R.I.P. Mike Brown. R.I.P. Eric Garner. R.I.P. John Crawford.
The lives of these 3 young black men appear to have been needlessly lost.
One was unarmed and had his hands raised in the air according to witnesses.
One was selling cigarettes.
One was holding an air rifle alone in the aisle of a store that sells them to the public in an open carry state.
They were each killed by police officers who were supposed to protect and serve them.
When will violence stop leading to fear of violence which leads right back to violence?
When will enough be enough?
Why Black Men Don't Open Carry
#FERGUSON
Monday, August 11, 2014
Tuesday, July 29, 2014
THE RIDE HOME - #ShortStory
Collin Walker boarded the 1 train bound towards
his sparsely decorated, dimly lit, undersized and overpriced apartment on the
Upper West Side of Manhattan . He was accompanied for a portion of the ride
by three co-workers. The quartet of
stockbrokers had just departed an office holiday party on Wall Street where the
alcohol had been free and plentiful.
Collin did not regularly fraternize with Doug,
Randall, or Brandon. Outside of their shared love of making vast sums of money
on paper, he did not have much in common with these men. Yet due to many hours spent together in
confined quarters riding the impetuous charges of bulls and bears, they were
his closest acquaintances, coming as close to friendship with him as anyone
else managed. Collin held nothing in
particular against fellow members of the human race. He simply had yet to find the company of
another living soul preferable to neatly arranged solitude.
He bestowed smiles as a miser spends his money,
released laughter like a devout nun experiencing pleasures of the flesh, with
great reservation and only on the most holy of days. Collin would often flinch when innocently
approached from behind, as easily startled as a sleepy infant. It was as if he pretended away the existence
of other people to make his surroundings more palatable, only to be shocked by
harsh reality when reminded of someone else’s presence. At first his colleagues teased him for his
awkward discomfort with contact and personal interaction. Eventually they determined that it was best
to just leave him alone.
Therefore on occasions as rare as today when his
senses were assailed by rum and coke and he let loose his tightly wound
persona, it was a treat for those who knew what he was usually like. Throughout the party Collin told rambling
jokes that evoked laughter based on their manic delivery rather than the punch lines;
indulged in forms of physical expression seldom utilized by him such as back
slaps and shoulder punches; and flirted with a lack of skill that was nearly
made up for by the novelty of his efforts.
This year he had been in particularly rare form with a barely
recognizable Michael Jackson dance imitation on top of a receptionist's desk.
"That was some shindig," said Doug,
quite noticeably the shortest of the group at only five feet four inches tall,
making him the butt of many a private and sometimes public joke. He always pretended not to mind, to be amused
by this curse of fate while mentally cataloging every slight for future
spiteful reference.
"You think the big guy will like our
gift?" asked Brandon ,
the youngest of them at 24 years old. He
was two years out of New York
University and considered
a stock trading boy wonder.
"He likes anything he gets for free,"
said Randall, the elder statesman at age 58.
Randall considered himself to be a mentor to his peers, but was alone in
this opinion.
"We should've pitched in to buy him a toupee
that fits," Collin said, collapsing in a fit of cackling that was a
reasonable facsimile of laughter from one so unversed in the art.
“I think he’s having an affair with Evelyn,” said
Doug.
"No way," said Brandon .
"Why would a gorgeous woman like her sleep with him?"
"Because he's the boss and she's
incompetent, sonny boy," Randall replied.
His fear of being retired early to make room for more hot shots like Brandon was not always as
well camouflaged as intended.
An elderly man dressed in rags and emitting a
rather foul odor entered from the adjoining car, temporarily interrupting the
gossip session.
"Excuse me, gentlemen. Could any of you spare..."
"No I cannot spare any change, and I don't
want to hear the sad story of your life either," Doug answered. "Can't you just get a job at McDonalds
or something?"
"God bless you, sir."
"Here you go," said Brandon , putting a bill into the paper cup in
the man's hands. "Have a merry
Christmas."
"Merry Christmas to you too." The frail mendicant moved along to solicit
the next passenger.
"You shouldn't be such a sap," advised
Collin. He made this statement while
clinging to the straphangers as if quicksand was beneath his feet.
