Categories
News The Fly-By

“FLY” TO FUND NEW ARENA

The May edition of City Pride, a monthly newsletter published by the
Executive Division of the Memphis City Government specifically for city
employees, was chock full of eye-opening facts that have yet to be picked up
by local media outlets. The most interesting bit of information comes in the
form of a letter from Mayor Willie Herenton outlining the city budget for
fiscal year 2002. In the letter, Herenton highlights a number of worthwhile
projects, including a $3.2 million central police precinct, $9 million worth
of paved roads, $20 million for new schools, and $12 million for the
construction of the proposed new $250 NBA arena. Given the hitherto unknown
affordability of the new arena, Herenton s plan seems like overkill. Fly on
the Wall would (pending naming rights, naturally) happily organize a bake
sale to cover any and all expenses.

(Many thanks to the wonderful, witty anonymous readers who keep sending
us copies of City Pride. It s our favorite.)

Categories
We Recommend We Recommend

thursday, may 17th

Today, of course, officially kicks of the Memphis in May World Championship Barbecue Cooking Contest, and while I commend all who try their talents at the art of cooking the pig, I still maintain there is none finer than that served up at the Big S Lounge by Mr. Hardaway. The Redbirds are playing New Orleans tonight at AutoZone Park. And while you re downtown, you may want to go hear Don McMinn and Preston Shannon at B.B. King s. Or James Govan (a treasure) & the Boogie Blues Band at Rum Boogie CafÇ. Or those wild and crazy Dempseys at Elvis Presley s Memphis. Or the Buonis at the Sunset Serenade happy-hour party on the Plantation Rooftop at The Peabody. Or live jazz at CafÇ Zanzibar on S. Main (if you haven t eaten there yet wow!).

Categories
Art Art Feature

“HARROW HELL”

“It’s going to be a good spring,” so says writer and native Memphian Hampton Sides, and for good reason. Make that two good reasons.

One: Next month his anthology Why Moths Hate Thomas Edison: And Other Urgent Inquiries Into the Odd Nature of Nature (Outside Books), based on a popular question-and-answer column he wrote or edited for Outside magazine, will hit bookstores. Two: This month a project perhaps nearer his heart and called Ghost Soldiers (Doubleday) lands in stores, lands its author on the Today show (May 25th), and lands the book a full-page ad (with kind words from the likes of David Halberstam and Jon Krakauer) in the May 18th New York Times.

These aren’t Sides’ first forays into publishing. His first job was at Memphis magazine as a college intern from Yale and his first book, Stomping Grounds: A Pilgrim’s Progress Through Eight American Subcultures, he admits “didn’t go anywhere” (except out of print). But with this spring’s two titles Sides may be about to make it big-time and with built-in audiences.

That’s especially true in the case of Ghost Soldiers, which tracks the lives of the men who, having survived the infamous Bataan Death March in the Philippines in 1942, went on to become POWs of the Japanese inside the largest continuously-running prisoner of war camp in Asia. That camp, outside the city of Cabanatuan, was also the largest American POW camp ever established on foreign soil, with an estimated 12,000 U.S. soldiers passing through its gates and a full quarter of them buried beyond its barbed wire. The daring rescue of the roughly 500 sick and starving men still inside the camp in January 1945 — a surprise rescue engineered by the U.S. Army Sixth Ranger Battalion under the leadership of Colonel Henry A. Mucci, with equal help from a band of Filipino guerrillas — makes it, as the book’s subtitle declares, “The Forgotten Epic Story of World War II’s Most Dramatic Mission.”

Dramatic? Without question, according to Sides’ expert rendering of the challenges facing the rescuers at every stage of the operation. Forgotten? No, if we mean the men who survived Cabanatuan’s horrendous conditions; yes, if we mean generations since the war who know the phrase “Bataan Death March” and not much more. Sides knows this because, before launching into this three-year project, he was among the latter.

“I knew that Bataan was somewhere over in Asia, and it was something horrible,” Sides, 39, explained in an interview from his home in Santa Fe. “But I honestly didn’t know if it involved Americans or Brits or Australians or what.”

Having made the decision to write about Bataan, however, he quickly realized that the Death March alone would not make a whole book. “Where were the men marched to?” the author had to ask himself. “A lot of people have the idea, well, it was over, not realizing that the march was really just the beginning,” Sides said. “The men had to get through three years of the camp, and the deaths just kept coming. If anything, the deaths got worse. But I couldn’t figure out how to end the thing. How did these men get out? I couldn’t just leave them in this dire situation. Then someone said, ‘Well, there’s the raid on Cabanatuan.’ And I said, ‘The what?’ I could not believe this wasn’t a famous piece of American history, like Teddy Roosevelt and Cuba, or the Alamo.”

