Naimark, Snyder, and Applebaum: When is murder genocide?

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An indecently incongruous setting for a discussion of genocide

On one of those legendary California afternoons, full of sunshine and overlooking the magnificent San Francisco Bay, I sat on the patio of the Center for Advanced Study in the Behavioral Sciences, talking with Norman Naimark about genocide.  It seemed a incongruous way to spend an afternoon in the crisp air and almost oppressive sunlight, but so it was.

Naimark’s contention, in his controversial new book Stalin’s Genocides: We need a much broader definition of genocide, one that includes nations killing social classes and political groups. His case in point: Stalin. He argues that the Soviet elimination of a social classes (e.g., the kulaks), as well as the mass execution and exile of “socially harmful elements” as “enemies of the people” were, in fact, genocide.  We miss the big picture when we treat these as discrete episodes.

I had wondered at the time, and still, about the role technology in the last century’s explosion of genocidal episodes. Clearly, incidents within archaic society — for example, the Old Testament “bans” where every man, woman, child, and even livestock were killed to remove every trace of a people — show genocidal intent.  But mass communication and mass transportation have made it possible to coordinate deportation and organize killing on a scale previously unimaginable (even in Rwanda, where the weapons-of-choice were pre-tech machetes, radio was used to incite mobs and track victims) – hence the proliferation of genocide in the 20th century.  Often official enablers act on a genocidaire’s momentary whim, rather than the determined aim to obliterate a people.  So what does “intent” matter, under such circumstances?

The subject has come up again with Anne Applebaum‘s  provocative article, “The Worst of Madness,” in the current New York Review of Books.  She reviews Timothy Snyder‘s  Bloodlands: Europe Between Hitler and Stalin as well as Stalin’s Genocides.  She calls Naimark’s argument “authoritative, clear, and hard to dispute.” Snyder studies the people caught between Hitler’s Germany and Stalin’s Russia, suffering two and sometimes three wartime occupations: “Between 1933 and 1945, 14 million died there, not in combat but because someone made a deliberate decision to murder them,” writes Applebaum.

She takes the notion of genocide a step beyond motive, examining how two dictators, Stalin and Hitler, played off each other in their hatred of the people in the “Bloodlands” — Ukrainians, Poles, and the Baltic states. The sum of the parts was more than the whole.  The two genocidaires used a synergy of murder to kill more, and more hideously, than either nation would have done alone:

Applebaum: Complicating memory

“To the people who actually experienced both tyrannies, such definitions hardly mattered. Did the Polish merchant care whether he died because he was a Jew or because he was a capitalist? Did the starving Ukrainian child care whether she had been deprived of food in order to create a Communist paradise or in order to provide calories for the soldiers of the German Reich? Perhaps we need a new word, one that is broader than the current definition of genocide and means, simply, ‘mass murder carried out for political reasons.’ Or perhaps we should simply agree that the word “genocide” includes within its definition the notions of deliberate starvation as well as gas chambers and concentration camps, that it includes the mass murder of social groups as well as ethnic groups and be done with it.”

She finally questions the whole notion of “remembering” genocide — an argument which reveals how powerfully language can shape the way we think about reality.  Genocide has come to mean pretty exclusively the Jewish Holocaust, shaping and carving and in many cases eliminating from memory what happened to millions of others:

“Finally, the arguments of Bloodlands also complicate the modern notion of memory—memory, that is, as opposed to history. It is true, for example, that the modern German state ‘remembers’ the Holocaust—in official documents, in public debates, in monuments, in school textbooks—and is often rightly lauded for doing so. But how comprehensive is this memory? How many Germans ‘remember’ the deaths of three million Soviet POWs? How many know or care that the secret treaty signed between Hitler and Stalin not only condemned the inhabitants of western Poland to deportation, hunger, and often death in slave labor camps, but also condemned the inhabitants of eastern Poland to deportation, hunger, and often death in Soviet exile? The Katyn massacre really is, in this sense, partially Germany’s responsibility: without Germany’s collusion with the Soviet Union, it would not have happened. Yet modern Germany’s very real sense of guilt about the Holocaust does not often extend to Soviet soldiers or even to Poles.”

The implications of her reading are many:  For the U.S., World War II was the “good war,” against all the ambiguous or “bad wars” that followed—Vietnam, Iraq, Korea.  For Americans, WWII begins with Pearl Harbor and ends with the atomic bomb.  But Western peace was won by selling out whole nations to our murderous ally. “This does not make us bad,” writes Applebaum, “there were limitations, reasons, legitimate explanations for what happened. But it does make us less exceptional. And it does make World War II less exceptional, more morally ambiguous, and thus more similar to the wars that followed.”

