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Bird Flu Is a Big Deal. Of Course Trump Wants to Defund the Best Way to Contain It.

Mother Jones

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For the second time in less than three years, avian flu is moving through industrial-scale US chicken facilities. Republicans in power seem too fixated on budget-cutting to notice.

First, President Donald Trump and Speaker of the House Paul Ryan pushed a healthcare plan that would have slashed funding to the Centers for Disease Control and Prevention, the federal agency that tracks farm flu outbreaks and works with the US Department of Agriculture and local authorities to “minimize any human health risk” they cause.

That effort collapsed, but now Trump is taking a more direct whack at flu-tracking funding. A couple of Politico reporters got hold of a budget-cutting proposal the Trump team is circulating in Congress. The document lists $1 billion in suggested cuts to the US Department of Agriculture’s discretionary spending in 2017—which is is separate from the “21 percent proposed reduction for USDA that the administration included in its 2018 budget outline released earlier this month,” Politico reports.

Among the cuts being sought for 2017, the Trump team seeks to extract funds from a USDA program funded by Congress in 2015 to address the flu problem that swept through the Midwest that year, triggering the euthanasia of 50 million birds and causing egg prices to spike. Congress had allocated $1 billion for it, of which $80 million is left. Given that avian flu is on the march again, one might think it prudent to keep that cash that cash around, devoting to monitoring the 2017 outbreak. Trump’s budget people have other ideas—they want to take away $50 million of the $80 million left over. Politico quotes the document:

The response to the FY15 fiscal-year 2015 outbreak is complete, and USDA should still have enough balances to respond to the two recent HPAI high pathogenic avian influenza outbreaks in TN Tennessee this year.

Of course, this year’s avian flu, albeit a less virulent strain, has broken out of Tennessee, swept into Alabama, and has now alighted in Georgia, the nation’s number-one chicken producing state. It would be interesting to know what Former Georgia Gov. Sonny Perdue, Trump’s still-pending pick to lead the USDA, thinks of that proposed money-saving measure.

While the CDC insists that the risk that people will come down with the current avian flu strain is “low,” it does work with the Department of Agriculture and state authorities on tracking outbreaks. That’s because health officials have been warning for decades that massive livestock confinements make an ideal breeding ground for new virus strains, including potentially ones that can jump from bird to human, and then spread among humans. Meanwhile, a different strain of avian flu has swept across Japan, South Korea, and China. It has killed 140 people, but has not proven capable of spreading human-to-human.

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Bird Flu Is a Big Deal. Of Course Trump Wants to Defund the Best Way to Contain It.

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Burning coal for electricity continues its steep slide into history.

U.S. cities are packed with about 5 million medium-sized buildings — schools, churches, community centers, apartment buildings. Most use way more energy than they should. Many also have poor airflow and dirty, out-of-date heating and electrical systems. Those conditions contribute to high inner-city asthma rates and other health concerns.

“These buildings are actually making children sick,” says Donnel Baird, who grew up in such a place. His parents, immigrants from Guyana, raised their kids in a one-bedroom Brooklyn apartment, relying on a cooking stove for heat. Baird eventually moved to the South and then attended Duke University, before returning to New York as a community organizer in 2008.

In 2013, Baird launched BlocPower, which provides engineering and financial know-how to retrofit city buildings. The technical part is cool: Engineers survey structures with sensors and smartphone apps, figuring out the best ways to reduce energy use, like replacing oil boilers with solar hot water. But the financing is critical; BlocPower builds the case for each project and connects owners with lenders. It has already retrofitted more than 500 buildings in New York and is expanding into Chicago, Philadelphia, and Atlanta.

“The biggest way for us to reduce carbon emissions right now,” Baird says, “is efficiency.”


Meet all the fixers on this year’s Grist 50.

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Burning coal for electricity continues its steep slide into history.

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Surprise: This Republican governor now wants his state to ban fracking.

U.S. cities are packed with about 5 million medium-sized buildings — schools, churches, community centers, apartment buildings. Most use way more energy than they should. Many also have poor airflow and dirty, out-of-date heating and electrical systems. Those conditions contribute to high inner-city asthma rates and other health concerns.

“These buildings are actually making children sick,” says Donnel Baird, who grew up in such a place. His parents, immigrants from Guyana, raised their kids in a one-bedroom Brooklyn apartment, relying on a cooking stove for heat. Baird eventually moved to the South and then attended Duke University, before returning to New York as a community organizer in 2008.

In 2013, Baird launched BlocPower, which provides engineering and financial know-how to retrofit city buildings. The technical part is cool: Engineers survey structures with sensors and smartphone apps, figuring out the best ways to reduce energy use, like replacing oil boilers with solar hot water. But the financing is critical; BlocPower builds the case for each project and connects owners with lenders. It has already retrofitted more than 500 buildings in New York and is expanding into Chicago, Philadelphia, and Atlanta.

“The biggest way for us to reduce carbon emissions right now,” Baird says, “is efficiency.”


Meet all the fixers on this year’s Grist 50.

Excerpt from – 

Surprise: This Republican governor now wants his state to ban fracking.

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This Brilliant Memoir Will Challenge What You Think You Know About Loss and Pregnancy

Mother Jones

For most of her life, Ariel Levy’s disregard for rules and expectations has mostly paid off. As a child, she preferred adventurous make-believe to playing house. As a young adult, she was determined to write at New York magazine when she was a lowly editorial assistant and became an accomplished magazine writer for such publications as the New York Times, Vogue, and the New Yorker. She fell in love and got the girl, even though the girl was in a relationship with someone else when they met. Eventually, they married. She’s boarded airplanes to places like South Africa in search of characters and returned with stories about gender and athleticism and ways that ignorance and stereotypes can cripple.

