Showing posts with label Racism. Show all posts
Showing posts with label Racism. Show all posts

Monday, 4 June 2012

Luka Magnotta, Out of the Blue, and why I believe Jan Wong is still out to lunch in the land of denial


I’d always followed Jan Wong’s career because I found her writing consistently interesting: her books about China and her tragic flirtation with Maoism—now there’s teenage rebellion carried to extreme—her work as a journalist there during the Tiananmen era, her articles about going undercover as a domestic worker, the occasional “Lunch With” columns, etc. etc. etc.

And then there was her work about the Dawson College shooting.

My son was at Dawson College on Sept. 13, 2006--a date “that will live in infamy” in my overloaded cranium, I’m afraid--and I’ve written about the Dawson shooting, too. But my slant was on the necessity for more and better gun control—Lepine, Fabrikant, and Gill all managed to legally purchase their lethal weapons—why were guns so easily available to these men?

Unlike Jan Wong, I didn’t give a rat’s ass about the “why” of the shootings:

My response is not to launch a fruitless inquiry into the “root causes” of this catastrophic occurrence. I couldn't care a whit whether the perpetrator of last Wednesday's atrocities was refused academic admission to Dawson College, whether he was bullied as a child, either in school or at home. I think it's irrelevant if he grew up with a chip on his shoulder because of some imagined slight, or even if he or his family suffered in the past from some form of persecution, be it real or imagined, in Canada or elsewhere.

To me, there can be no mitigating factors for murder, whether the locus of attack is a college campus in downtown Montreal, a nightclub in Tel Aviv, a skyscraper in New York City, or some parched crossroads among the rubble of Afghanistan. Murder is murder is murder. Each one should fall under the rubric of “hate crime.”

But I’ve always had a feeling there’s something wrong with Jan Wong’s approach to the world, something I couldn't quite put my finger on, but something that made me uneasy nonetheless. Maybe she’s the sort of person who would be great in a war zones or in places undergoing great upheaval, but who can’t make a go of it in the quiet of everyday life in Canada. Too bristly, always looking for a way to make misery out of nothing.

A person obsessed with the notion that the main point of journalism is to afflict the comfortable.

In which case I doubt I will ever be a journalist, because I believe most people are fundamentally good, even if they’re comfortable (though look how far that attitude got Anne Frank…or Blanche Dubois!).


When shots rang at Dawson, the third-generation Montrealer was the logical go-to for a big feature. Under tight deadline, Wong observed that the Dawson shooter, and the shooters at the École Polytechnique and Concordia, were children of immigrants. All three, she wrote, “had been marginalized in a society that valued pure laine,” argot for “pure” francophones: “Elsewhere, to talk of racial ‘purity’ is repugnant. Not in Quebec.”

…[Wong] still contends she was misunderstood. She fishes in her knapsack for a piece of paper with the contentious paragraph. “Everybody is saying I said they shot people because of Bill 101. Where does it say that? I never said that!”

Let me make an admission here: unlike Anne Kingston, or Wong’s laudatory apologist Heather Mallick (who, unbelievably, is mentioned in the Out of the Blue preface and still managed to get a column published in The Toronto Star about Wong’s new “workplace divorce memoir”), I am not Jan Wong’s friend; I’ve never met her. However, I am both similar to and different from Jan Wong: a non-pure laine third generation Quebecer, albeit one who never left Quebec.

And, seriously, Wong as the go-to person? Why didn’t they use a Quebec-based journalist? Surely The Globe and Mail had some….

I found the episode as facilely presented in the above articles, and on Wong’s website and youtube video http://youtu.be/zxNQq366gfU , very disturbing, and not at all as I recalled it. I know I was hopping mad about Wong’s article when I read it at the time and remember firing off an infuriated letter to the editor in response.

So from the bowels of the internet, I pulled up the article Wong wrote about the Dawson College shootings.