And for Western Europe:  “When considered in isolation, Auschwitz can be easily compartmentalized, characterized as belonging to a specific place and time, or explained away as the result of Germany’s unique history or particular culture. But if Auschwitz was not the only mass atrocity, if mass murder was simultaneously taking place across a multinational landscape and with the support of many different kinds of people, then it is not so easy to compartmentalize or explain away.”

Postscript on 11/15:  Speaking of genocide…  “On Wednesday, al Qaeda militants launch a synchronized bombing attack on 11 Christian communities throughout Iraq, killing six and wounding more than 30. That attack followed on the heels of the ghastly assault last month on Christian worshippers attending a service at Our Lady of Salvation church in Baghdad, in which 58 people were brutally murdered and another 60 wounded. …  the Iraqi government has done absolutely nothing to protect the besieged Christian community from further attack, despite a promise from al Qaeda in Iraq that ‘all Christian centers, organizations and institutions, leaders and followers, are legitimate targets for Mujahedeen wherever they can reach them.’  Americans of all faiths must band together and pressure the State Department to do something about the wanton murder of Iraqi Christians before there are no more Christians in Iraq to protect.”  At the Daily Beast here.

Norm Naimark makes his case in the video below:

D.G. Myers on Hitchens, Pausch, and cancer: “Hope is a dicey thing”

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Been there

Cancer has been the odd topic of discussion here the last few days — one more thought from D.G. Myers over at the Commonplace Blog (hat tip to Dave Lull, patron saint of bloggers in the cold, cold state of Minnesota).  Myers, who was diagnosed with Stage 4 cancer a few months ago, agrees with Christopher Hitchens on Randy Pausch‘s Last Lecture: “Pausch’s giddiness has nothing to do with real hope, nor with preparing oneself for death. If you recommend it, your friend will conclude—correctly, as it turns out—that you are not serious about what he is going through.”

“Even so, hope is a dicey thing. And as far as I can tell, no one else can raise your hopes for you. There is no standardized method for achieving it, no universally valid argument for its reality. …

"Nothing to do with real hope"

Don’t try to make hopeful sounds, then. What I found consoling was the consolation that was offered to my wife. It helped enormously to know that she and the children would not be left alone, even if I were to leave them. Similarly, I guess, it gave me steel to understand that I was important and dear to some people. Three or four of my friends were particularly good at this, dropping into my hospital room to say, ‘I read something today that reminded me of you,’ or, ‘I listened to something and wondered what your reaction would be.’ Only two people thought to send me books—no one sent me any movies—and even though the books they sent weren’t really to my liking, they meant a lot to me.

Then there were those who never even contacted me, including my own sister. Nothing quite makes you more aware of the nothingness that awaits you on the other side of Stage Four cancer. My advice: say anything, keep it light and trivial if need be—better lightness and triviality, in fact, than the awkward groping for profundity—but say something. If you say nothing, because you are afraid that you will not know what to say, then you are abandoning the cancer patient to his worst fears, and indulging your own self-centeredness and even solipsism at his expense.

Only one thing is worse than silence, he says: telling cancer patients of “alternative cures.”  Hitchens agrees, but during my own experience with the Valley of the Shadow, I collected all the stories I could.  Part of the research effort.  One of the things Bob Beyers taught me – you never know where the help might come from, or from what unlikely people.

Postscript on 11/11/10:  Myers posted his recommended reading list today, here.

Diane Middlebrook: “It’s all been delicious. Every minute.”

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Salonnière Diane (Photo: Amanda Lane)

“You felt smarter and more talented and more capable in her presence.”

Such was Kate Moses’s summary of the late biographer Diane Middlebrook’s “genius for friendship” – or at least, that was part of it.

Salonnière Kate read from her “Chocolate Cake for Diane” — featured right now, here, at the online Narrative Magazine — to a roomful of women assembled in her memory last August.  Diane organized several literary salons for women: first in London and San Francisco, and later in New York.  According to Moses, “she admitted without apology that she wouldn’t schedule a salon event in one city while she was in the other because she didn’t want to miss anything.”  The Middlebrook salons continue – a place for women to gather, celebrate their achievements, discuss their work, and network.

In Irv and Marilyn Yalom‘s Palo Alto home tucked away in wooded seclusion off the main streets, one wondered if perhaps the spirit of Diane is contagious.  We were all feeling smarter and more capable in the Bay Area writer’s salon – and boy, there are times we need to.

