by Hasan Altaf

One of the few reliable characteristics of the institutions of the government of Pakistan is that they will only rarely stick to their mandates, that they will only occasionally consider themselves bound to fulfill their theoretical functions – the idea of the “public servant,” for example, seems to have passed ours by entirely. Given that the results of this tendency are so frequently destructive, or at best neutral, we should look kindly on Justice Asif Saeed Khan Khosa's recent bout of poetic inspiration at the conviction of Prime Minister Gilani for contempt of court. It's easy to say, as the prime minister's lawyer did, that judges should refrain from adding poetry to their judgments (“especially” their own; maybe Iqbal would have been acceptable?) and just make their decisions and let that be that, but in a country where that is so rarely that, a little bit of riffing off Khalil Gibran is hardly the end of the world.

“Pity the Nation,” Justice Khosa's addendum to the court's decision, has struck quite a chord. It has earned slaps on the wrist not only from the Prime Minister's counsel, but also from a former ambassador (who would like to shift the conversation entirely – “cit[ing] poetry instead of law while sentencing an elected leader on questionable charges reflects Pakistan's deep state of denial about its true national priorities” – as if the accountability of leaders were not a hallmark of a functioning democracy; as if in focusing on extremism and terrorism we should ignore all the other injustices of the country; as most of what happens in the government of Pakistan is not “questionable”) and an Express Tribune columnist who saw Khosa's Gibran and raised him a Byron. It has also become a Twitter catchphrase that within a few days has been used across the political spectrum (PML, PPP, PTI, P-ick your own), for matters personal (“…where children of judges get admission in aitchison college even after failing the entry test”) and national (loadshedding), for criticism of literature (“…where bad poetry is appreciated”) and tradition (“…where political parties are transferred over a will like family property”), and even the requisite clever meta-tweets invoking pity for the nation that pities itself on Twitter.

Justice Khosa's cri de coeur led me to feel pity mostly for Justice Khosa – and, by extension, the rest of our “public servants.” Being a Pakistani has become hard enough; seeing what has become of the country (what has been done to it, what has been done to us, what we have done to ourselves and to our country and to each other and to others) is hard enough; caring about Pakistan has become, in a time when every day brings bad news, hard enough. Imagine being one of those who truly does make it what it is, who truly has the power to shape and control some portion of the country's destiny; it must be impossible to sleep at night. Considering the bizarre situation in which the Court has been placed and has placed itself (the chain of causes and effects here, the schematic of who is scratching whose back and how and why and when, is so ridiculous that to talk about is pointless), the justice's poem seems to me an entirely understandable response, the breaking of the camel's back by a particularly absurd straw. And sometimes, as any self-respecting angst-ridden teenager will tell you, there really is nothing to do but write a poem and put it online.

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by Maniza Naqvi

In the country of Southern Diebeidiya a multi-fold problem had arisen. The people had been found out to be cheating, lying, ungrateful wretches. Not playing by the rules. Scheming and conniving to thwart our best intentions, breaking our trust at every turn. We had tried to make them pull themselves up by their socks, but what else was to be expected in a place where socks are not worn? So we procured appropriate technology, brought in technicians and experts and even sociologists to tell us the most historically, culturally, respectful way to introduce and produce socks. They told us to add in to our good intentions, beneficial lessons on self development that could be taught while the people produced the socks. So we procured and placed radios and public address systems to broadcast useful lessons and where this wasn’t possible we trained trainers to train people who could read out lessons to the workers while they made socks. This raised many more questions and so we procured more experts. We taught the people how to weave the socks and of course we provided the handlooms and the yarns. All we asked in return was that they made the socks and then brought them to us so that we could in return provide them with daily wages. Was this too much to ask? The people at first complained that weaving socks took them away from their tasks of earning a living, cooking, cleaning, milling, harvesting and herding. Took them away from weaving all the other things, they wove. But we knew that these people were poor and it was so because they did not know how not to be poor. And we would teach them. They needed to learn how to pull themselves up by their socks so we persevered in teaching them. We were exhilarated and thought they had learned when suddenly piles of socks began to arrive at the encampment where the experts lived alongside us. We gladly took in all the socks at first in exchange for the cash we had promised. Everything was going well, so well that we organized a film crew to arrive and make what would be a wonderfully moving documentary of our good works showing many examples of people pulling themselves up by their socks. It was going to be about people counting on us to make their dreams come true. It was to be full of hope and promises.

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by James McGirk

Pundits on the right and left have described President Barack Obama as having a distant attitude toward the United States – on the right they call it narcissism and hint at secret agendas and question his patriotism, while on the left they wonder darkly whether he might be “too brainy to be president.” I think it is something else. I have never met President Obama, but our lives have converged in unusual ways. Perhaps unpacking my own intense and complex relationship with the United States might shed some light into what might at first seem like an aloof and distant attitude toward our homeland.