Wong makes it sound like the origin of the uproar was a single sentence in the 3,000+ words of her 2006 article. But the truth is, she spent over 400 words on this whacko analysis: not a throw-away sentence but a major integral part of her piece. Her thesis is clearly that Quebec’s emphasis on ethnic/racial purity is profoundly alienating and is part of the explanation for Kimveer Gill’s—and Marc Lepine’s, and Valery Fabrikant’s--murderous rampages.

So I’ve been wondering when she’ll see fit to ascribe alleged cannibal killer Luka Magnotta’s rampage on Bill 101 and Quebec racism, too? Or maybe it’s our lack of acceptance of alt lifestyles that pushed him over the edge? Oh wait—Quebec is a Canadian leader in acceptance of gay lifestyles, so maybe that won’t wash. What about the psychology behind the Robert Picton, Homolka-Bernardo, or Russell Williams affairs? Any zany thoughts on the psychosociality of those criminals? Either she’s learned her lesson (though she denies it) or it’s only in Quebec that such links occur.

I remember reading Wong’s 2006 article and thinking both she and her editor deserved to be fired over it. It read like the ravings of some anglo-Quebec dinosaur from the Equality Party, not the purview of Canada’s newspaper of record.

I’m no great friend of the Société Saint Jean Baptiste--or of Bill 101--but I believe the fury that rained down on Jan Wong and The Globe and Mail as a result of her article was deserved, if in some measure disproportionate. Self-inflicted, even.

And if anyone in the article deserves to be skewered as racist, surely it was Jan herself:

For security reasons — security of the equipment — that is, the computer lab had three vast windows that looked onto the hall. All 50 or so students hit the floor, everyone that is, except for a couple of students who continued working at their computers. Were they Asian?

“Everyone asks me that,” says Alex laughing, much later, from the safety of his home. “One was a white guy who was writing an essay. The other was a black guy who was searching the Internet.” 
  
Maybe she thought she was being funny, or that this was QED--highlighting Montrealers’ racism.

I haven’t read her new book, Out of the Blue, but if the premise is that her depression came “out of the blue,” I’m afraid Jan Wong is still out to lunch in the land of denial. And I’m not talkin’ Egypt here.

Jan Wong’s depression sounds to me to have been pretty well self-inflicted, and I say this in sorrow and as a person not wholly unacquainted with depression. That The Globe and Mail used whatever pretext it did to fire her—and, eventually, editor Edward Greenspon--doesn’t surprise me. The article should have been rejected or those damning 400 words altered.

Wong’s book-long skewering of The Globe for firing her reminds me of the standard definition of chutzpah: a young man who murdered both his parents throwing himself on the mercy of the court because he's an orphan.

It was about her judgement. It was about her editor’s inability to save her from herself.

Maybe Wong's editor Edward Greenspon should have borne the brunt of the ire. Her writing crossed the line. As a seasoned journalist, a deadline doesn't qualify as an excuse when the result is provincial character assassination. It was her editor's job to rein her in, to correct her lapses. Another epic fail. Her remarks revealed an appalling ignorance of and lack of respect for the evolution of Quebec society over the past 30 years. Not to mention the sort of pseudo-intellectualizing that would have been shot down in a CEGEP termpaper. If there was still a CEGEP term, I mean.

I'm sure The Globe and Mail would’ve had a hard time printing an article--even one of "analysis" or "opinion"--that baldly asserted Marc Lepine's murderous instincts were the result of his Algerian Arab heritage. How, then, could it justify tarring an entire neighbouring community of millions of people?

A former colleague puts it another way: “The instincts that led her to Maoism in her early years never left her personality.” 


Yeah, I'll say.

And if you think this post is hard on her or if you’d like to really see Wong skewered, you should read  this Warren Kinsella’s blog post which starts with “What a load of deepest Annex bullshit” and proceeds to this conclusion:

Jan Wong is scum. She is human garbage. I was delighted to hear that the Globe eventually severed their relationship with her. And I am equally delighted that she continues to drown in her own bile, and her own irrelevance.

