by Akim Reinhardt
I was 12 years old when I walked down a street in my Bronx neighborhood and saw the poster in the window of Cappie’s. Cappie’s was a certain kind of corner store common in 20th century New York. It sold newspapers and magazines, candy and soda, lotto tickets, cigarettes, and various tchotchkes aimed at kids and teens. Cheap toys, baseball cards, posters, etc. Most of their posters were pinups of the era’s sex pots such as this or that Charlie’s Angels in various states of near nudity. But this poster featured a cartoon mouse, a clear copyright infringement on Walt Disney’s famed vermin. The caption read: Hey, Iran! The mouse held an American flag in one hand. The other flipped the bird.
This was the year 1980, and the Iran hostage crisis was chugging along. Soon, America’s most watched and trusted newsman, Walter Cronkite of CBS, was signing off his nightly broadcast with an addition. Instead of just “And that’s the way it was,” followed by the day’s date, he was now adding: “And that’s the way it was [that day’s date], the [X] day of captivity for American hostages in Iran.” The last time he signed off this way, on January 20, 1981. It was the 444th day.
That running tally, the images of blindfolded hostages, and other near-constant media discussions were a relentless source of U.S. shame and impotence. The saga dragged on and on. The American citizenry, much more homogeneous then than it is now (ca. 80% white, 12% black, and >90% native-born), was united in its outrage and frustration. Nearly everyone in the United States hated Iran, or at least specifically, the Iranian revolutionaries holding American hostages. And that mass hatred was made easy by mass ignorance.
We all heard, over and over, that the fundamentalist Muslim revolutionaries who’d captured the U.S. embassy and kidnapped some of its staff had overthrown the Shah of Iran. Politicians and the media kept telling us that the Shah had been a friend of the United States. But what hardly any Americans knew was that the Shah had been in power only because back in 1953, President Dwight Eisenhower and British Prime Minister Winston Churchill had directed the CIA and its British counterpart, MI6, to foment a coup against Iran’s democratically elected prime minister, Mohammad Mosaddegh. Read more »

A couple months ago I wrote that we should not feel blame-worthy if we can’t do all the most courageous things in order to protect our neighbours or help stop a war or try to undermine the entire system. There are less courageous things we can do within our capacity. While that’s true, it doesn’t mean we shouldn’t 
OpenAI released 








Utkarsh Makwana. Detail from ‘Finishing Touches’, 2022. Courtesy: Akara Art.

In his Confessions, Augustine remembers his state after the death of a beloved childhood friend. He writes: “Everywhere I looked I saw death. […] My eyes sought him everywhere, and did not see him. I hated all places because he was not in them.” An unfailingly moving passage, and a testament to Augustine’s power as a thinker – for profound as his account of his loss is, we are already being led along for a much bigger point. Almost immediately, Augustine moves on to chastise his former self: “fool that I was then, enduring with so much rebellion the lot of every man”. A soul that tethers itself to mortal things, rather than lifting itself up to God, will naturally be bloodied when it inevitably loses them.

Something about Hamlet makes us want to love him, some mysterious quality of his being. I was maybe 15 or 16 when I first met the Prince and sitting next to Boots Schneider at the Olivier movie which had just opened in New York. Yet Hamlet held my attention even more than her hand because somehow he was saying things I had always wanted to say, but not only did I not know how to say them, up to that moment I didn’t know I wanted to say them. What I wanted to say had something to do with authority, something to do with those large figures who hold in their hands the powers of the world, something to do with the joy of saying to Polonius “Excellent well, you are a fishmonger,” and some kind of recognition of Hamlet’s deep sense of betrayal. This is the Prince’s dominant emotion, the feeling that lacerates his being, and his perception of the world is accurate; he has been betrayed.