But life isn’t simple, and as she moved from her 20s into her late 30s, the rules began to feel a little less negotiable—an experience she records in her riveting new memoir, The Rules Do Not Apply.

“Every morning I wake up, and for a few seconds I’m disoriented, confused as to why I feel grief seeping into my body, and then I remember what has become of my life,” Levy writes in the preface. “I am thunderstruck by feeling at odd times, and then I find myself gripping the kitchen counter, a subway pole, a friend’s body, so I won’t fall over.” Over the course of only a few months when she was 38 years old, Levy lost her spouse and her house to divorce, and her son to a miscarriage. In 2013, Levy wrote about her miscarriage in a powerful New Yorker personal essay called “Thanksgiving in Mongolia.” It’s impossible to read that essay—and the book—without experiencing some of her anguish, as if you’ve stepped outside of your body and into hers. It’s the sort of writing that is vulnerable and vivid, and makes the reader feel brave and desperate in quick succession. “All of my conjuring had led to ruin and death,” she writes in her memoir. “Now I was a wounded witch, wailing in the forest, undone…The wide-open blue forever had spoken: You control nothing.”

Mother Jones caught up with Levy to talk about writing through grief, the politics of miscarriage, and what it means to be an animal woman.

Mother Jones: Let’s talk about “Thanksgiving in Mongolia.” How did you decide to write about that experience in the first place?

Ariel Levy: It wasn’t really a decision. It just sort of came out of my fingers, you know? There were fewer choices involved than in anything I’ve ever written before—it just kind of happened. I honestly don’t think I’ve ever had a piece like that before in my life where there was not a lot of effort; there were not a lot of choices; there was not a lot of moving things around. It just came out of my fingers. I just said what I had to say, basically. It’s not usually like that. Usually it’s a lot of work. Usually it’s a pain in the drain. It just happened.

MJ: So it just felt like something you needed to write about?

AL: Yeah. I guess I needed to, because it wasn’t a conscious choice. The book is a different matter—the book is a conscious choice, and the book was work. It did involve making lots and lots of decisions, and doing lots and lots of revisions. “Thanksgiving in Mongolia” was not like that. I felt like I had said exactly what I meant to say. It’s not usually like that for me. Normally, it’s kind of what I want to say, you know, it’s sort of what I want to say, but it’s never quite everything I hoped. With that piece, I didn’t have any hope. I was like, “Yeah, I mean every word of that.” Unfortunately, it only happened once in 20 years. I’m not going to get too used to it. The book was, in many ways, a pleasurable process. It was a normal writing experience that involved decision-making and revision, and some struggle, like anything. Much, much easier than my first book, which was like a total uphill slog.

MJ: I’m sort of surprised to hear you say that—the writing comes across as such raw emotion.

AL: Well, the fact of the matter is, I was doing that anyway. That process of looking at what has happened and what I had done in various ways was difficult, but writing about it wasn’t painful. Feeling suffering is painful, obviously, but writing about suffering, I did not find unpleasant. Usually I don’t write about myself; I write about other people. When you’re reporting, you’re trying to put together the truth based on what lots of different people tell you. Maybe you’re there for some of it because you’re reporting scenes, but at the end of the day, you’re trying to piece together reality from various sources. It’s not like I know the ultimate truth, but I know what was true to me. I found the exercise of trying to express that as precisely as possible sort of thrilling.

MJ: So how did you decide to write the story of your miscarriage as a book?

AL: I don’t know. If this was someone else’s story, I would have wanted to tell it. I would have thought, “Well first of all, that’s a good story, and second of all, it involves lots of stuff that I’m interested in.” Why is it disqualified just because it’s my story, and I know every single thing about it? That shouldn’t be a mark against it. Maybe that should be a mark for it, is what I ultimately decided. Obviously personal life is complicated, but I decided to do it anyway.

MJ: I’m glad you did.

AL: Thanks, I’m glad I did too.

MJ: So does that mean you’re feeling good about the book coming out?

AL: I feel partly good about it, let’s say.

MJ: How did the people in your life react to the idea of your memoir?

AL: Really generously. My former spouse is the first person who read it before I turned it in. I was like, “Okay, if there’s anything you can’t live with, let me know and I’ll take it out.” She’s more important to me than any book. Characteristically generous, she was like, “You know what? I’m not going to censor you. This is your story—you tell it how you want to tell it.”

Which is incredible, but also not surprising if you know her. She was the only one I was concerned about. My parents, you know, that’s ancient history.

MJ: Miscarriage is sometimes regarded as this personal, private thing. When women come forward and speak about it, it becomes political. Do you see yourself normalizing the spectrum of pregnancy outcomes by writing about your experience?

AL: Certainly hearing from lots and lots of women who had lost babies, lost pregnancies, and also some women who’d lost children, made me feel good about writing about some of these issues. I feel that the dramatic experience of being a human female animal hasn’t really been a major subject for art and literature. Why shouldn’t it be? It affects half the population. Not that every woman is going to get pregnant or have a child or lose a child, but at some point in her life every woman will have some drama around menstruation, pregnancy, childbearing, childbirth, menopause, something to do with that animal fear.

MJ: Do you feel like there’s a stigma of blame around miscarriage?