Sides doesn’t describe himself as a war buff “at all,” and in Ghost Soldiers he doesn’t pretend to be one. A “general-interest person” is more his line but a person with a specific interest in the question of survival.

“Here I was at Outside magazine writing and editing stories about all sorts of bizarre adventures and esoteric human-endurance stories — what I call ‘synthetic suffering’: people concocting bizarre ways to put themselves through trials and tribulations. Crossing deserts and oceans. Pogo-sticking up Mt. Everest without oxygen. But Ghost Soldiers is a human-endurance story that’s authentic. Men thrown into a situation with a huge scope, on a huge scale. I came into this story interested in who survives, who doesn’t, and why, more than I did with any great interest in military history.” (Military histories being by and large, in Sides’ words, “a genre full of hacks, bad storytellers, or really technical writing.”)

But how to explain the disappearance of the Cabanatuan camp and the rescue of its prisoners from the minds of most Americans?

“When this raid happened, it got a lot of press for about two weeks,” Sides said. “And then Iwo Jima happened, and then Okinawa, and then Hiroshima. It just got overshadowed by larger events in World War II.”

Overshadowed at the time too by the very real fear that American forces imprisoned elsewhere in Asia could become targets of further mistreatment by the Japanese. Or is it more a matter of generations?

“People didn’t like to talk about horrible things they went through in war situations. The men themselves didn’t like to talk about it much,” Sides said. “Not because it was horrible but because of a generational tendency toward reticence. I kept running into this with all these guys I interviewed. You go through the most amazing stories with them, and they say, ‘You don’t want to know about that.’ And I’d say, ‘No, I do! I really do!’ Whereas maybe the Vietnam generation talked too much.”

Hampton Sides, for his part, intends to talk, just as he listened to Cabanatuan survivors, their rescuers, and the Japanese themselves.

Among those rescuers was a Memphian, Robert Anderson (“an amazing guy,” according to Sides), whose war record and remembrances form the cover story in this month’s Memphis magazine. And among the Filipino rescuers there was critical help from guerrilla captains Juan Pajota and Edwardo Joson. I asked the author if he talked to them too.

“No, they’re both dead,” Sides said. “Pajota particularly bore the brunt of the fighting and was really kind of the unsung hero of this raid. There was a lot of publicity immediately after it — in The New York Times and through the AP, The Times of London, and Time, Life, Newsweek. I went back and dug up all that stuff. The guerrillas aren’t even mentioned. It was like rah-rah America, we kicked ass, but we couldn’t have done it, on any level, without the help of the guerrillas, the civilians they mustered, and the water buffalo carts they were able to get and pieces of intelligence they provided. I don’t know if you’d call it racist, but it was a sign of the times: The people who probably helped the most weren’t even mentioned.”

But mention Cabanatuan in today’s Japan and what do you get? Sides, who won a fellowship to Japan in the course of his research, found the Japanese willing to talk but still somewhat perplexed by his emphasis on America’s experience in the war.

“I’d been talking to a lot of American veterans, and they were almost uniformly skeptical of my trip: ‘They won’t even talk to you. No way! They don’t even know [Cabanatuan] happened.’ But, no, the Japanese talk about the war all the time. It’s a little bit like the Civil War in the South.

“This is a war that took over 2 million Japanese lives. It rearranged the floor plans, the architecture of every major city. The war affected every Japanese person in a way the Second World War didn’t come close to affecting us. So of course they talk about it. It just takes them a while to get started. It’s an uncomfortable conversation, but it’s lurking just underneath.”

And the atrocities committed by the Japanese military during the war? “When the Japanese talk about war crimes they tend to focus most of their energy on China because even before we got into the war they’d been fighting in China for 10 years,” Sides explained. “The scale and the enormity of the atrocities that were perpetrated in China dwarf anything that happened to Americans or Brits. So when you come as an American and talk to the Japanese about war crimes, they’re a little bit confused. They almost forget Bataan, the prisoner-of-war camps. China doesn’t let them forget. But for an American to say, Well, you know, there was this thing called the Death March in Bataan and what about the way you treated American POWs, it’s just sort of barely on their radar screens. It’s almost blind-siding them.”

Ghost Soldiers could remedy that, even if, as its own author admits, his pages on life inside Cabanatuan can be “grotesque.”

“But there’s no other way to tell it,” said Sides. “Some of what these people were going through is so bleak.” Which led the author to alternate his chapters on camp conditions with hour-by-hour, then minute-by-minute preparations for the release of its prisoners, an action tale “to ventilate” the grim depiction of prison life. Otherwise, according to Sides, “it would be hard for readers to get through it. It would be hard for me to get through it if I were reading it cold.”

