Showing posts with label Allen Ginsberg. Show all posts
Showing posts with label Allen Ginsberg. Show all posts

August 2, 2012

Gore Vidal, Rape Apologist.

For those who were unaware, Gore Vidal, American author, and stringent anti-imperialist passed away this week.

I will admit to having been a little upset about the news when I first heard it. Vidal after all was an extremely quotable writer. I found the following quote from him to be particularly incisive:
At any given moment, public opinion is a chaos of superstition, misinformation, and prejudice.

However, that quote took on a decidedly ironic overtone, when I came across the following statement that Vidal had made in an interview with The Atlantic (published in 2009) in response to the question the interviewer had asked regarding Roman Polanski raping a 13 year year old girl:

I really don’t give a fuck. Look, am I going to sit and weep every time a young hooker feels as though she’s been taken advantage of?

Honestly, I am not sure where to begin on this one. The facts of what Mr. Polanski had done were well established at the time of this interview.

First off, the individual in question was 13 years old at the time of the incident. A little young to be engaging in sex work, one might think.

Second, I must have forgotten to read the memo that says that sex workers give up their right to refuse consent when they are working.

Third, the thirteen year old victim was drugged by Polanski before he raped her. The victim was with Polanski, as Polanski had promised her mother that she (the victim) would be photographed for an edition of Vogue. Which is another memo I must have lost, the one that argues that getting photographed for a non-pornographic magazine is the equivalent of engaging in sex work.

What makes Vidal's defending Polanski so reprehensible is that Vidal makes it very clear that this comment was not simply off the cuff, he genuinely believes in what is saying.

As the interview in question proceeds, Vidal goes on to claim that Polanski's persecution was motivated by antisemitism and had nothing to do with, you know, Polanski raping a 13 year old.

I am reminded here, of when I doing research on Harry Hay and finding out that he had, at one point defended NAMBLA (North Atlantic Man Boy Love Association) an organization that essentially promotes pedophilia. And while doing research for this article I found out that Allen Ginsberg had also defended the organization.

It seems as if you can't knock too hard on the door of anybody's closet, without knocking out a skeleton or two. There is a line between defending sexual activity between consenting adults and defending sexual activity with those too young to give consent. Too bad there are pro-queer activists who were unable to make that distinction.

I am also reminded here of the response to the Sandusky scandal at Penn State and the revelation that many members of the Penn State elite -- such as Joe Paterno -- had covered up for Sandusky. Consider also, the cover ups that occurred within the Catholic Church over numerous incidents of sexual assault by priests against children.

Coming back to Vidal, it is worth noting that he was not the only celebrity who had defended Polanski. Over a hundred of Hollywood's elite signed a petition to demand the release of Polanski following his arrest in Switzerland while he was traveling to a film festiveal.

It seems that as a species, few of us are immune to the desire to stick our head in the sand and ignore any problem that is shoved in front of our faces. But a problem cannot be solved through ignorance, nor by blaming the victims.

While Gore Vidal may have been a talented and progressive author (he did after all write one of the first major pro-queer novels in the United States) I cannot defend, his slut-shaming, rape defending, comment. Nor do I think it should be dismissed. By claiming that a 13 year old, who had been drugged and raped by a man in his 40's, was a "hooker" who had simply felt she had been taken advantage of, Gore Vidal committed a sin too ugly for description.

December 10, 2011

Queer Review: Howl (2010)

Howl
Directors: Rob Epstein and Jeffrey Friedman
Writers: Rob Epstein and Jeffrey Friedman
Cast: James Franco, Todd Rotondi, Jon Prescott, Jon Hamm, Aaron Tveit, David Strathairn, Bob Balaban, Andrew Rogers, Mary-Louise Parker, Heather Klar, Jeff Daniels, Allen Ginsberg (in archival footage)

Overview
The issues of censorship and the question of what constitutes obscenity come together in this dramatic telling of the trial for Allan Ginsberg's poem "Howl". The trial itself is a little dry but the imaginative sequences inspired by the poem itself make the time spent viewing worthwhile.

Synopsis
One part of Howl focuses on the obscenity trial for Allan Ginsberg (James Franco) which features several literary experts testifying on the literary merits of the the poem. Another part features Ginsberg in a mockumentary segment answering questions about the poem from an inquiring researcher. The third part has Ginsberg reading the poem at Six Gallery Reading on October 7, 1955, which was the public debut, and also features some glorious animated segments inspired from the poem.

The full text of Howl can be read here.

The Queering
It is sometimes easy to forget that America in the 1950's was the very epitome of intolerance, as evidenced here when Allen Ginsberg's publishers are forced to justify the legitimacy of the poem in order to avoid criminal charges. You read that right, actual criminal charges. Shig Murao (who was unfortunately not depicted in the film) actually went to jail for selling Howl and Other Poems. First Amendment, what First Amendment?

The problem with the film Howl is that we didn't really need to see a dramatization of the trial itself. The scenes where literary critics debate the worthiness of the Howl are tepid and add little to the movie. The scenes where Ginsberg is being interviewed are a bit more interesting, as these feature James Franco giving a completely natural performance of the late poet and his defence here that Howl represents a sort of pure expression of human expression makes more sense than anything we see in the trial.

However, where the film really takes off are when Franco reads the poem in public and during the animated segments. These sections, set to Franco's narration, are what make the movie worthwhile. We did not need the trial to see the literary merits of the poem Howl, these wonderful sets of animated imagery - which honour Grinsberg's work and bring the poem itself to life - should be enough to convince anyone of the poems merits.

Recommendation
No reason to go around howling like a mad man to find this, but worth taking some effort for those interested in the subject matter.

The Rating




Trailer


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