"It's only a dollar," said Brandon in defense of his
generosity, although it seemed ludicrous justifying himself to a man who
appeared to be impersonating a chimpanzee.
"Besides, he wasn't as annoying as most of them, and it is almost
Christmas."
"There’s got to be one of them per square
foot in this city," said Randall.
"If I gave a quarter to each one who asked, I'd be bankrupt in a
week.”
"The dollar you gave away is going to be
spent on a vial of crack," pronounced Doug.
“And that’s wack,” Collin piped in, tickled by
how something so commonplace as liquor had released his poetic side.
The train pulled into the next station. Getting on was a teenager carrying a bulky
radio. A rap song blared from its
speakers in defiance of subway rules.
The young man stared the Wall Streeters down to ward off in advance any
statements of disapproval.
"Any of you guys got the time?" he
asked.
The question was followed by a loud thud, which
turned out to be the result of Collin stretching to look at his watch, after
which he lost his grip on the straphangers and rapidly descended to the
floor.
"It's almost one," he said upon
landing.
"Thanks, homes. Happy Kwanzaa." The kid did their eardrums a favor and went
into the next car. Collin's antics had
taken him off guard, and he tended to avoid white people whose actions he
couldn't predict.
"They complain they're not advancing because
of prejudice," Randall pointed out quietly, after checking to be certain
that the nearest person in possession of more melanin than himself was beyond hearing
range. "Bigotry has nothing to do
with it. It's all in the image you
project. You come across like that and
no one's going to want to hire you. It's that simple."
No less than eighty percent of Randall’s opinions
on complex societal matters were concluded with the words – It’s that simple.
"I like Bennett," Doug said, speaking
of the lone African- American who worked in their department. "He's a good man. He does his job very well."
"Bennett's an exception to the rule,"
Randall said. He could become quite
testy when one of his expert opinions was refuted. "There's a lot more like the guy just in
here playing that hippity hop music."
Brandon, whose girlfriend unbeknownst to his
co-workers happened to be black, decided to contain his temper and sway the
conversation in another direction.
"Loved your dance routine at the office, Collin. Ever think of getting out of Wall Street and
going into the music business?"
Collin rose unsteadily, shaken like a pair of die
by the swerving train and alcohol swishing in his bloodstream. "There's certainly plenty of money in
it,” he said. “Michael Jackson, look out!" He attempted a mid-80’s Jacksonesque spin,
completely unaware that the singer was much more likely of late to be found
defending himself in a courtroom or selling off assets to avoid bankruptcy than
at the top of music charts, and ended up on the seat of his pants again.
"Bravo!" his associates cheered,
applauding as he stood up and took a bow.
On the opposite end of the subway car, a thin
Caucasian man in well worn fatigues entered.
A scruffy beard failed to fully conceal the scar that ran from his left
ear to mid-cheek. His pale blue eyes
were vacant like a blind man's, but he could see. One immediately got the feeling that he had
seen too much. He limped forward with
grave determination, unsteadily navigating around shopping bags full of
Christmas gifts that sat on the floor in front of several passengers, briefly
telling his hard luck story to each of them before futilely holding out his
hand. Finally he reached the Wall Street
revelers, sixty five cents richer than he had been at the start of his journey.
"Hello, gentlemen. If any of you could spare some change, I'd
really appreciate it. I have a metal
plate in my head and a bum leg from the war, and the government ain't paying me
a dime."
"I think I'll rest my bones for a few
minutes," the beggar said, sitting opposite them and closing his
eyes. "This cold weather really
stiffens up my leg."
For the next few minutes the only sound to be
heard was that of the train racing along the tracks, its steady rhythm
hypnotic. The co-workers’ desire to
socialize had run out of steam, the alcohol in their respective systems
reversing direction, bringing each of them haphazardly down from the peaks they
had been brought to. Tranquility was
ended when the beggar began muttering in his sleep. He was apparently having a bad dream, for he
twisted and turned in his seat. Then his
eyes shot wide open.
"Oh God, no!" He shielded his head with his arms. "I don't wanna die, I don't wanna
die!" In pantomime he proceeded to
shoot an imaginary rifle at an invisible foe.
"Die bastards, die!"
As unexpectedly as the flashback began, it
ended. The beggar lowered his arms and
his breathing returned to normal. His
aimless glare was all that remained of the episode.