Kate’s “fertile creative partnership” with Diane flourished as Kate was writing her fictional story of Sylvia Plath and Ted Hughes, Wintering, while Middlebrook was working on her biographical account, Her Husband. “By sharing all of our research, we made twice as much progress in half the time.”

I wrote Diane Middlebrook’s obituary here.  At the time, I found the most arresting part of Diane’s story to be her absolute determination to finish her biography of Ovid, even in the face of a rare and ultimately deadly liposarcoma.

Diane had been reading and studying Ovid since graduate school, and later taught him and lectured on him.

“‘I am not ready to die,’ she said again and again, her voice brisk and emphatic, that elegant index finger aloft,” Kate recalled.  “From the last days of January 2004, when Diane learned that her tumor had returned with a vengeance, she never took her eyes off Ovid.  Through those surreal years her book was her anchor, as the life of her elegant mind had always been.  She was single-minded in her concentration, hoarding away time from successive chemotherapies and monthly dendritic cell treatments and surgeries and the repetitive struggle to recover from every onslaught her body had to withstand.”

She returned to San Francisco to dazzle the salon with a reading from her Ovid manuscript “and an animated talk on the challenge of writing a biography without primary sources.”

Moses recalled the last visit in London:  “We left the Athenaeum arm in arm, descending into the Tube together and kissing goodbye at Leicester Square, Diane calling ’till December!’ as her train pulled away.”

“Nothing, after that, happened the way any of us had planned or hoped or thought possible.” By September, she could no longer keep down solid food.  The doctors turned to palliative care, and she could no longer continue the book on her own.

Salonnière Kate Moses (Photo: Ramona Pedersen)

“She was so weak and in such constant pain she was sometimes not able to hold a pencil, and her pain medications were disorienting: timed-release doses that periodically submerged her mind like a carnival dunking machine.  But she might, with great concentration and will, be able to talk about Ovid, to dictate the blueprint for her book’s final form, and she wanted to try…”

The experiment involved Kate making digital recordings of Middlebrook’s ideas for the books, interviewing her, teasing out ideas and taking notes, with hopes of assembling the book later.

To that end, “Diane asked her doctor to adjust her medications, so that she would have more control over her thoughts and her ability to articulate them.  This meant, in practice, that she would have to withstand more pain in order to work on Ovid, a price she was willing to pay for as long as she could stand it. … it was downright superhuman most of the time, a heroic and determined effort on her part to stay focused and acute when her body was impatiently tugging her in the other direction.  It was often like watching a great, dignified actor remain in character and deliver his staggering final soliloquy as the theater is being dismantled board by board all around him.”

Eventually, Kate was joined by a few other insiders, including Diane’s daughter Leah Middlebrook, to work as a team to shape the manuscript with the notes, recordings, outlines, and Diane’s help.  “Diane was in noticeable pain, but when [we] would ask if she wanted to stop, Diane would grimace, shaking her head no.  ‘Let’s keep going,’ she’d say.  Eventually, they covered it all.  “‘Good,” Middlebrook said, holding her daughter’s hand.  “Because the rest is unthought.” Kate meant to come back for more sorting out, but that was the last time she was able to speak to Diane, who died a week later.

Listening to Kate read in front of a large picture window glowing with the late-afternoon, late-summer sun, its remarkable how many women (and, for the annual August event, men were invited too) were touched by Diane’s life – enough so that a memorial residence for writers is planned by the Djerassi Resident Artists Program.

Salonnière Kate described a more personal goodbye had happened a week earlier, at the hospital, when Kate suddenly felt Diane’s hand on her wrist:

“Every minute has been delicious,” she said dreamily, not knowing if she was truly dreaming or tumbling in the surf of her mind, her focus turned inward. “Every minute with you, Kate,” she said then, holding my gaze, squeezing my wrist.  “It’s all been delicious.  Every minute.  How many relationships can we say that about?”

Hitchens on cancer etiquette … and Randy Pausch

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The Miss Manners of cancer etiquette?

Christopher Hitchens, in a new Vanity Fair piece, sets out a few guidelines about cancer etiquette.  How to deal with the repeated questions, beginning with the simple “How are you”?  When oncology clinic staff ask, he replies simply, “I seem to have cancer today.”

He’s aware of the perils in cataloging gaffes on the part of either patient or non-patient.  He describes the patient’s “unreasonable urge to have a kind of monopoly on, or a sort of veto over, what was actually sayable. Cancer victimhood contains a permanent temptation to be self-centered and even solipsistic.”