AL: Well it’s also a biological experience, right? When you lose a pregnancy like that—especially if you are late term, as I was—you’re going through an enormous let down of all these hormones. If things go well, you’ve got a baby to take care of, so that serves as this counterbalance to this enormous physical, hormonal shitshow. If the baby dies, then you’re in a pretty dark place. Sure it’s cultural, but it’s not just cultural. It’s also physical. It’s pretty hard not to blame yourself and feel terrible in 800 ways when you’re going through that physical experience. Your body’s producing milk for a baby who’s not there. I don’t see a way that you’d avoid going to a pretty dark place in that condition.

MJ: The book is, in some ways, a meditation on womanhood and what it means to have the power to reproduce. Can you talk a little bit about what that has meant to you and then how it has evolved since your pregnancy?

AL: Before I had that experience, I wouldn’t have understood what it entailed. I think if someone said to me, “Oh, this person had a late-term miscarriage, this person went into premature labor,” I would’ve had no sense of what that meant. I think sometimes people will assume women will know what this is all about. I don’t even think it’s fair to ask women to know what it’s about if they haven’t experienced that. I certainly didn’t understand the emotional experience of pregnancy and birth. It just wouldn’t have resonated for me.

MJ: What advice would you give someone who is dealing with this kind of loss?

AL: Just to know that eventually, grief moves. It changes shape. If you’re fortunate, it moves from something you live in to something that lives in you. What I mean is, there’s always going to be something. I’m never going to be like, “Oh yeah, that was fine that that happened.” It’s always going to be a really painful reality for me. I’m always going to wish that my son had lived. Now, that’s something that lives in me. I don’t walk around in a tunnel of that experience. It’s just something that lives in my heart.

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This Brilliant Memoir Will Challenge What You Think You Know About Loss and Pregnancy

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Reality Begins to Set in on Obamacare—For Both Sides

Mother Jones

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Reality is setting in:

For seven years, few issues have animated conservative voters as much as the repeal of the Affordable Care Act. But with President Barack Obama out of office, the debate over “Obamacare” is becoming less about “Obama” and more about “care” — greatly complicating the issue for Republican lawmakers.

….As liberals overwhelm congressional town hall-style meetings and deluge the Capitol phone system with pleas to protect the health law, there is no similar clamor for dismantling it, Mr. Obama’s signature legislative accomplishment. From deeply conservative districts in the South and the West to the more moderate parts of the Northeast, Republicans in Congress say there is significantly less intensity among opponents of the law than when Mr. Obama was in office.

Intensity is the key word here, since actual opinions about Obamacare don’t seem to have changed more than a eyelash over the past seven years:

But the intensity of opinion has changed. With Obama out of office, the Republican base doesn’t care as much. Hating Obamacare was mostly just a way of hating Obama. Likewise, the Democratic base cares more. They spent the past seven years griping about how weak Obamacare was—no public option, too friendly to insurance companies, subsidies too low, blah blah blah—under the apparent assumption that it didn’t matter that practically no one was passionately defending the law. With Trump in office, Democrats have finally figured out that it matters, and congressional phones are now ringing off the hook.

So reality has set in for everyone. The Republican rank-and-file has finally figured out they never really cared all that much about taxing the rich an extra three points to provide health care for everyone. The Democratic rank-and-file has finally figured out that Obamacare is a pretty good program and it’s worth fighting for.

But did we really have to elect Donald Trump to figure this out?

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Reality Begins to Set in on Obamacare—For Both Sides

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These Photos of Botswanan Metalheads Are Pretty Mind-Blowing

Mother Jones

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In December 2015, Spanish photographer and filmmaker Pep Bonet, who has documented the aftermath of war in Sierra Leone and the global ravages of HIV/AIDS, set out for Botswana, in pursuit of a more positive Africa story.

A largely white genre, heavy-metal music has been gaining popularity in countries like South Africa and Kenya, Bonet says, but Botswana is the “pioneer.” At the heart of the scene is the band Overthrust­, fronted by a singing, bass-playing cop named Tshomarelo Mosaka. “They don’t mind about color or race,” Bonet told me. “They believe heavy metal unites people.”

Lacking access to store-bought fashions, these local “hellbangers” create their own—embellishing leatherware with rivets, chains, and animal bones. (“Desert Super Power,” below, makes money crafting outfits for fellow metalheads.) “They look very similar, many of them, to the Ace of Spades album cover,” notes Bonet, a big metal fan himself, who is also known for his extensive work with the British band Motörhead. “It’s definitely a lifestyle. They live for this!”

“Hardcore Series” and “Dignified Queen” Pep Bonet/NOOR/Redux

“Blade” told Bonet: “I used to see music videos for Hammer Fall, and I liked the way they were looking onstage, dressed in leather pants and nice boots. I started buying metal attire and that’s how I became a rocker.” Pep Bonet/NOOR/Redux

“Hardcore Series” enjoys custom handwear. Pep Bonet/NOOR/Redux

“Desert Super Power” designs clothes for the scene. Pep Bonet/NOOR/Redux

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These Photos of Botswanan Metalheads Are Pretty Mind-Blowing

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Conflict Minerals Are About to Get a Reprieve

Mother Jones

The Democratic Republic of the Congo is one of the most war-torn places on earth. Much of the money to keep the war going comes from mining operations in the eastern part of the country that are are effectively controlled not by the distant central government, but by militias and warlords that enslave workers and smuggle ore out through the DRC’s eastern border. In an effort to cut off their source of funding, the Dodd-Frank financial reform bill includes a provision that discourages companies from buying the so-called 3TG metals (tin, tantalum, tungsten, gold) from conflict areas. So how has that worked out?

