and then went out looking marvelously wild. New Yorkers appeared indifferent, barely giving them a cursory glance as they went by." But before long the blasé New Yorkers were captivated, hanging around the hotel, where, in the lobby, "there was always a curious juxtaposition of the decorated Asmat rubbing shoulders with Hasidic men in black hats and long black coats, with ringlets dripping from their temples." In Irian Jaya, four separate strands of Schneebaum's life came together--art, in the superb, magical carvings of the Asmat and his own drawings of their artifacts; the world of writing (the books Wild Man and Where the Spirits Dwell); anthropology (the ethnographic information captured in his journals); and "the world of sexual excitement." Of the Asmat men and their response to his overtures, he reports, "there was never any violent reaction to my touch, never any sense of shock. There was only acceptance and pleasure at my approach." In the chapter "Marriage," Schneebaum compares two of his lovers, Douglas, a young New Yorker who is a gifted dancer, and Aipit, an Asmat with two wives. It's one of the best parts of the book, rich with lyricism and tenderness, as well as astute cross-cultural analysis of male same-sex relations. Douglas improvises a wedding ceremony between himself and Schneebaum while they are sitting on a park bench in the East Village; Aipit, in his remote village, tells his American friend of mbai, the Asmat tradition of ritual male partnership, a lifelong arrangement that coexists with the partners' marriages. Of his lovers Schneebaum writes, "I cherish them both. I am wedded to them both." Schneebaum wrote the chapter before he returned to Irian Jaya in 1998 with the KRYR film crew. He had feared that Aipit was dead, but the grizzled old fellow turned out to be very much alive. The camera captures their mutual joy in being reunited after many years, providing one of the film's most poignant and delightful moments. Personal needs, especially sexuality, clearly motivated Schneebaum's explorations. Does that make him guilty of a kind of sexual tourism? Has "going native" been a way for him to relieve himself of the white man's burden, in this case the strictures of Judeo-Christian sexual morality? Schneebaum's candor about his motivations and his willingness to show his own vulnerability "balances the inevitable privilege of his position," as David Bergman observes in his perceptive foreword. Traditional anthropologists profess objectivity but often bring their personal baggage to the study of so-called primitive peoples. Schneebaum, it should be noted, has never called himself an anthropologist. He did acquire a master's degree in the field some twenty years ago, believing that formal training would benefit his study and cataloguing of Asmat art. (His most systematic observations in Secret Places concern Asmat art and culture.) If not exactly anthropology, the book offers an original and idiosyncratic amalgam of travel writing, memoir, ethnography and art history. There remains, however, the question of the unequal relationship between foreign observers and the observed, and how the very presence of outsiders inevitably produces change. Schneebaum acknowledges his own role in this regard: As the years went by, however, it became more and more obvious that change not only was inevitable, but had long since begun and was rapidly accelerating. It was also obvious that I was part of the change, was even one of the main media through which it was taking place. I had brought change simply by my presence, by wearing clothes; by bringing tobacco, steel axes, and knives as trade goods; by the very fact of my skin color. After he completed cataloguing Asmat art in 1983, his work for the Agats museum was completed. With no other way to continue visiting Irian Jaya, he accepted invitations to lecture on Asmat art and culture to tourists visiting the area on cruise ships. The Asmat, he reports, have tailored their culture to the tourist market. Their welcoming ceremonies are self-conscious performances ("Well, then? Is that enough?" an Asmat man asks Schneebaum after a lively session of drumming and dancing staged for cruise-ship passengers), and their carvings, now made for foreign markets, lack "the spirituality and intensity" of artifacts formerly created for traditional rituals. But the worst transformations actually preceded Schneebaum's arrival. When Indonesia took control of Irian Jaya from the Dutch in 1963, it sealed the territory from the outside world and conducted a policy of mass killing that resulted in the deaths of thousands. The massacres were followed by a campaign to "civilize" the indigenous peoples, including the Asmat, by attempting to eradicate their traditional culture. Since then, logging has destroyed much of the forest that sustains the Asmat. Many Asmat are now logging on the traditional lands they have lost, receiving a pittance for each tree they fell. Neither the film KRYR nor Secret Places explores this history or the resistance of the inhabitants to Indonesian oppression, a serious omission. The political turmoil has changed the face of tourism in Irian Jaya; the cruise ships have ceased going there, at least for the time being. For Tobias Schneebaum, elderly, frail and suffering from Parkinson's disease, there may never be another return to the land that "bewitched" him decades ago. But in his Greenwich Village apartment, filled with Asmat artifacts, he feels the spirits of the world in which he lived and loved. "When I open the door and enter, I am again in Asmat, leaving the outside world behind." "Perhaps," he considers, "it is the spirits who write my stories."