The other passengers looked at him curiously, but
none with the intensity of Collin who recognized the expression that had been
in the beggar's eyes during his episode.
Absolute rage amalgamated with perfect fear. It was the same expression Collin possessed
on a humid night in a dense jungle of Vietnam years earlier. It was on that night that he came across an
injured Vietnamese soldier clutching his blood soaked, useless right leg.
Collin saw right away that the soldier's weapon
lay five feet away, impossible for him to reach any time soon. He was no threat to anyone. Life had already left one of his legs, and
unless he was given medical treatment, it would soon leave the rest of him.
No one could hate the war as much as Collin
did. From the moment he set foot on that
God forsaken corner of the globe he was in a continual state of paralyzing
terror. Prior to then he had thought of
himself as a brave man, though for no particular reason. His belief was theoretical rather than
practical. His manhood was yet to have
been tested.
As soon as he stepped out of the helicopter and
into Asia , fear became an intimate friend who
would never leave his side. It would
accompany him throughout his tour of duty.
Then it would go along for the ride back to America , walking beside him like a
faithful dog. Whenever he was out on the
streets late at night and a shadow moved, or he heard footsteps behind him, or
a stranger's eyes rested too long on his own, there it was, causing the most
harmless of circumstances to seem life and death. He tried to ignore it, figured if he kept busy
with other matters he would have no time for it. But fear always made time for him. Death always seemed to be lurking nearby.
The Vietnamese soldier's face showed no reaction
when Collin raised his rifle. Perhaps
his pain did not allow any emotion to be expressed. Maybe his soul was prepared to take leave of
the earth. He may have gone through the war as frightened as Collin, and was
relieved that in a moment he would finally be free.
It seemed an eternity passed as Collin stood poised
to kill. He had fired into moving brush
and shifting shadows before, but never face to face. Collin may have killed men, but didn't know
for sure. This time he would.
Collin stood trembling while the soldier stared
passively at him. Why wouldn't he get up and charge? Why wouldn't he make a lunge for his
gun? If only he would do something,
anything to force the issue. Enemy or
not, war or not, if he didn't move and Collin fired, it would be murder. But it would also be one less enemy to fear.
How dare he lie there with no chance of
overcoming his foe, yet be so calm? Why
was Collin, in the stance of an invincible killing machine, incapacitated?
This man represented all he had been trained to
hate. But could justification be found
for killing a helpless, defenseless man?
In a language Collin would never understand, the
soldier began to speak. It may have been
a plea, a prayer, or a curse. Collin
would never know, and his trigger finger did not allow the sentence to be
completed.
"One dollar."
Collin turned towards the voice that had brought
him tumbling back to the present. It
belonged to a Korean man with a shopping bag at his feet. His arm was outstretched, and spinning on the
palm of his hand was a clear plastic top with a light inside. It made a whistling sound as it spun. He put the top into the bag and took out what
appeared to be a bobble head doll.
Collin had to smile when he pushed down on the boy's head and a stream
of water shot out as if he were peeing.
"Tree dollar."
But Collin’s smile vanished when he noticed a
glint of steel. The homeless veteran
seated across from him slowly withdrew a dagger from the back of his boot. His glare was not aimless or far away
anymore. It was focused on the target at
hand. He stood up, concealing the knife
between his arm and body, and began walking towards the unsuspecting
peddler. With the exception of Collin
and those who were ignoring the scene altogether to ponder what more they still
had left to purchase for the holiday, everyone's eyes were on the Korean man
and his bag of treats. Some were
reaching into wallets and purses to buy their final low budget Christmas gift
of the day, while others were waiting to see what else he had to sell. None knew that he was about to die.
The war veteran was about three steps away from
his would be victim when Collin tackled him, knocking into the peddler in the
process. This altered Collin's momentum, so it was he who ended up on the
bottom when they hit the ground.
Stronger than he looked, the veteran was able to break free from
Collin's grasp, deliver a punch to the jaw, then retrieve his weapon.
The dagger was held menacingly over Collin's
throat. Tears crept from his eyes and
his bowels also threatened to let loose their liquid. A feeling of self-loathing overcame him. Hunter or hunted, he was a coward. He had managed to summon enough courage to
attack a battered homeless man from behind, but that seemed to be the extent of
his bravado. Now that he was forced to
encounter danger head on, he could do no more than cower and shiver like an old
woman in a cold rain. Fear clung to him
like vines on a trellis.