That depends on who you ask, of course. But a surprising number of neutral and lefty sources think the policy has been a failure. For example, here is Lauren Wolfe of Women Under Siege:

Barnard College political science professor Séverine Autesserre has…estimated that only 8 percent of the country’s ongoing conflict has anything to do with natural resources. Moreover, in the September 2014 letter, the signatories noted that “armed groups are not dependent on mineral revenue for their existence.” Many groups can easily turn from minerals to palm oil, charcoal, timber, or cannabis to make money — not to mention extortion, illegal taxes, and other means.

….When Dodd-Frank passed, Congolese President Joseph Kabila put a ban on all mining and mineral exports in North and South Kivu and Maniema provinces. Though the ban was officially lifted in 2011…its ripple effects have persisted: Many artisanal mines have remained closed, and countless livelihoods have been destroyed, according to academics and activists. Laura Seay estimated in 2012 that between five and 12 million Congolese had been “inadvertently and directly negatively affected” by the loss of employment created by the ban and its aftershocks.

Here is the conclusion of a study by Dominic Parker and Bryan Vadheim:

Using geo-referenced data, we find the legislation increased looting of civilians, and shifted militia battles towards unregulated gold mining territories. These findings are a cautionary tale about the possible unintended consequences of imposing boycotts, trade embargoes, and resource certification schemes on war-torn regions.

The GAO says that most Western companies have no way of telling whether the minerals they buy come from conflict zones:

Ben Radly, one of the researchers behind We Will Win Peace, a documentary about the brutal warfare in the eastern DRC, says he has learned to be cautious about well-meaning movements:

There are three shortcomings to the “conflict minerals” campaign that came out of this work. It misrepresents the causal drivers of rape and conflict in the eastern DRC. It assumes the dependence of armed groups on mineral revenue for their survival. It underestimates the importance of artisanal mining to employment, local economies and therefore, ironically, security.

….The relationship between advocacy organizations headquartered in Western cities and their marketed constituency of marginalized and disadvantaged African groups is…tenuous. One of the most striking elements during the making of the film was the difficulty of finding Congolese groups in rural and peri-urban areas who knew about and supported the “conflict minerals” campaign. This suggests a lack of engagement with the people who stand to be most directly affected by campaign outcomes.

There are, of course, lots of advocates who continue to favor the ban on conflict minerals. They say that one of biggest militias in the conflict area has been put out of business by the ban, and that more progress can be made by strengthening the hold of the central government in the eastern DRC and tightening the programs designed to trace the source of minerals. For the most part, though, their evidence of success tends to be very anecdotal.

Beyond all this, there’s another reason it’s difficult to know for sure what the ban is and isn’t responsible for. The UN has been spending a billion dollars a year on peacekeeping operations in the conflict area for over a decade, and it’s all but impossible to know how much of the recent success—if success there’s been—is due to the Dodd-Frank ban and how much is due to the UN.

Bottom line: it’s not easy to know whether the conflict mineral ban—which Europe joined in 2015—has been successful. The whole issue is also highly politicized, since large corporations that buy 3TG minerals have fought against the ban since the start.

Why bring this up now? Because a leaked memo suggests that President Trump plans to sign a memorandum suspending the conflict mineral ban for two years. I don’t know if that’s a good idea or not. However, I sure wish I had more confidence that it wasn’t just a bit of payback to companies like Intel, which have lobbied for a long time to get the ban rescinded. Trump is hoping that these companies will play ball with his continued PR campaign to take credit for every new factory built in America—as Intel did today—and this sure seems like the kind of reward that will help keep his gong show going.

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Conflict Minerals Are About to Get a Reprieve

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Lyrical Genius John Darnielle Has a Scary New Novel

Mother Jones

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Cult indie-folk band the Mountain Goats is known for having fans that are rabidly devoted—and you’d almost have to be like that just to keep up. Led by John Darnielle—a charmingly nerdy 49-year-old songwriter whose professed admirers include Stephen Colbert, and whom Rolling Stone recently dubbed rock’s “best storyteller”—the Goats have put out 15 albums since 1994, using simple chord structures as a framework for Darnielle’s complex lyrical narratives. Fans have even petitioned to make him America’s Poet Laureate, so maybe it’s no surprise that Darnielle recently stumbled into literary success as well.

His debut novel, Wolf in White Van, about a reclusive, disfigured game designer who seeks refuge in a role-playing game, was a 2014 National Book Award finalist. Out February 7, Darnielle’s latest, an enchanting horror mystery called Universal Harvester, follows a video store clerk in small-town Iowa whose customers begin complaining of disturbing footage spliced into their rented VHS tapes. (The paperback review copy came sheathed in a plastic VHS clamshell.) When he’s not writing something, Darnielle, raised in a progressive activist household, is out fighting for reproductive justice—serving, for instance, on the board of the National Abortion Rights Action League and performing in support of Planned Parenthood.

Mother Jones: So you’re this celebrated songwriter and touring musician, and one morning you wake up as a novelist?

John Darnielle: It was much slower than that! An editor from Continuum asked me how come I hadn’t pitched to “33 1/3” a series of books about individual LPs. I pitched Black Sabbath’s Master of Reality. He liked it, so I wrote it. The critique was housed in this fictional narrative, the longest long-form narrative I’d ever attempted—at least since I wrote a very long poem cycle in the late ’80s. An album you write a bunch of songs and put them together, but with this, the focus it required was exhilarating. I submitted the manuscript, and while waiting to hear back I just started writing something else—I ended up writing what became the last chapter of Wolf in White Van. It was just something to do. A lot of good work sort of starts in idleness and becomes labor. Labor for a lot of people has a negative connotation. But not for me. I always want to be working.