Mr. Obama spent his formative years as an outsider and that estrangement shaped his view of the United States in a profound way. At school he was peculiar, he had lived overseas and was a jangled mixture of races and cultures. His father was Kenyan, his stepfather was Indonesian and his mother was a Caucasian expatriate academic. And Hawaii, particularly in the 1960s and 1970s, was more like a forward operating base or an embassy than a state. Men and material were flowing through it en route to Vietnam and the federal government had a far more pervasive and sinister presence in Hawaii than it did elsewhere. The United States wasn’t a fundamental part of himself – not in the unambiguous, automatic way it would be for someone born in Detroit, Michigan – rather his sense of belonging to the United States was something that had to be negotiated.

My early life was equally jangled. My parents were journalists and my grandfather was a petroleum prospector for Texaco, which meant that our family was estranged from the United States for more than 70 years. Growing up, the U.S. was a highly abstract concept that was paradoxically close and accessible to me. My information about the country came from mostly headline news, and was highly polarized; this was the era of Ronald Reagan and Margaret Thatcher, and more often than not the news contained tales of the tape comparing the United States with the Soviet arsenals. What little of I saw of the real U.S. came in brief glimpses during visits to embassies or when we visited relatives in Southern California. In comparison to the bleakness of the United Kingdom, Spain and India, the U.S. was a technologically advanced paradise where everyone looked and sounded the way I did.

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by S. Abbas Raza

David is one of the rare rock stars who continues to innovate and surprise in several artistic fields decades after his rise to fame as lead singer of the Talking Heads in the 1970s. Today, even as he enters his seventh decade he shows no signs of slowing down. Last week I got the following email from him:

Last year I did some songs for a film by Italian director Paolo Sorrentino (check out his previous film Il Divo). This new film, This Must Be The Place, stars Sean Penn as a kind of present-day Robert Smith (The Cure). I wrote the music, Will Oldham wrote the lyrics and Michael Brunnock sang the songs. In the film, these songs appear on a demo CD that the Sean Penn character is handed. Now, the “Italian Academy Awards” have awarded us for best score and best original song!

If you want to get it, the soundtrack is available now on Amazon and iTunes and for people in the UK, there is also a vinyl collectors edition available.

I constantly listen to David's collaboration with Brian Eno, Everything That Happens Will Happen Today, and you can hear it too, here.

Five years ago I wrote about the amazing experience of seeing David perform live at Carnegie Hall. You can read that here.

We hope that David will continue to enrich our lives in his particular and quirky ways for decades more to come!

[Photo from last.fm.]

by Misha Lepetic

There wasn't a damn thing I could do or say
Up in the skyway
~The Replacements

Walking has been much in the news lately, or rather, how little Americans seem to be doing it. It’s obvious that walking is good for individual health, but what should perhaps be even more emphasized is the importance of walking for the overall health of the urban fabric. So, in addition to asking ourselves the question of how we can get people to walk more, we also ought to consider equally beneficial ways for designing the built environment, such that all this walking will bring about a result for society. Walking may be an end in itself, but if it is only considered as such, we forego the opportunity that it is a means as well.

The history of walking in American cities is one of the steady erosion of an activity that was so natural that its importance was almost entirely tacit. It is always amazing to realize how malleable our norms are: during the automobile’s first few decades, pedestrian fatalities were commonly greeted with criminal charges such as ‘technical manslaughter’. Drivers were viewed with mistrust, considered reckless and even represented class division. However, pedestrians became increasingly regarded as impediments to the velocity of modern life, and economic progress became increasingly associated with the automobile and the infrastructure that made its hegemony possible.

How did this change come about? As Sarah Goodyear writes in the Atlantic Cities blog,

One key turning point…came in 1923 in Cincinnati. Citizens’ anger over pedestrian deaths gave rise to a referendum drive. It gathered some 7,000 signatures in support of a rule that would have required all vehicles in the city to be fitted with speed governors limiting them to 25 miles per hour.

Local auto clubs and dealers recognized that cars would be a lot harder to sell if there was a cap on their speed. So they went into overdrive in their campaign against the initiative. They sent letters to every individual with a car in the city, saying that the rule would condemn the U.S. to the fate of China, which they painted as the world’s most backward nation. They even hired pretty women to invite men to head to the polls and vote against the rule. And the measure failed…The industry lobbied [for] the adoption of traffic statutes to supplant common law. The statutes were designed to restrict pedestrian use of the street and give primacy to cars. The idea of “jaywalking” – a concept that had not really existed prior to 1920 – was enshrined in law.