As long as I live, I will never forgive Jan Wong for what she did to our family.  May her misery be long and deep.

Kinsella’s diatribe links to the origins of his problem with Jan Wong in the piece “Eat this Jan Wong.”

Thursday, 12 April 2012

Today on FB: VJJ Whitening... (on Lindy West's Jezebel Article)

Fun on my FB page this aft, as we dissect/eviscerate/masticate (masturbate?) & otherwise riff on Lindy West's AMAZING article today from Jezebel.com. 

 

Enjoy...and feel free to add your own comments, either here or on FB 

 

READ AT YOUR OWN RISK: "It makes perfect sense. We just want our vaginas to reflect more light—is that so wrong? I mean, WHAT IF MY CAR BREAKS DOWN AT NIGHT AND I DON'T HAVE A REFLECTIVE ENOUGH VAGINA? Really, the ultimate one-vagina-to-rule-them-all would glow in the dark like one of those deep-sea fishes. I need my vagina to attract more krill so my husband will fuck me again! (My husband is a whale.)"

jezebel.com
Good news, ladies! Society has discovered another new thing that's wrong with you, which means another opportunity for you to make yourself more attractive for your man.
2 · · ·

Monday, 20 February 2012

Agog over "Gollywog"


Though decades separate Bonnie Farmer’s two plays, her new Gollywog has the makings of a hit.

Playwright Bonnie Farmer


Bonnie Farmer was born in Shelburne, Nova Scotia, and came to Montreal as a toddler when her mother went to work as a cook in a convent. “They weren’t expecting a cook with a baby in tow. Our room was right off the kitchen.” The family only lived there a year or so, Farmer explained in an interview. “I kept getting into things. It was dangerous. I remember these beautiful marble floors. I remember seeing the nuns in their pyjamas.”

But that’s not all this award-winning children’s author, playwright, avid crafter, and elementary school teacher recalls. She also nurses vivid memories of being the only black child in her grade two class when the teacher had them read books about Little Black Sambo.

“Not that there was anything wrong with the books themselves,” she points out. “The problem was the pictures.”


The Story of Little Black Sambo was written and illustrated by Helen Bannerman. Originally published in 1899, it was part of a small-format book series called The Dumpy Books for Children. Sambo, a boy from Southern India, encounters four hungry tigers. To placate and keep them from eating him, Sambo ends up surrendering his colourful new clothes, shoes, and umbrella. The vain cats, each wearing something of the boy’s, chase each other round a tree until they’re reduced to a pool of butter. Sambo gets his clothes back and his mother uses the butter for pancakes. The story was a children's favourite for over fifty years, until the word ‘sambo’ was deemed a racial slur, and the wider public understood why the illustrations were objectionable. The book has been considerably revised since then.

According to Farmer, Sambo “is really a hero. He outsmarts tigers. But the kids in class would titter and look at me. You felt singled out.”



Racist iconography is central to Farmer’s new play, Gollywog, which had a staged reading on Monday, February 13th as part of the Black Theatre Workshop’s Discovery Series.

Actors Lucinda Davis, Nouella Grimes, Alexandria Haber, Christian Paul, and Brett Watson were directed by Quincy Armorer, who took the stage at the outset to explain what the gollywog was. He mentioned, too, that it’s a part of a Black history with which many people, particularly younger people, are unfamiliar.


The Gollywog is a blackfaced African American caricature created in the late 1800s. Since the 1960s, the doll has become the subject of a great deal of controversy, with Europeans attempting to decide whether it is a valuable cultural artefact or a racist insult.

 
A gollywog doll


Farmer described the gollywog doll's key features, which were nearly identical to Little Black Sambo’s: black skin, kinky hair, goggly white eyes, and an oversized, toothy grin. 

Gollywog’s main character, Mavis Daniels, came of age in the ‘60s and ‘70s, as did Farmer herself. “It was the time of Black Power,” Farmer says, “and so Mavis never expected to see those racist images like the gollywog or Little Black Sambo again.” Yet gradually, Mavis starts seeing the hoary stereotype at every turn, among toys, books from her grandson’s school library, billboards, even gingerbread men.