As Collin awaited the inevitable, he noticed a
change in his captor's expression. The
veteran gave Collin a knowing smile.
What was it that he knew? That
Collin wasn't worth killing, because he was no threat whatsoever? That he was about as dangerous as a dying
Vietnamese soldier with one good leg?
The once proud warrior, now homeless vagrant,
rose to his feet and headed towards his original target. The Korean man lay on the ground, somewhat
disoriented because his head had hit the floor.
His expression conveyed the same look of surrender possessed by the
soldier Collin had killed years earlier.
Anger, hatred, and a sense of betrayal harbored
far too long were set to be unleashed because the slant of a man’s eyes
reminded the discarded hero of the time and place where his future was stolen
from him. This is why Collin had been
spared. The veteran didn't want to waste
any of his fury on a fellow American.
Surely someone would stop him, Collin
thought. Then again, maybe it wasn't so
certain. They resided in the city of
non-involvement, and it was only a foreigner who spoke broken English and sold
toys on the subway who was about to die, not anybody who mattered. He would be slain in front of a moving studio
audience. The veteran probably did not even realize that he was attacking an
innocent man on a New York City
subway. The jungle he believed himself
to be in was not of the concrete variety.
His mind had brought him back to the hell he had been condemned to years
ago for the sin of being a healthy young man during wartime.
Collin finally understood what the eyes of the
Vietnamese soldier he killed had been conveying. It wasn't a message of peace, or acceptance,
or relief. It was questioning. His eyes were asking - "Why me?"
Could justification be found for killing a helpless, defenseless man?
In answer to the question, Collin sprung to his
feet and charged at the veteran, driving him hard into a door of the subway
car. The veteran crumbled to the ground,
no longer a danger to anyone. The peddler, realizing his life had been saved
yet again, looked up more in wonder than gratitude. And Collin, with the knife now protruding
from his abdomen, dropped down to one knee, vaguely aware of the queries of his
worried co-workers, but preoccupied by the fact that he would probably die
staring at a plastic boy with a bladder control problem. Fear was nowhere to be found. His old traveling companion, his one true
friend, had finally departed.
The lights went out.
Collin did not know if this was due to a commonplace glitch in the
train's electrical system brought about by alleged under-funding that would
inevitably lead to yet another fare hike.
Of if it was because his ride home had officially begun.
THE END
IT WAS A WISE MAN WHO FIRST SAID "WAR IS HELL".
Wednesday, July 16, 2014
Rules to Write By
Dearest scribblers of words. Follow the prose writing rules you'll find below religiously. Or else break them at your own risk because writers at heart are rebels with a cause. At the very least though, make sure that your blog posts pass the "Weird Al" test. Happy Writing! - RLP
In addition to rules for writing, perhaps someone needs to write up some rules for civilized book publishing/selling. There's a war taking place in the publishing industry, which of course means that there have been plenty of casualties.
WRITER LIFE PINTEREST BOARD
Elmore Leonard’s 10 Rules of Writing
These are rules I've picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.
- Never open a book with weather.
- Avoid prologues.
- Never use a verb other than “said” to carry dialogue.
- Never use an adverb to modify the verb “said” …
- Keep your exclamation points under control.
- Never use the words “suddenly” or “all hell broke loose.”
- Use regional dialect, patois, sparingly.
- Avoid detailed descriptions of characters.
- Don’t go into great detail describing places and things.
- Try to leave out the part that readers tend to skip.
If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.
They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want.
There is a prologue in John Steinbeck’s Sweet Thursday, but it’s O.K. because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks. . . . figure out what the guy’s thinking from what he says. I like some description but not too much of that. . . . Sometimes I want a book to break loose with a bunch of hooptedoodle. . . . Spin up some pretty words maybe or sing a little song with language. That’s nice. But I wish it was set aside so I don’t have to read it. I don’t want hooptedoodle to get mixed up with the story.”
The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated,” and had to stop reading to get the dictionary.
…he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs.”
You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.
Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short storiesClose Range.