While he points out the pitfalls of inevitable awkwardnesses, and the dangers of saying too much and too little, he once again grapples with the clichés of cancer — a subject we discussed earlier.  I always enjoy the ferociousness with which he takes on calcified thinking and stale modes of feeling.  For example, witness this digression into Randy Pausch‘s Last Lecture:

It would be in bad taste to say that this—a pre-recorded farewell by the late professor Randy Pausch—had “gone viral” on the Internet, but so it has. It should bear its own health warning: so sugary that you may need an insulin shot to withstand it. Pausch used to work for Disney and it shows. He includes a whole section in defense of cliché, not omitting: “Other than that, Mrs. Lincoln, how was the play?” The words “kid” or “childhood” and “dream” are employed as if for the very first time. (“Anyone who uses ‘childhood’ and ‘dream’ in the same sentence usually gets my attention.”) Pausch taught at Carnegie Mellon, but it’s the Dale Carnegie note that he likes to strike. (“Brick walls are there for a reason … to give us a chance to show how badly we want something.”) Of course, you don’t have to read Pausch’s book, but many students and colleagues did have to attend the lecture, at which Pausch did push-ups, showed home videos, mugged for the camera, and generally joshed his head off. It ought to be an offense to be excruciating and unfunny in circumstances where your audience is almost morally obliged to enthuse.

Big plans for a small book — kudos for Olga Trusova and Dan Archer

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Praise for Borderland, a 36-page comic book telling seven real-life stories about modern-day slavery (we wrote about here and here).  International Organization for Migration will print and distribute copies of the comic to 136 schools in Ukraine.  English, Russian, and Ukrainian versions of Borderland will be available.

Anne Keehn, who has been fighting international slavery for years, wrote on the Human Human Goods website about the work of Fulbright Fellow Olga Trusova‘s and Knight Fellow Dan Archers project:

There are more slaves today than ever in history. Yet, the issue of modern-day slavery has not yet cracked mainstream discourse the way we’d like. So we are always heartened to see when intelligent, creative people use innovative ways to raise awareness about what we see as the human rights issue of our time.

Archer is the art director for the Stanford Graphic Novels Project.

Olga and Dan say on their website:

“The project began with a belief that as consumers of various goods and services, people should be aware of where those come from and at what cost. The U.S. government has tremendous influence on foreign governments and their policies, therefore it is important to bring you, the reader, into the picture, so that when time comes you can influence your government.”

Breaking news: Dana Gioia — new feather, new cap

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Academia has captured him at last (Photo: L.A. Cicero)

Does this man ever sleep?  I’ve come to the conclusion he does not.

On my to-do list for weeks now, I have scribbled down a plan to write a nice, leisurely note to Dana Gioia, following his visit to Palo Alto. But I can’t keep up.  Each time I turn my back he gets a new honor, a new book, a new published poem.  I haven’t even listened to the CD, Tony Caruso’s Final Broadcast, he sent to me yet, and now it’s just been announced that that he has taken an endowed chair at the University of Southern California — the Judge Widney Professor of Poetry and Public Culture.  The chair is reserved for eminent individuals from the arts, sciences, professions, business and community leadership.

What could be more fitting? Think of his “Can Poetry Matter?” essay that launched a nationwide discussion of poetry.  Dana’s university-wide appointment includes affiliations with the USC College of Letters, Arts and Sciences, its Thornton School of Music, its Marshall School of Business, and its School of Policy, Planning, and Development.

But he has avoided so many academic appointments in the past, this comes rather as a surprise.  I hadn’t a clue until Ted Gioia‘s announcement of his brother’s honor on his own Facebook page.  Not so much of a surprise, perhaps, is the SoCal locale — Dana was born, after all, in the gritty little burg of Hawthorne, outside Los Angeles.

Said Provost Elizabeth Garrett, senior vice president for academic affairs: “As a poet, literary critic, and innovative arts leader, Dana Gioia has demonstrated that poetry—and the arts—do matter. Through initiatives like Poetry Out Loud and The Big Read, he forcefully reminded us that poetry and literature can be oral art forms, inspiring people of all ages to imagine and to think creatively and critically.”

It will be great to have Dana on the West Coast again.  Perhaps he can catch a nap now?

Postscript on Nov. 6:  I spoke too soon.  When I got home last night, I found in my mailbox Dana’s newest effort, John Donne’s Sacred and Profane Poems, for which Dana wrote a 20-page introduction.  “He alone was master of both the sacred and profane,” Dana writes, though he notes James I’s criticism of the poems, that they “are like the peace of God; they pass all understanding.”  Hadn’t heard that one.