Nov 30, 2000 / Books & the Arts / George De Stefano
Life in Fluxus Life in Fluxus
John Lennon once characterized his wife, Yoko Ono, as the world's "most famous unknown artist. Everybody knows her name, but nobody knows what she does." What she was famous for,...
Nov 30, 2000 / Books & the Arts / Arthur C. Danto
Can Dems Hang Tough? Can Dems Hang Tough?
With No Decision 2000 a face-off of spins--moralistic outrage for the Republicans (don't steal our election) versus lofty principle for the Democrats (every vote should count)--t...
Nov 30, 2000 / David Corn
Beneath the Divide Beneath the Divide
The election results reveal what may be an "emerging progressive majority."
Nov 30, 2000 / Feature / Robert L. Borosage
Letters Letters
E-FAHRENHEIT 451? Berkeley, Calif. The article on electronic books ["On Pixel Pages It Was Writ," June 12] left out the most intriguing aspect of this new format: dig...
Nov 27, 2000 / Our Readers
Our Books, Ourselves Our Books, Ourselves
"Simone de Beauvoir said 'Books saved my life.' I think that's true for me," announced Gloria Whelan in accepting her National Book Award recently for Homeless Bird (which won fo...
Nov 27, 2000 / Books & the Arts / Art Winslow
The Killer Elite The Killer Elite
The Blind Assassin, Margaret Atwood's tenth novel, has just won Britain's prestigious Booker prize, leading one to wonder whether the Canadian author with the impressive oeuvre (fifteen works of fiction, including three novels already shortlisted for the Booker, five collections of nonfiction, thirteen editions of poetry and four children's books) has departed in some measurable way from her signature style or whether she has perfected it. Neither, quite. Satiric and brooding, The Blind Assassin presents a typical Atwood predicament: Women taught self-effacement, obedience, modesty and quiescence resolve to tell their stories, trusting that someone, somewhere will listen. "Because I am telling you this story I will your existence," says the narrator of the futuristic parable, The Handmaid's Tale (1985). "I tell, therefore you are." The storyteller of Blind Assassin is an 82-year-old woman, Iris Chase, with an ailing heart who lives alone in Port Ticonderoga, Canada, where she and her younger sister Laura grew up, the well-starched granddaughters of a wealthy button manufacturer. But the era of cozy Victorian gazebos and twelve-course dinners has long since passed. Their mother died in 1925 after a bloody miscarriage, and their father, a shell-shocked World War I veteran, alternately distracts himself with alcohol or soirees with radically chic artists come to eat his food and criticize his politics. When noblesse oblige gives way to layoffs, shutdowns and outside agitators, to save his business Iris's father arranges her marriage to Richard Griffen, a ruthless industrialist from Toronto, but Griffen swindles Mr. Chase, brutalizes Iris and locks up her sister in a loony bin. Laura escapes, disappears and then, just after the end of World War II, drives her car off a bridge. Now it's 1998. Iris prowls her own small house at night, finger in the peanut-butter jar, taking inventory of her life's rubble--saucerless cups and monogrammed spoons and the tortoise-shell comb with missing teeth. By day, she writes about that life with a new black plastic pen, hands shaking as she tries to get the story straight and figure out, at the same time, why she's writing it at all. No longer consecrated to the ladylike regimen of silence and complicity, she determines to speak the truth. "The only way you can write the truth is to assume that what you set down will never be read...," Iris declares and pauses. "Impossible, of course." Iris's saga is the linchpin of Atwood's Dos Passos-like mélange of newspaper clippings, interior monologues and social history, all interspersed with yet another tale, a sci-fi cult classic called "The Blind Assassin" and said to have been written by Laura. Published posthumously, "The Blind Assassin" is the story of Sakiel-Norn, a city on the planet Zycron, where enslaved children weave carpets until, blinded by their work, they graduate as hired killers. Meantime, the Sakiel-Norn business is itself a product of a romance into which it's folded: A nameless couple cooks up the fable during secret trysts that take place in