Which Steinbeck covered. In Ernest Hemingway’s Hills Like White Elephants what do the “American and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story, and yet we see the couple and know them by their tones of voice, with not one adverb in sight.
Unless you’re Margaret Atwood and can paint scenes with language or write landscapes in the style of Jim Harrison. But even if you’re good at it, you don’t want descriptions that bring the action, the flow of the story, to a standstill.
And finally:
A rule that came to mind in 1983. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. What the writer is doing, he’s writing, perpetrating hooptedoodle, perhaps taking another shot at the weather, or has gone into the character’s head, and the reader either knows what the guy’s thinking or doesn’t care. I’ll bet you don’t skip dialogue.
My most important rule is one that sums up the 10.
If it sounds like writing, I rewrite it.
Here's what a few other writers have had to say about the art of writing:
The tension between standing apart and being fully involved; that is what makes a writer. That is where we begin. ~ Nadine Gordimer
The right word may be effective, but no word was ever as effective as a rightly timed pause.
~ Mark Twain
You have to surrender to the act of writing, give up to it, and trust that if you have anything, It will discover it for you.
~ E.L. Doctorow
Literature is the ditch I'm going to die in. It's still the thing I care most about.
~ Thomas McGuane
You may think I never make it to a second chapter because I play it by ear and depend on inspiration which never comes. In fact, the reason I stop writing is because I am not creating a masterpiece and would rather stop and try again than carry on with mediocrity. I prefer failing at greatness to succeeding with something commonplace. ~ from FEEDING THE SQUIRRELS (by yours truly)
In addition to rules for writing, perhaps someone needs to write up some rules for civilized book publishing/selling. There's a war taking place in the publishing industry, which of course means that there have been plenty of casualties.
WRITER LIFE PINTEREST BOARD
Wednesday, June 11, 2014
For Father's Day
The uphill battle to be a decent dad is largely what my debut novel is about. And it's a prominent theme of my second one as well. If you're lucky enough to have a good father, or perhaps like myself are blessed to have a great one, I know he'll appreciate a bit of recognition on the third Sunday of June (or any other day of the year). If you're trying to be the best father you can be, such as I am (photo of me and my little angel appears here), then you know it's hard work and the very best job there is. I did my best to capture the majesty of fatherhood via pictures I found for this post. Pretty sure I found one or two that will make some of you smile.
Everyday is Father's Day 🙏🏿 pic.twitter.com/0Hh6wq4zXs— WS (@wesleysnipes) January 5, 2018
Stuck on what to get your dad for Father's Day? He can always use more pairs of socks, but you can probably do better than that. How about a good book? Patches of Grey, perhaps? Matters of Convenience, maybe. Or go nuts and double up!
Patches Of Grey by Roy L. Pickering Jr.My rating: 5 of 5 stars
"Pickering's style is fluid and crisp. There's a certain clarity to the prose that's considered and well judged - just enough to paint the picture and more than enough to drive along the narrative." - Khome (UnheardWords.com)
Named a 2012 B.R.A.G. Medallion™ Honoree
Synopsis: Tony Johnson is a studious young man planning to soon graduate from much more than high school. Although his zip code places him in a Bronx tenement pre "rise of Obama", his sights are set far beyond the trappings of his humble upbringing. Collegiate dreams and falling in love with a white classmate put him strongly at odds with his father. His brother C.J.'s rebellious ways endanger his life on gang ruled streets and the chastity of their sister Tanya is clearly approaching its demise. But it is Tony who incurs the majority of Lionel Johnson's wrath for the sins of ambition, exhibiting color blind love by daring to be with Janet Mitchell, and refusing to bend to his father's will. Seeing unrealized goals reincarnated in the eyes of his eldest son harshly remind Lionel of what once could have been, and of what went wrong. His own childhood in a segregated southern town established a bitter, prejudiced outlook that is the only legacy he has to pass down to his children. When his job and role as primary breadwinner are lost, Lionel's authority quickly erodes and he drowns his disappointment one drink at a time. This affords Tony, who lacks the seemingly servile patience of his mother, an opportunity to assert independence rather than allowing his fate to be set by chance and circumstance. But throughout the course of Roy Pickering's engrossing debut novel, Tony comes to learn that the world is not as black and white as he and his father's opposing mindsets would suggest.