“This isn’t a chipper book by any means,” he added, “but something I’m going to talk about on my book tour is something every one of these POWs told me: that what they think got them through is a sense of humor. Little pranks. Ways of striking back in amusing ways. Even as difficult as this book is to get through, the humor that these people were able to find, some of it gallows humor … it was important. Maybe in some cases the most important factor in their survival.”

Sides may have felt he was “steering a 747” during the composition of Ghost Soldiers, the first of his books with a true narrative, a beginning, middle, and end, but it’s one he found “ungainly,” “complicated,” “a little hard on the spirit.”

That was then, however. This is now, meaning his upcoming book tour, but as Sides said, “This is going to be an easy book for me to promote, because I believe everybody should know what these guys went through and how they got out of it. It’s an aspect of the war that was given short shrift.

“We Americans like to think of ourselves as invincible. We don’t lose wars, we don’t even lose battles. We don’t give up. We don’t surrender. Here’s a case where we did surrender, and we went through horrors. … When people think of World War II they tend to think of a few battles in Asia, but certainly the limelight has been trained on Europe. And for whatever reasons, this is a part of the story of the war that kind of got swept aside. It’s the story within the story of the Philippines that got buried over the years. … I say it’s their, the men’s story. I just threaded it together.”

Something also says that Sides’ former teacher and late mentor at Yale, John Hersey, author of the World War II classic Hiroshima and author of a book (Men On Bataan) unknown even to Sides when he embarked on Ghost Soldiers, the same Hersey who was in the Philippines right up to America’s evacuation, would understand.

Hampton Sides

Signing copies of Ghost Soldiers

Burke’s Book Store

Monday, May 21st, 5-6:30 p.m.

Categories
Film Features Film/TV

HORSING AROUND

You can t make everyone happy all the time. It s an old saying, but someone should have reminded the makers of A Knight s Tale.Combining all the elements of summer blockbusters past (a handsome hero, buddies in tow, overwhelming odds, honor, courage, the love of a beautiful woman, and a hit soundtrack — think Armageddon, Con Air, Independence Day), A Knight s Tale, like its main character, has a big desire. In the film s case, it s to win the pocketbooks of all the summer moviegoers. In the case of William (Heath Ledger), son of a thatcher, it s to be a knight. To help his son fulfill his dream, his father apprentices him to a knight. When, years later, an unfortunate turn leaves the knight — just a match away from winning a tourney –ÿdead, William takes his place, wins the tournament, and voila! His stars are changed. Posing as Sir Ulrich von Lichtenstein of Gelderland, William becomes a great knight and falls in love with Jocelyn (Shannyn Sossamon), a beautiful maiden. Everything is great, he s winning the tournaments (his main competition in the joust and for Jocelyn, Count Adhemar, is away fighting a war), but there s a hitch. You have to be a noble to participate, and William is decidedly not. And if he s found out, well, it s off to the stocks and some other not-so-pleasant ordeals. Wanting to combine the best of the old and the new, A Knight s Tale is a mishmash of modern culture meets period piece. In a purely gratuitous dance scene, Ledger takes a Travolta turn and struts his stuff Saturday Night Fever-style. While most of the cast wears brown, taupe, and more brown, Jocelyn looks like she could be modeling Versace, with spiky streaks of fire-engine red in her hair and mendhi-like makeup decorating her eyes. She s no shrinking violet. Knowing that women s roles in medieval society are not exactly palatable to most modern females, the two main female characters (Jocelyn and William s blacksmith) challenge (however mildly) their station in life. The mix of old and new is nowhere more pronounced than in one of the oddest acts of product placement ever seen: After making William a new suit of armor, the blacksmith etches a well-known swoosh onto the back (okay, it might not be product placement unless Nike is coming out with some sort of chain mail this summer, but that didn t prevent most of the theater from yelling out, Nike! at the time). Although A Knight s Tale follows most of the summer blockbuster formula to a T, it s lacking one main component: explosions. Instead, the action consists of a bit of sword fighting and a lot of jousting. Perhaps there s a reason why jousting hasn t retained its popularity. It might be an ancestor to modern-day chicken, but after the 100th time — okay, the fourth time — seeing two horses barreling at each other and two guys in full armor ramming each other with long sticks, well, it gets a little boring. The filmmakers say they tried to make all 27 matches different in some way, but they failed. The horses ran, the lances broke, the guys in armor fell backward on their horses … and sometimes fell off. Whoo. While A Knight s Tale is in no way bad — it followed the formula — it s not really good, either. It strives to be everything for everyone and ends up falling short. And as the main character proves, it s possible to change your destiny, but you ve got to be something special. A Knight s Tale isn t.