MJ: And you got a National Book Award nomination straight out of the gate!

JD: I’m still kind of processing that. I thought that people wouldn’t hate it, but really, I was in shock. That happened two days after it got published! My editor calls me, “Hey, you’re not gonna believe this.” Laughs.

MJ: So, many successful first-time authors struggle with their second novel.

JD: It’s both easier and harder. The easier part is you know you can do it, whereas at a certain point on Wolf in White Van I’m sitting on the floor in the hallway with the manuscript all over the place, cutting up with scissors, trying to figure out what went where. There was a point where I was like, “This is going to be a mess. I’ll never put it get it back together.” If I hadn’t done it out in physical space, it would’ve never gotten finished. The second one, you know well enough to be planning ahead. A lot of the time with Wolf, I would find out what was going to happen as I wrote the sentence: click click click click…Oh! He went to a hospital! You can ad-lib a song. A novel is a performance you have to plan.

MJ: In the new book, as we often see in your music, there’s this horror motif.

JD: When I was a kid, I was a big science fiction fan, but current horror books were harder to get your hands on. You’d get, you know, Poe and Lovecraft. So there was this zine called Whispers. They would publish things by Robert Aikman, Manly Wade Wellmann, and Dennis Etchison, big names in a very small pond. Whispers was very hard to find, but it was really cool. Aikman would write horror stories that weren’t gore, they weren’t slashers, and they weren’t monster stories either. He called them ghost stories. The main thing about them was the vibe. It was really disquieting. He wanted to sketch the scene so that you could see it and know the characters and get a feel for the motion—and then ask yourself why and not get a final answer. Leave something that itches. I loved that! Etchison would write stories that were just punch lines at the end. You wouldn’t realize something horrific was happening until the last paragraph.

MJ: So what scares you most?

JD: The possibility of disaster remains horrific to me. Like when you know everything’s about to go wrong in a way that’s not controllable or knowable. What’s scary is the unknown, the stuff you can’t put your finger on. Hauntings are also scary—the notion that there are things from the past that render, that you can’t wash out, that you can’t be free of. The notion of the mark—the mark of Cain—is scary. Stuff clinging to you is scary.

MJ: Did you ever work in a video store?

JD: I worked the AV counter at the Roland Heights public library in the ’80s.

MJ: Did people ever record weird stuff on the tapes?

JD: No, I made that up. My best story from the library was the time a couple asked for a recommendation, and I recommended Raising Arizona and they absolutely hated it. They came back hungry for blood. I was on my lunch break and my boss came out and said, “Hey kid, you need to come talk to these people. They totally hate Arizona.” And he said, “Arizona‘s a dog; nobody gets that movie.” I said, “What’re you talking about! All my friends love that movie.” Laughs.

MJ: Was it your idea to package the book in a VHS case?

JD: No. This is the funny thing about me. People think John just comes up with all the ideas. I’m honored. People think I have a big old brain, but actually I am the sum of the people I work with. I do a few things pretty well. I write good songs, I hope I write good books, and I’m a pretty bitchin’ performer, I will say—you come to a Mountain Goats show and you’re gonna have a good time. But I consider myself a prep cook. The stuff I do is indispensable to the meal, but it’s not the whole meal.

MJ: You write so many songs. Do you ever get bored of it?

JD: Nah. People don’t tend to notice, but in the past 10 years especially there’s been a lot of growth in how I write songs and what goes into them. You can listen to Mountain Goats from 1991 to 2007 and never hear a seventh chord. In 2007 or 2008, I started working on the piano to grow as a songwriter. I started throwing major sevens in and sixes and more interesting stuff. I still write in 4/4 time. Maybe not the next hurdle, but one I want to meet in a couple years, is writing something in three or in six.

MJ: Wait, you’re going to turn the Mountain Goats into math rock?

JD: Well, six is not that complicated, but 13—I’d like to write something in 13!

MJ: You officially retired your song “Going to Georgia.” Have you retired others?

JD: Yeah, I think that’s pretty natural. I suspect by the time the Beatles were writing the White Album, they didn’t go, “‘I Wanna Hold Your Hand!’ I wanna play that!” It’s like if somebody asked you to put on the clothes you wore in high school. Well, no. No!

MJ: What was it like growing up in this intensely pro-choice household?

JD: It was exciting, insofar as I was thinking about things that few of my peers were. Young people like to feel self-righteous, like they’re on the right side of things.

MJ: In recent years, abortion rights have come under serious assault.

JD: If you’re working at the very local level and there are nine of you and six of the other people, you can strong-arm them. The anti-choice forces stole that tactic from the left! They’ve learned that if you act locally, you can get stuff on the books that will take forever to undo. It’s the same with redistricting. It’s hard to get people from far away to give a shit. That’s the issue! It’s easy to follow national politics and weigh in on social media, but if I’m tweeting stuff about Chatham County, no one cares. All you can do is wait until they make a move that’s unconstitutional, and then you have to sue, and you appeal—that’s how it works.

MJ: You’re based in Durham, North Carolina, these days?