Available in print at Amazon: http://amzn.to/dAcK4j
And Kindle edition: http://tinyurl.com/ydoamc3
At Mahogany Books: http://bit.ly/fbUVcM
At Independent Author Index: http://indaindex.com/patches-of-grey-...
Or direct from the author, at a discount rate if multiple copies are being purchased for a book club, at http://www.roypickering.net
FaceBook page: http://on.fb.me/eJphth
Top Ten Quotes from Patches of Grey - http://www.quotationsdiary.com/indie-...
Review by RawSistaz Reviewers - http://ow.ly/15Umwx
Review at AlvahsBooks.com by Randall Radic - http://www.alvahsbooks.com/?p=417
Review by five bourough book review - http://fiveboroughbooks.blogspot.com/...
Review by Good Books and Wine - http://bit.ly/eOTF4Y
Review by John Paterson:
Patches of Grey is a story in the tradition of the “coming of age” literature (think SE Hinton, or Catcher in the Rye) in an urban African American setting. Roy Pickering captures the angst of boys becoming men with the added complexity of race permeating events and the environment.
The author does a remarkable job illustrating the internal dialogue and conflict all teenagers face as they struggle for identity, but from the perspective of a young black man. The gift is his ability to translate this conversation to a wider audience, to identify both common ground (girls, fathers, social strata) and also present differences that make one appreciate how race, culture, and familial relationships are perceived differently in different groups: e.g., the conflict between being “all you can be,” and being loyal to the group.
The domestic violence was jarring, as was the relativity. Things weren’t “good” or “bad,” but “better than” or “worse than.” Is having an abusive father/husband (who cares for his family) better than having no father around at all? At least he’s not as bad as . . .
It’s a world in which nothing is taken for granted, and nobody can really afford to be easy going. Seeming cool even carries a certain intense, deliberate and intentional quality. There is love, but very little is given – at home or to others -- freely, generously, or without conditions. It’s a lot of work, with a lot of stress hanging in the general atmosphere.
On the other hand, there is a core element of pride, strength, survival – and dare I say – hope and change to the story. Nobody is a naïve fool, or sucker. They are smart and strong characters who may not have started with a lot of advantages, but can take anything. There is “something” in them that will live on forever no matter what changes.
I agree with others who’ve said this should be on the Junior High/High School reading list. (May have to edit some parts?) I think it could be so meaningful, and even change lives, with young readers at that point.
In reading the book I found myself thinking that I really hope the author has son(s), coaches, mentors, and/or is in big brother program. It would be great for the world.
* * *
In addition to Patches of Grey, Roy Pickering is the author of the novella - Feeding the Squirrels
http://www.synergebooks.com/ebook_fee...
Currently Roy is at work on a second novel, Matters of Convenience, from which an excerpt can be found at his blog: http://lineaday.blogspot.com/2009/04/...
View all my reviews
Tuesday, June 3, 2014
Hashtag
I try to judge people (since we absolutely must judge others, right?) based on what they do rather than what they say in a handful of characters,
and certainly not based on what they hashtag. You say you're a civil
rights activist...a feminist...a humanitarian (seems like that last one should
incorporate the first two, no?), I say cool. But the proof is in the pudding.
Your actions will prove or disprove it, and they will indicate the things that you are for to a greater extent than telling me what you're against. I'll instinctively
assume you're against civil wrongs, misogyny and space alien invasion.
But since I
spend FAR TOO MUCH time on Twitter, activism by hashtag is what I see plenty
of these days. I'm not against the principle exactly. For the most part it does no
harm even if often does no tangible good either. A hashtag can raise awareness of a
cause. Fine, we're aware, what now? I ask only two things of a
hashtag to consider it constructive. 1) That it not be created to blanket insult a broad group of people
which includes many individuals undeserving of the insult. 2) That the name of
it accurately conveys the message. Be specific. If you want to create a
hashtag about basketball don't name it #sports #sportsinvolvingaball
#thingsthatmakeyousweat. Call it #basketball.