Categories
We Recommend We Recommend

wednesday, may 16th

Johnny Romania and Snoglobe at The Map Room.

Categories
News The Fly-By

THE EX-XFL

John Nadel, an AP sportswriter reporting from Los Angeles recently wrote, The
demise of the XFL came as a surprise and a disappointment to those who
believed the new league had a promising new future. Now, hopefully both of
those guys will finally get the medical attention they so desperately need.

Categories
We Recommend We Recommend

tuesday, may 15th

Back at Last Place on Earth, it s Guided by Voices and Creeper
Lagoon
.

Categories
News The Fly-By

HE FEELS PRETTY

It looks like Memphis Congressman Harold Ford Jr. won t be planning a
makeover anytime soon. The U.S. rep who used makeup to hide a little problem
with the pimples during his campaign was recently named by People magazine as
one of the 50 most beautiful people in the world. This puts the so-sexy Ford
in the company of such super-celebs as the hunky George Clooney and collagen
queen Julia Roberts. And while we here at Fly on the Wall all agree that
Ford is just about as cute as a bug s behind, we have to admit that he s no
Senator Fred Thompson. Hubba hubba.

Categories
Art Art Feature

GHOSTS OF MISSISSIPPI

Life’s Only Promise

By Sid Kara

PublishAmerica, 269 pp., $19.95 (paper)

sid Kara’s debut novel, Life’s Only Promise, is clearly a labor of love; a passionate cry against injustice by a young and idealistic writer.

Set in the Mississippi of the early 1900s, Kara’s book details the hollow promises of Emancipation and how they have already turned sour a few decades after the Civil War. Just as novels such as Toni Morrison’s Beloved depicted the harrowing, brutal world of slavery, Kara’s novel takes us into the harsh, subterranean world of chain gangs and forced labor.

Weaving historical fact with fiction, Life’s Only Promise tells the story of a black sharecropper named Fulton Chapman who leaves his home in 1905 in the hopes of finding a better life for himself and his young daughter, whom he leaves behind while he goes to find work on the railroad. A series of mishaps results in Fulton being wrongly convicted and leased to Parchman Farm, where he and the other “gunmen” are to pick cotton for the state.

Brutalized by the guards, tormented by the merciless Mississippi summers, weakened by the wretched living conditions and scarcity of food, Fulton endures the surrealness of his new surroundings. For a long time, only the memory of his old home and his waiting daughter sustain him. But as year piles upon year, the memories and hopes of reuniting with his family dim.

An aborted escape kills the last iota of hope in Fulton. The prisoners are tracked down by militiamen. Fulton jinxes his own escape by coming to the rescue of his beloved old friend, Moondog. Many of the recaptured prisoners die of their wounds and many others are lynched. Watching Moondog’s lynching freezes something inside Fulton’s heart and he spends the next several years in total silence. The squalor, violence, and brutality of Parchman have taken the energetic, hopeful young man that Fulton was when he entered the plantation and turned him into a dull, deadened, middle-aged zombie.

Kara, a native of Memphis, is particularly effective in describing the attitudes of a racist South in the first half of the 20th century. The sheer worthlessness of black life is made amply clear, as is the racial superiority and economic avarice that allowed places like Parchman to exist.

His portrayal of J.K. Vardaman, the racist governor of Mississippi, is particularly effective. Kara captures the combination of prejudice, malice, connivance, and populist bluster that elected Vardaman to the state’s highest office. And he shows how racism requires the collusion between politics and business interests in order to survive.

But Life’s Only Promise does not treat its black characters as one- dimensional victims. Over and over again, we see Fulton’s friends, such as Moondog and Corliss, display a fighting spirit. Much as their slave ancestors did during the slave rebellions, the gunmen refuse to go gently into the night and indeed go to their deaths with dignity and defiance. We also see that the yearning for freedom is as intrinsic as hunger or thirst and that this yearning propels Fulton and the others through their darkest hours.

Some of the passages in the novel that describe the treatment of the gunmen are so graphic and blood-splattered that they make the reader flinch. Occasionally, the violence borders on gratuitous but then one remembers that violence was the story of black men’s lives. Still, in the hands of a more mature writer, these passages could have been handled with more sophistication and sensitivity.