JD: Yessir. We’re actually right next door to Wade County, where the first targeted regulation of abortion provider (TRAP) laws were enacted. They can’t outlaw abortion, so they say, “Well, you can have an abortion, but the operating table has to be a Möbius strip, and the public restroom has to be 1,000 yards from the operating table.” It’s so playground! It’s: “Cross this line and I’m gonna punch you in the face,” and then they draw the line in back of you.

MJ: North Carolina recently has been on the vanguard of being against trans rights and eroding voting rights and so on.

JD: North Carolina was on the vanguard of being for those things, and that’s why we’re seeing this pushback. The conservatives noticed that there had been a lot of progress and they tried to tamp it down. Conservative forces in the South have a lot of power—almost dynastic—dating back many years. Our former governor Pat McCrory was supposed to be a moderate, but he found himself beholden to people who have much more draconian ideas. I think he assumed this stuff flew under the radar.

MJ: The Black Lives Matter movement in Charlotte seems pretty robust.

JD: Durham was gonna vote Democrat regardless of whether the Republicans nominated this madman—it’s a very blue county. Charlotte—things are a little different. But over the past 40 years, the tradition of Southern progressivism has been somewhat successfully erased by right-wing revisionist historians. The South actually has a very strong tradition of activism. The civil rights movement came from down here! It was black activists demanding that their voices be heard. People say these are red states. No they’re not! They’re hotbeds of progressivism that have been legislated against and redistricted out of existence. The fighting spirit remains in the voice of the people down here.

MJ: Are you tempted to infuse your songs and books with your politics?

JD: No. I have a hunger for justice, but art is a place I’ve always enjoyed being able to be free—to live in worlds that you don’t have to be thinking about that all the time. I don’t see myself writing Upton Sinclair books. My books are to entertain, although to me, entertainment is to make you feel sadness or to get in touch with your own pain—or fear, or to remember somebody who has gone missing from your life. That’s my calling. There are real teachers out there; I don’t pretend to have their mantle.

MJ: Are there any writers you’ve tried to emulate?

JD: There are stylists I really love. I’m a huge Joan Didion fan—if I wrote something that she might like, then I’d feel very proud. I want the action to move as quickly as it does in A Book of Common Prayer, where one thing bonks right into another very quickly, but I want the effect to be a little more velvety—simple language that has lush effects.

MJ: Had you ever written fiction prior to Wolf?

JD: I wrote short stories when I was a teenager, but they weren’t any good and I kinda knew it. I was 14 or 15 when I discovered poetry, and I pretty much stopped writing prose until Master of Reality. I did a lot of music criticism. I don’t think much of it was any good. I think I wanted to show off a lot when I was younger. Now I just want people to enjoy the story. If it were possible to publish anonymously, that would be awesome.

MJ: A lot of your fans seem to know your entire catalog. They sing along at shows and shout out constant requests. What does that feel like?

JD: It’s a a huge honor. I try not to dwell on it, because anything that might lead to me being too egocentric is not healthy. I’ll look at them and try to have a moment with them, but I hope it’s more of a shared experience than a didactic one.

MJ: Do the requests get annoying?

JD: Generally no. A good show—and this is on the band as much as on the audience—people will get a sense of the rhythm, so they won’t yell out a request after some song where everyone has gotten real sad together. That would be unkind. But I don’t really have any position to complain about my job. Yeah, every job has its moments like, “Ah, you know, it’s Wednesday.” But I’m blessed. I love my work.

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Lyrical Genius John Darnielle Has a Scary New Novel

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President Trump’s Tweets Are Not For You

Mother Jones

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Over the past 24 hours, Donald Trump has tweeted that (a) he plans to send the feds into Chicago if they don’t fix their crime problem, (b) he will be ordering a major investigation into voter fraud, and (c) he plans to start building the wall today. These all made the front page of the New York Times:

The guy is president, so I suppose this is the right thing to do. Still, I want to take yet another opportunity to remind everyone who these tweets are for. They are not for you. They are not for the press. They are not for Congress.

They are for his fans.

That’s it. Trump’s tweets often seem ridiculous or embarrassing or whatnot, but that’s only from our perspective. Instead, imagine you are Joe Sixpack. You’re at home, watching the Factor, and O’Reilly is going on about the crime problem in Chicago. It’s outrageous! The place is a war zone! Somebody should do something!

Then, a few minutes later, you see Trump’s tweet. “If Chicago doesn’t fix the horrible “carnage” going on, 228 shootings in 2017 with 42 killings (up 24% from 2016), I will send in the Feds!” Damn straight, you think. They need the National Guard to set things straight there. Way to go, President Trump.

Joe doesn’t really care about Chicago. He doesn’t know or care that the feds can’t be sent there to fight crime. And he probably doesn’t really want the National Guard sent to Chicago anyway. He just vaguely thinks that those thugs on the South Side need to be on the business end of some muscular action, and he wants to know that someone out there in Washington DC feels the same way he does. So that’s what Trump gives him.

I’m not here to suggest that we should devote either more or less attention to Trump’s tweets. I guess I don’t really care. I just want everyone to understand who and what they’re for. It all makes a lot more sense once you know what he’s up to.

Continued here: 

President Trump’s Tweets Are Not For You

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Peter’s Choice

Mother Jones

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This past October, I taught a weeklong seminar on the history of conservatism to honors students from around the state of Oklahoma. In five long days, my nine very engaged students and I got to know each other fairly well. Six were African American women. Then there was a middle-aged white single mother, a white kid who looked like any other corn-fed Oklahoma boy and identified himself as “queer,” and the one straight white male. I’ll call him Peter.