The play opens near Christmas. Mavis’s daughter Victoria is living with Mavis, her young son Jamal in tow, while she goes back to school to study nursing. The apartment superintendent, Jeff Cochrane, their neighbour and Victoria’s childhood companion, is gradually revealed as a ne’er-do-well white sorta supremacist. Which doesn’t stop a romance with Victoria from developing. Mavis is touchy and increasingly outspoken. She starts seeing racist behaviour and imagery everywhere. There are incidents on the bus and at Jamal’s school. Is Mavis losing it? This is the world of Gollywog.

“It’s up to the audience to decide if Mavis is crazy,” Farmer says, though she herself doesn’t think so. “I’ve seen a number of ads recently that really do put me in mind of the gollywog.” She would only mention them off the record.

“Every so often, there’s an instant where white people don black face here. I think a lot of the racism in Canada is unconscious, so I’m trying to bring that across in Jeff’s character. I’m hoping the audience will see the other side of these images and the [racist] words that are said. I think in the US, people are more aware. They still use the words, but they’re not doing it unconsciously.”

It’s probably a question of numbers, she continues. “There aren’t as many black people here. It isn’t as much ‘in your face.’ Here, racism is directed against Blacks but, even more, against natives.” (More interesting discussion on this question can be found in this article by Clarence Baynes)

Farmer wrote the first scene of Gollywog in the winter of 2010; several more came during workshops she took with local playwright Colleen Curran, who was also instrumental in helping Farmer develop her first play. Irene and Lillian Forever, with Sonya Biddle and Carole Anderson, was a 1986 Quebec Drama Festival finalist and winner of Best Direction for the late Lorena Gale. Not bad for a newbie.

Farmer also wrote a play for her Master’s thesis in Concordia University’s creative writing program. Ike’s Fiddle is set in Nova Scotia and concerns two brothers and their rivalry over the wife of one of them. It’s never been produced, but something makes me think this might change in the near future…  :)

Colleen Curran

Last May, Caribbean playwright David Edgecombe mentored Farmer and Gollywog at the Black Theatre Workshop. Edgecombe was a founding member of Black Theatre Workshop and also served as resident playwright/director there. He is “internationally known for several plays, including Strong Currents and Coming Home to Roost. I’d seen his stuff 30 years ago. I had a playbill from one of the plays—” it was Strong Currents—“and I brought it for him to sign.”

David Edgecomb
Edgecomb offered Bonnie “really positive feedback.” She kept on writing and sending him the material, until the play was 76 pages and 10 scenes in length. That’s when Farmer discovered that the rule of thumb she’d been going by--that one page of script equalled a  minute of performance--was true for film scripts, not stage plays. Gollywog was already a full-length theatre piece some two hours long!

When I spoke with her several days before the final rehearsals, Farmer was clearly experiencing butterflies, excited, nervous, and altogether inspiring.

The play itself was extremely well received. It never dragged, was clear as a bell, tied up all loose ends, and provoked lots and lots of laughs. And all this over two hours and despite the total absence of sets or props.

Nouella Grimes, doing most of the heavy lifting as Mavis, was outstanding—especially during the police station monologue—and despite evident overheating in wig, turtleneck and sweater, while Lucinda Davis nailed Victoria’s more self-involved worldview. Alexandria Haber and Christian Paul played the school librarian and school principal to maximum hilarity. My sole cavil concerns Victoria’s boyfriend Jeff’s character—making him white a supremacist was a tad extreme, but his layabout behaviour and blame of others for his own failings—notably his drug and booze induced laziness—was bang on.

As the evening drew to a close and the audience rose from the not-ready-for-prime-theatre-time seating, I asked Bonnie how she felt. Which was redundant, really, because the answer was writ large on her face: "Great!"

Originally published on The Rover.