Kara’s youth comes through in the writing. For every passage that is smooth and direct, there is another where the writing is wordy, bombastic, and over-the-top. The phrase “unfulfilled dreams” pops up at least three times. Flowery sentences like “He felt the schism between his selves begin to buckle under the force of his memories, and he felt that he was losing control over the architecture of his being” are distressingly common and take away from the trajectory and emotional heft of the novel. Kara could have clearly benefited from a strict editor.

On the other hand, Kara has a good ear for dialogue. The rural Southern dialect and colloquialisms are realistic and never strained. They go a long way toward giving the novel its depth.

Kara, who graduated from MUS and Duke University (in 1996), apparently gave up a career as an investment banker in order to finish this novel. He is already working on a second book that deals with the international trafficking in women. These are serious subjects for a young author to be tackling, and it is heartening to see that Sid Kara has avoided the pitfalls that besiege many a young writer: He has avoided the temptation of his first novel being a coming-of-age, thinly veiled autobiography.

Categories
News News Feature

PARALLEL WORLDS, CROSSING PATHS

I just completed a year working for this newspaper while taking evening classes toward a degree. And boy are my arms tired. A year ago, I might have wondered why more people don’t combine work and school. How hard could it be to do both?

Plenty. More than plenty. I’m not just talking about the difficulties of scheduling the two together (of which there were plenty). I’m not just talking about the unwavering amount of work to be done no matter that it is a day off or a weekend. Hell, I’m not even just talking about the blinding despair of working all day on one intellectually rigorous project (i.e. this newspaper) and then facing the prospect of working until 2 a.m. to complete another intellectually rigorous project (i.e. my school work).

What I’m talking about is the hard part: The mystifying cross-over between the worlds of academia and the punch-clock. When I’m at school, I think about article deadlines, interviews to be done, and finding worthy news for next week’s issue. When I am at work, I think of the post-modern crises brought along by the NBA basketball team. Whatis Memphis anyway? Would the city have some basis on which to base the rest of its reality?

While thinking in two worlds isn’t a bad thing, it certainly is exhausting. And it’s worse for the little time away from the two endeavors. I was paging through a childhood favorite entitled, There’s a Monster at the End of This Book. It stars Grover from Sesame Street. It’s a tale of Grover’s fear of meeting the monster at the end of the book and his attempts to stop the reader from turning the page that involves rope, wood and nails, and even bricks and mortar splayed everywhere. Of course, at the end of the book, Grover realizes that the only monster there is himself.

On the one hand, it’s a fun read. On the other… it’s perplexing that the narrator, in this case Grover, is so afraid of self-identifying with his indigenous group. That he goes as far as to literally leap off the page in a self-conscious gesture is telling. Also, notice the cognitive dissonance apparent at the end of the text when Grover decides he loves monsters instead of fears them. This internalization of Grover’s inner-most fears is a prime construction of … I think you get my point.

And then I hear an editor’s voice in my ear. “Get a quote,” he says. “Ask Grover what he thinks about the NBA. Should state taxes be used for a new arena?”

Regardless of the blue muppet’s feelings of self-worth or Memphis’ feelings about the NBA (though the two seem intertwined), my days are a dizzying experience of balancing two demanding and different worlds. The news desk and the school desk do share themes. But their respective forms are different.

In the news business, there’s a pressure to get the story. Find the facts and look at them to find what no one else has. If that is not possible, then take the known facts and analyze them until something interesting shows. Don’t worry, with a deadline, you’ll always find something to say.

In the academia of graduate level English, there’s a fine interest in the process of getting to a truth. Discourse ranges from the structure of the novel to the progression of thought on a cultural level. If there is a lack of physical evidence, there’s nothing like a good ol’ theory to keep you going through those dark hours of the night.

Has the combination of the two, every day for the past months been grueling? Yes, but also enlightening. Working at the newspaper has forced upon me a better appreciation for detail. With the schoolwork, I have a wider range of ideas which I can find details about. It’s a nice balance.

In throwing the two unrelated but not alien worlds together, I find that one influences the other, coloring the way I do my work and certainly the way I write. Obviously, the meshing cannot be pronounced (who exactly cares if the possible NBA team links to post-modernist thought?). But it can make an angle sharper or at least different from the tried and true forms used a thousand times (read: as boring as a post-structuralist conversation between NBA commissioner David Stern and Grover).

The trick of course is to keep that balance after the school year ends and the summer begins. While I might lose a bit of the critical mass in my brain, now at least my day will end when I punch out of the office. Whether or not I will try to think at all for the rest of the evening is entirely (and deliciously) up to me.

And, needless to say, whether I am watching Sesame Street or a basketball game, I’ll never look at either the same way again.

[Chris Przybyszewski, a graduate of Penn, is in graduate school at the University of Memphis.]