Recently a
hashtag that caught on like wildfire was #YesAllWomen. As this article neatly summarizes, the hashtag’s
purpose was to "raise awareness of the effect of misogyny and sexism in the
daily life of women". So
far so good. The article goes on to shoot down any complaints men might
opt to voice about the hashtag. It lists some reasonable complaints, some less
reasonable ones, and a handful of ridiculous explanations for why men might be troubled
by the tone of the more outlandish proclamations. The goofy ones are good for a laugh
but not in need of addressing. But is it fair to say that a man who walks the
walk of feminism by being a good husband/father/colleague/person who is a
respectful friend to women, nevertheless does not qualify as an ally to the
cause because he thinks many of the statements made within the #YesAllWomen
hashtag go too far and paint with too broad a stroke?
Not long ago a
discussion broke out on Twitter about what women happened to be wearing when
they were sexually assaulted. It was a powerful social media moment, I
thought. A hashtag was probably used for it, though I don't recall what it was.
What I do remember is the point explicitly made that rape has
nothing to do with how provocatively the victim was dressed or behaving.
The only requirements for a rape to take place are the presence of a
rapist and a victim. What beyond that causes rape? I honestly don't
know. I only know that rape isn't something men do. It's something
rapists do. There is a world of difference between the two. I found the discussion that evening to be an effective use of social media to confront ugly truths, even it if did
devolve a bit towards the end with arguments breaking out over which
journalists remarked on the group conversation properly and which did not. No
reasonable person felt insulted by the exchange. Anybody who
disagreed with the central argument and believes that certain outfits cause and
justify rape is a monster best to be avoided. The stories told that night
were heart breaking and eye opening.
On the other
hand, when awareness raising results in people cyber yelling at each other, all
sides claiming to have been misunderstood, then I'm less inclined to declare
that it was a complete success. If you need to continually clarify what
your point was, repeatedly explain what it is you didn't mean because you sure
as hell seem to have implied it, then in my opinion a teachable moment has gone
awry. I don't believe the purpose of #YesAllWomen is to alienate those men about whom the complaints are not applicable and in whose direction the
bile is not pointed. I get that #AllMen are not the target of ire. Still, a fair number of men (such as this one who I believe makes several valid points despite a rather weak door opening anecdote) felt
that they were unfairly hit in the crossfire. They weren't looking for
credit or acknowledgment as "nice guys". They weren't asking
for a trophy because they don't habitually view and treat women like pieces of
meat. They (and I include myself among them) simply felt that things had gotten out of hand and rather than being instructive and cathartic, the hashtag had become
a runaway ball of negativity that didn't care who it ran over.
"Watch out grandpa!!!" If a substantial number of people
feel a hashtag went overboard, perhaps this is something to respectfully
contemplate rather than being dismissive. When I see someone comfortable
with being insulted I wonder about their motivation. Does he not want to
make trouble by standing up for himself, or is his silence admission of a
guilty conscience?
It ultimately
comes down to the individuals jumping on board a movement rather than the
hashtag itself. For any given tag there are those with legitimate commentary to share and those
who see it as an opportunity to randomly bash based on gender/race/whatever.
It's hard to filter one group out from the other when they are lumped together.
But for good and not so good, that's precisely what a hashtag does. That
is the very intent. A hashtag mashes voices together, makes no
distinctions between the articulate and the incomprehensible, the compassionate
and the bitterly furious, the fair minded and the stereotype promoters, the well meaning teachers and the blindly hurtful. There is no fix for this that I can think
of other than what I started out with. Judge individuals on a case by
case basis. Distinguish between those you loathe and those you love.
Even in the social media era, at root I believe most of us want to like
each other. I believe we can play nicely, and when a topic of
disagreement is landed upon, manage to disagree in an agreeable manner. We can speak the truth without resorting to general slander.
I agree with
this article that #YesAllWomen matters, just as I feel #BringBackOurGirls
matters, and other movements carried out online as well. That doesn't mean everyone is deploying #YesAllWomen correctly and effectively, or that those who have something to say to the
contrary don't deserve to be heard. No conversation can take place when
we tune each other out, nothing new can be learned.
Bottom line:
If a man insults or degrades you, he isn't worthy of your respect. On the other
hand, if a man feels insulted or degraded by
you because you lumped him in
with rapists and street harassers and guys with the bare minimum of home
training, maybe he has earned the right by a lifetime of respectful attitude
and actions to feel offended. He'll probably get over it though, just in
time for the next hashtag to drop.
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