Peter is 21 and comes from a town of about 3,000 souls. It’s 85 percent white, according to the 2010 census, and 1.2 percent African American—which would make for about 34 black folks. “Most people live around the poverty line,” Peter told the class, and hunting is as much a sport as a way to put food on the table.

Peter was one of the brightest students in the class, and certainly the sweetest. He liked to wear overalls to school—and on the last day, in a gentle tweak of the instructor, a red “Make America Great Again” baseball cap. A devout evangelical, he’d preferred former Arkansas Gov. Mike Huckabee at the start of the primary season, but was now behind Donald Trump.

One day the students spent three hours drafting essays about the themes we’d talked about in class. I invited them to continue writing that night so the next morning we could discuss one of their pieces in detail. I picked Peter’s because it was extraordinary. In only eight hours he’d churned out eight pages, eloquent and sharp.

When I asked him if I could discuss his essay in this article, he replied, “That sounds fine with me. If any of my work can be used to help the country with its political turmoil, I say go for it!” Then he sent me a new version with typos corrected and a postelection postscript: “My wishful hope is that my compatriots will have their tempers settled by Trump’s election, and that maybe both sides can learn from the Obama and Trump administrations in order to understand how both sides feel. Then maybe we can start electing more moderate people, like John Kasich and Jim Webb, who can find reasonable commonality on both sides and make government work.” Did I mention he was sweet?

When he read the piece aloud in class that afternoon in October, the class was riveted. Several of the black women said it was the first time they’d heard a Trump supporter clearly set forth what he believed and why. (Though, defying stereotypes, one of these women—an aspiring cop—was also planning to vote for Trump.)

Peter’s essay took off from the main class reading, Corey Robin’s The Reactionary Mind: Conservatism From Edmund Burke to Sarah Palin. Its central argument is that conservative movements across history are united in their devotion to the maintenance of received social hierarchy. Peter, whose essay was titled “Plight of the Redneck,” had a hard time seeing how that applied to the people he knew.

“We all live out in the wilderness, either in the middle of a forest or on a farm,” he wrote. “Some people cannot leave their homes during times of unfortunate weather. Many still dry clothes by hanging them on wires with clothespins outside. These people are nowhere near the top, or even the middle, of any hierarchy. These people are scraping the bottom of the barrel, and they, seemingly, have nothing to benefit from maintaining the system of order that keeps them at the bottom.” His county ended up going about 70 percent for Trump.

Concerning race, Peter wrote, “In Oklahoma, besides Native Americans, there have traditionally been very few minorities. Few blacks have ever lived near the town that I am from…Even in my generation, despite there being a little more diversity, there was no racism, nor was there a reason for racism to exist.” His town’s 34 or so black people might beg to differ, of course; white people’s blindness to racism in their midst is an American tradition. As one of the African American students in the class—I’ll call her Karen—put it, whites in her town see “racism as nonexistent unless they witness it firsthand. And then it almost has to be over the top—undeniable acts of violence like hate crimes or cross burnings on front lawns—before they would acknowledge it as such.” But it’s relevant to the story I’m telling that I’m certain Peter isn’t individually, deliberately racist, and that Karen agrees.

Still, Peter’s thinking might help us frame a central debate on the left about what to make of Trump’s victory. Is it, in the main, a recrudescence of bigotry on American soil—a reactionary scream against a nation less white by the year? Or is it more properly understood as an economically grounded response to the privations that neoliberalism has wracked upon the heartland?

Peter knows where he stands. He remembers multiple factories and small businesses “shutting down or laying off. Next thing you know, half of downtown” in the bigger city eight miles away “became vacant storefronts.” Given that experience, he has concluded, “for those people who have no political voice and come from states that do not matter, the best thing they can do is try to send in a wrecking ball to disrupt the system.”

When Peter finished with that last line, there was a slight gasp from someone in the class—then silence, then applause. They felt like they got it.

I was also riveted by Peter’s account, convinced it might be useful as a counterbalance to glib liberal dismissals of the role of economic decline in building Trumpland. Then I did some research.

According to the 2010 census, the median household income in Peter’s county is a little more than $45,000. By comparison, Detroit’s is about $27,000 and Chicago’s (with a higher cost of living) is just under $49,000. The poverty rate is 17.5 percent in the county and 7.6 percent in Peter’s little town, compared with Chicago’s 22.7 percent. The unemployment rate has hovered around 4 percent.

The town isn’t rich, to be sure. But it’s also not on the “bottom.” Oklahoma on the whole has been rather dynamic economically: Real GDP growth was 2.8 percent in 2014—down from 4.3 percent in 2013, but well above the 2.2 percent nationally. The same was true of other Trump bastions like Texas (5.2 percent growth) and West Virginia (5.1 percent).

Peter, though, perceives the region’s economic history as a simple tale of desolation and disappointment. “Everyone around was poor, including the churches,” he wrote, “and charities were nowhere near (this wasn’t a city, after all), so more people had to use some sort of government assistance. Taxes went up as the help became more widespread.”

He was just calling it like he saw it. But it’s striking how much a bright, inquisitive, public-spirited guy can take for granted that just is not so. Oklahoma’s top marginal income tax rate was cut by a quarter point to 5 percent in 2016, the same year lawmakers hurt the working poor by slashing the earned-income tax credit. On the “tax burden” index used by the website WalletHub, Oklahoma’s is the 45th lowest, with rock-bottom property taxes and a mere 4.5 percent sales tax. (On Election Day, Oklahomans voted down a 1-point sales tax increase meant to raise teacher pay, which is 49th in the nation.).