two-bit hotels and fetid rooms borrowed for the occasion. Sound complicated? Not really. Best-known of Canada's living novelists, Atwood writes with the precision of crack short-story writers Alice Munro and Mavis Gallant and the wit of the late, prolific Robertson Davies; but most often one hears an echo of Margaret Laurence's cranky women in Atwood's narrators. With a cool confidence all her own, Atwood expertly shuffles among her various plots, historical periods, locales and characters. There's no mistaking Port Ticonderoga for Sakiel-Norn, and anyway the features of the anonymous lovers turn recognizable pretty quickly. During the Depression, when Iris was 18 and Laura 14, the Chase girls attended the annual button-factory company picnic and met the former divinity student and career proletarian who, it happens, supports himself by writing pulp fiction. For most of the novel, however, Alex Thomas is on the lam, having become chief suspect in the factory fire that lays waste the dwindling Chase fortune. Both Laura and Iris find the hard-boiled Thomas appealing, if for different reasons. Laura, an idealist with "the infuriating iron-clad confidence of the true believer," hides Thomas in the mansion's cellar. (There's a radical in the woodpile of every family estate, it seems.) Not to be outdone, Iris joins the Thomas relief effort, as much to rob her quixotic sister of her moral and emotional superiority as to protect Thomas. "Laura touches people," Iris says, toting up their differences. "I do not." Competition supplies the necessary psychological heft to the novel's otherwise spurious mysteries. (Who really wrote "The Blind Assassin"? Who are its unnamed lovers?) After their mother's death, a 9-year-old Iris resentfully takes charge of Laura, and when Laura one day plummets into the Louveteau River (obvious harbinger of her later death), Iris hauls her out. "I couldn't get out of my mind the images of Laura, in the icy black water of the Louveteau--how her hair had spread out like smoke in a swirling wind, how her wet face had gleamed silvery, how she had glared at me when I'd grabbed her by the coat. How hard it had been to hold on to her. How close I had come to letting go." In fact, just three pages into the novel, a newspaper headline announces that the precipitate death of Laura Chase, 25, sister of Mrs. Richard Griffen, has been ruled an accident. But dutiful Atwood readers understand that there are no accidents in her novels, and so ironic auguries topple over one another with a kind of slick inevitability. We read a 1937 society page in Mayfair magazine that some of Toronto's elite will travel to France and Italy this season, "Mussolini permitting." We learn from another headline that Iris's oily husband, Richard, praises the Munich accord. We discover that Iris and Laura's grandmother was one of those wistful women who "went in for Culture," believing it made you a better person. "They hadn't yet seen Hitler at the opera house," Iris tartly observes. This same grandmother christened the Gothic-turreted family mansion Avilion, after Tennyson's utopian "island-valley" in Idylls of the King--but Avilion, as we might have guessed, suffers the slings and arrows of change and neglect, its splendor turned food for silverfish. After it's sold, it's renamed Valhalla and run as an old-age home. O tempora! O mores! All this historical canniness begins to sound a bit smug. Partly, of course, the problem lies with Iris, who recollects trauma from the relative tranquillity of hindsight. She's also a woman without affect who nightly accedes to her husband's savagery, insulates herself from her sister's suffering and refuses to see the incest and adultery and suicide committed before her eyes. Yes, yes, she is a kind of blind assassin, cutthroat and complex, herself a wounded child impassively doing what she has to do. But we learn little about Laura Chase, whom we desperately need to know. "It was ill will, the ill will of the universe, that distressed her," Iris glibly portrays her. "Laura believed words meant what they said, but she carried it to extremes," Iris says in another of Atwood's foreshadowings. "You couldn't say Get lost or Go jump in the lake and expect no consequences." Similarly, Iris's buccaneering husband is a villain without a