This was the beginning of a long and effective campaign that saw walking legislated and planned almost out of existence. Even now, designers and planners are often hobbled by a perspective which continues to favour the automobile over pedestrian – most ironically, in the name of safety.

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Another Piece of Eternity

I’m peeling back a page reading a new day
by the light of a new sun
.
mom died years ago, or was it yesterday?
.
I once read something similar by Camus
but was too new to understand that time bleeds
.
its dyes are not fast but run
between years and sometimes like old cloth
the colors of time become homogenous
.
but here’s this day blaring like a fanfare
from a new horn crisp as frost on glass
its brink sharp as the edge of a blade
slicing off another piece of eternity
.
.
by Jim Culleny
4/29/12

by Quinn O'Neill

For months now, the Canadian province of Quebec has been astir with student demonstrations. The students are protesting a 75% increase in tuition to take place over the next 5 years. As opponents of the protests are quick to point out, tuition is actually much lower in Quebec than in any other Canadian province and would still be the lowest after the increase.

Reaction to the protests has been mixed and probably reflects a difference of opinion on the main function of education. For people who see education as a private good, the student protesters may appear to have an outrageous sense of entitlement. After all, if students are the ones who’ll benefit from the education, why shouldn’t they be expected to pay for it?

Others see education as a public good that plays an important role in a healthy, democratic society. If we’re going to let everyone vote and participate in important decision making that affects all of us, maybe it would be helpful if the public were well educated. Perhaps education would help people to better evaluate different sources of information, to understand important issues, and to make better decisions. A better educated society is also healthier and more productive.

Neither perspective is entirely wrong. Education is both a private and a public good, with significant benefits for the individual and for society as a whole. It is wrong, however, to suppose that education is only a private good, and this, unfortunately, seems to be a pervasive misconception.

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by Rishidev Chaudhuri

Harold McGee's book, “On Food and Cooking”, changed the ways I cook and think about food (as it seems to have done for many people). Cooking can often seem obscure and unsystematic: recipes and tattered bits of kitchen wisdom abound, but general principles seem harder to come by. And learning to cook is a process of moving from recipes treated as self-contained procedures and rituals to be reenacted to seeing a collection of principles and techniques that can be deployed in various ways. “On Food and Cooking” is a book on the science of cooking: what happens when you brown meat, what happens when you cook asparagus, how dough rises, why coriander tastes the way it does. And its primary value, at least to me, was in dramatically moving me along the road to understanding some of the principles lying behind what we do with food. It's immediately liberating and almost exhilarating to look back on a number of recipes and times in the kitchen and realize what I was actually doing when I was following a particular set of instructions. Most of this food science information existed before but it was scattered through journals and history books. “On Food and Cooking” collects and curates it, and aims it at a broader audience than just the scientist or the historian or the professional cook.

The best example for how this book changed my thinking is its sections on the role of the egg. It is almost universally acknowledged that eggs, even accompanied by little else, are sublime and need not justify their ubiquity. But eggs also play supporting roles in a bewildering parade of dishes (especially in the cuisines of Europe), and in these they take on a variety of structural roles: changing the shape and form of food in addition to changing how it tastes. Making sense of this diversity of uses was enlightening: it allowed me to replace a number of disparate pieces of knowledge with some general principles and these principles then allowed me to think more creatively, beyond the confines of particular recipe patterns. And looking at the roles of eggs in food is also a wonderful lesson in chemistry and the strange hybrid states of matter that live everywhere in food.

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by Mara Jebsen

F. Scott Fitzgerald and Love in A Time of Supermen

Where does all this yearning come from?

—Pina Bausch, choreographer

A set of F. Scott Fitzgerald’s novels has come out from Penguin classics, and they look exactly as they ought. They are small, hard-backed volumes in thick cream paper lined with flashy stripes of silver or gold. Some men of my acquaintance—especially those with big hands—might feel silly reading them on the subway.

But that’s as it should be. There’s a sequined fustiness hanging around the idea of Scott Fitzgerald. Maybe there’s something exhausting about the eternal waltzing of debutantes in white linen; and of tall, stiff-stomached boys getting drunk to distraction. Or really what’s exhausting is imagining all those high-school students across America sailing their way through the bright sadness that is “The Great Gatsby.”

The idea of his work gives me this exhausted feeling because his stuff is both classic and a glam cash-cow, categorized in the same cloud of atmosphere in my head where I keep the Titanic. Soon we will have Leonardo DiCaprio in Baz Luhrman’s film version of Gatsby adding his entire DiCaprio-ness into the circle of atmosphere that surrounds Fitzgerald, both deepening and cheapening whatever is this peculiar quality down at the middle of it. Luhrman and DiCaprio, I’m sure, will extend the bright circle of frost that allures, but obscures the filament at the center.