As for government assistance, Oklahoma spends less than 10 percent of its welfare budget on cash assistance. The most a single-parent family of three can get is $292 a month—that’s 18 percent of the federal poverty line. Only 2,469 of the more than 370,000 Oklahomans aged 18 to 64 who live in poverty get this aid. And the state’s Medicaid eligibility is one of the stingiest in the nation, covering only adults with dependent children and incomes below 42 percent of the poverty level—around $8,500 for a family of three.

But while Peter’s analysis is at odds with much of the data, his overall story does fit a national pattern. Trump voters report experiencing greater-than-average levels of economic anxiety, even though they tend have better-than-average incomes. And they are inclined to blame economic instability on the federal government—even, sometimes, when it flows from private corporations. Peter wrote about the sense of salvation his neighbors felt when a Walmart came to town: “Now there were enough jobs, even part-time jobs…But Walmart constantly got attacked by unions nationally and with federal regulations; someone lost their job, or their job became part-time.”

It’s worth noting that if the largest retail corporation in the world has been conspicuously harmed by unions and regulations of late, it doesn’t show in its profits, which were $121 billion in 2016. And of course, Walmart historically has had a far greater role in shuttering small-town Main Streets than in revitalizing them. But Peter’s neighbors see no reason to resent it for that. He writes, “The majority of the people do not blame the company for their loss because they realize that businesses are about making money, and that if they had a business of their own, they would do the same thing.”

It’s not fair to beat up on a sweet 21-year-old for getting facts wrong—especially if, as is likely, these were the only facts he was told. Indeed, teaching the class, I was amazed how even the most liberal students took for granted certain dubious narratives in which they (and much of the rest of the country) were marinated all year long, like the notion that Hillary Clinton was extravagantly corrupt.

Feelings can’t be fact-checked, and in the end, feelings were what Peter’s eloquent essay came down to­—what it feels like to belong, and what it feels like to be culturally dispossessed. “After continually losing on the economic side,” he wrote, “one of the few things that you can retain is your identity. What it means, to you, to be an American, your somewhat self-sufficient and isolated way of life, and your Christian faith and values. Your identity and heritage is the very last thing you can cling to…Abortion laws and gay marriage are the two most recent upsets. The vast majority of the state of Oklahoma has opposed both of the issues, and social values cannot be forced by the government.”

On these facts he is correct: In a 2015 poll, 68 percent of Oklahomans called themselves “pro-life,” and only 30 percent supported marriage equality. Until 2016 there were only a handful of abortion providers in the entire state, and the first new clinic to open in 40 years guards its entrance with a metal detector.

Peter thinks he’s not a reactionary. Since that sounds like an insult, I’d like to think so, too. But in writing this piece, I did notice a line in his essay that I had glided over during my first two readings, maybe because I liked him too much to want to be scared by him. “One need only look to the Civil War and the lasting legacies of Reconstruction through to today’s current racism and race issues to see what happens when the federal government forces its morals on dissenting parts of the country.”

The last time I read that, I shuddered. So I emailed Peter. “I say the intrusions were worth it to end slavery and turn blacks into full citizens,” I wrote. “A lot of liberals, even those most disposed to having an open mind to understanding the grievances of people like you and yours, will have a hard time with your words.”

Peter’s answer was striking. He first objected (politely!) to what he saw as the damning implication behind my observation. Slavery and Reconstruction? “I was using it as an example of government intrusion and how violent and negative the results can be when the government tries to tell people how to think. I take it you saw it in terms of race in politics. The way we look at the same thing shows how big the difference is between our two groups.”

To him, focusing on race was “an attention-grabbing tool that politicians use to their advantage,” one that “really just annoys and angers conservatives more than anything, because it is usually a straw man attack.” He compared it to what “has happened with this election: everyone who votes for Trump must be racist and sexist, and there’s no possible way that anyone could oppose Hillary unless it’s because they’re sexist. Accusing racism or sexism eliminates the possibility of an honest discussion about politics.”

He asked me to imagine “being one of those rednecks under the poverty line, living in a camper trailer on your grandpa’s land, eating about one full meal a day, yet being accused by Black Lives Matter that you are benefiting from white privilege and your life is somehow much better than theirs.”

And that’s when I wanted to meet him halfway: Maybe we could talk about the people in Chicago working for poverty wages and being told by Trump supporters that they were lazy. Or the guy with the tamale cart in front of my grocery store—always in front of my grocery store, morning, noon, and night—who with so much as a traffic violation might find himself among the millions whom Trump intends to immediately deport.

I wanted to meet him halfway, until he started talking about history.

“The reason I used the Civil War and Reconstruction is because it isn’t a secret that Reconstruction failed,” Peter wrote. “It failed and left the South in an extreme poverty that it still hasn’t recovered from.” And besides, “slavery was expensive and the Industrial Revolution was about to happen. Maybe if there had been no war, slavery would have faded peacefully.”

As a historian, I found this remarkable, since it was precisely what all American schoolchildren learned about slavery and Reconstruction for much of the 20th century. Or rather, they did until the civil rights era, when serious scholarship dismantled this narrative, piece by piece. But not, apparently, in Peter’s world. “Until urban liberals move to the rural South and live there for probably a decade or more,” he concluded, “there’s no way to fully appreciate the view.”

This was where he left me plumb at a loss. Liberals must listen to and understand Trump supporters. But what you end up understanding from even the sweetest among them still might chill you to the bone.

Read Peter’s full essay at motherjones.com/oklahoma.

Link – 

Peter’s Choice

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