cause, committing all the usual atrocities: fraud, physical abuse, child molestation. His sister, a camp version of the social arriviste, brandishes a mean Waldorf salad, organizes theme-obsessed charity balls (Xanadu is the pick for 1936) and wears alligator pumps the color of chlorophyll chewing gum: amusing but arch. Actually, all these characters succumb to Atwood's deadpan style, her penchant for static tableaux, her anxiety-ridden refusal to feel. "I can see people moving like bright animated dolls, their mouths opening and closing but no real words coming out," comments the narrator of Cat's Eye. "I can look at their shapes and sizes, their colors, without feeling anything else about them." There's much good prose here and much wit, but one wants more than that. Winking at the reader familiar with Coleridge and Dickinson and T.S. Eliot and Doris Lessing and Ursula Le Guin, Atwood structures her novel with the cerebral precision of a gymnast performing flips for the cognoscenti. Even the novel's organizing images--fire and water and gardens made of rock--occur in diagrammatic, self-satisfied fashion. More successful is Atwood when she plies her own stock in trade, those prodigal similes ("over the trenches God had burst like a balloon"), merciless descriptions ("I look sick, my skin leached of blood, like meat soaked in water") and recurrent props, like the graffiti in bathrooms or photographs that commemorate our lives in their weird and flattened way. Laura steals the picture of herself, Iris and Alex Thomas taken at the factory picnic. She makes two prints, one for Iris and one for herself, and in each, cuts one of the sisters out, leaving only a hand. It's the novel's talisman. Distance is Atwood's forte and her nemesis. Though her trademark understatement often contributes to the sharp humor of her work, at times it seems crudely facile. "The war takes place in black and white," Iris informs us in one particularly grating paragraph. "For those on the sidelines that is. For those who are actually in it there are many colours, excessive colours, too bright, too red and orange, too liquid and incandescent, but for the others the war is like a newsreel--grainy, smeared, with bursts of staccato noise and large numbers of grey-skinned people rushing or plodding or falling down, everything elsewhere." During the Great War, Iris's father writes chillingly from France, "I cannot describe what is happening here, and so I will not attempt it." One suspects that for Atwood, scenes of emotional carnage take place at a remove, as in newsreels, and therefore remain indescribably unreal--not exactly a virtue in a novel with history its tacit subject. At her best, though, Atwood's suppressed women of precocious sensibility tell their stories with prickly precision, sparing neither themselves nor anyone else. They hold on; they let go. Such is the Scylla and Charybdis of Iris's life, not just in relation to her sister but to the past and to herself. "But what is a memorial, when you come right down to it," Iris speculates, "but a commemoration of wounds endured? Endured, and resented." For Atwood, however, one also memorializes oneself to stave off atrophy and despair. "The temptation is to stay inside," Iris acknowledges, "to subside into the kind of recluse whom neighbourhood children regard with derision and a little awe; to let the hedges and weeds grow up, to allow the doors to rust shut, to lie on my bed in some gown-shaped garment and allow my hair to lengthen and spread out over the pillow and my fingernails to sprout into claws, while candle wax drips onto the carpet. But long ago I made a choice between classicism and romanticism." So too Atwood. She chooses not to plunge inside, preferring instead the cool, hard, protective edge of classicism to the deeper, often sloppier emotions. Nonetheless, she confers a certain dignity on her female outcasts and artists and the solitary, aging everywoman who smells of kitty litter. "I'll tell you this story," Iris offers. "What is that I'll want from you? Not love: that would be too much to ask. Not forgiveness, which isn't yours to bestow. Only a listener." It's not a bad trade. Atwood writes an entertaining and bracing tale, fun to read, forgettable when finished.
Nov 27, 2000 / Books & the Arts / Brenda Wineapple