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by Tom Jacobs

There is the apocryphal story in which Hemingway, sitting in a bar somewhere in Key West, is asked by an antagonistic admirer to follow his minimalism to its logical outcome and to tell a story in six words. As the story goes, Hemingway picks up a napkin and writes out the following words:

For sale: baby shoes, never worn.

This is a pretty good story. The reader has to kind of inhabit it and fill in all that is unsaid (which is pretty much everything), but there’s an inexhaustible sadness there in the spaces between the words. Everything pared away until there’s almost nothing left. The iceberg theory of fiction.

The genre of short short fiction (or microfiction, or whatever one might want to call it) is itself kinda small, and little of it is worth reading. But there are exceptions.

There’s this: “Sticks,” by George Saunders, perhaps the greatest super short story I’ve ever read:

Here there is an entire novel’s worth of intrigue and emotional complexity and backstory and difficult familial relationships and unhappinesses and losses and redemptions. One can’t help but think of all those homes run by inexpressive and angry fathers who know something of love’s austere offices, these homes that suddenly erupt in holiday decorations that go waaay beyond the normal or expected. Rudolphs and Santas and baby Jesuses and lights and holly all over the place. This phenomenon…the phenomenon of the middle-to-lower-class father who has no creative outlet but finds an avenue in his front yard…this is an important aspect of contemporary life in the U.S., and one that needs more examination. There are dissertations here. And Saunders’ story is a most excellent jumping off point.

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after Mohammed Iqbal

“Why didn't you make me eternal?”
Beauty asked God one day,

who replied: “The world's fiction
is carved from nothingness.

In changing colors you were born:
true beauty is ephemeral.”

The moon overheard this dialogue,
beamed it to the morning star

who woke the dawn, whispering sky's secret
to the dewdrop, earth's guardian.

Dew drenched the rose petals,
and Spring left the garden weeping.

Mohammed Iqbal (1877 -1938) one of the two great South Asian poets of the
20th Century (the other was Faiz Ahmed Faiz) advocated ceaseless endeavor,
writing with equal ease in Persian, Urdu, and English. He was knighted by the
British but is rarely called Sir Mohammed.

Translated from the Urdu by Rafiq Kathwari, guest poet at 3Quarks Daily.

[Click Urdu version to enlarge.]

by Maniza Naqvi

Would this sentence be a fair illustration of the entire terms of engagement of the rest of the world with the United States? From Foreign to Economic to Defense Policy it is a narrative as though of a paid intercourse: “Baby, my cash money.”

This latest scandal, too will probably be obfuscated and news cycled out of our imaginations—but for this moment this paradigm is clear. Many complain that the US simply does not build relationships based on principles of social, human and cultural rights. The US engages only on the basis of financial transactions: it gets what it can’t get otherwise by simply buying it. If it is refused it simply removes the offending resister usually an elected leader of a country which has resources that the US wants and puts into place those who are compliant and willing to be paid for their services. And when, and if, they are not paid what they were told they would be paid, then well that’s when the whole thing becomes a conflict zone, like the corridor of the Hotel Caribe on the early morning after the “previous night’s intercourse.”

Ironically, this happened at an Economic Cooperation Summit where the agenda includes economic issues and those of Corruption and of Security or as it is called now Terrorism. The scandal around the Americans, involves 11 Secret Service agents and as many military personnel including green berets and so forth. Entrusted to protect the President of the United States the team had arrived in Cartegana ahead of the President who attended the Summit of the Americas conference organized by the 34-member Organization of American States.

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by Hannah Green

On Friday night, I watched John Oliver perform for a crowd of Northwestern students in an on-campus theater. “It’s hard to be in college right now,“ he said, “because of, you know, the world.” These words probably got the longest, or at least the most interesting response of the performance. Oliver looked at us in amusement for a moment as we laughed, then said, “That was a cathartic laugh.” He commented on the symphonic quality of our laughter as the initial hilarity of his words melted into recognition and subsequent despair.

At this moment, I felt an impulse of self-righteous self-pity. It was hard being a college student right now. The economy is bad, everyone’s weighing their options looking for realistic job opportunities, the American dream of creating your ideal career seems to be dying, from a very young age I haven’t trusted my government or electoral system at all, especially in matters of foreign policy, and even here in the US we seem to be losing our rights left and right. I remembered a dark, sleep-deprived Wednesday when I was fourteen. My high school US Government teacher turned on the television so that we could watch John Kerry’s concession speech. My friend and I had been volunteering, answering letters at Democratic Campaign Headquarters in DC. We sat in the back of the classroom, dressed all in black, and wept in each other’s arms. I hadn’t even liked Kerry that much, but I had wanted so badly for Bush to lose. “It’s good to see young people who care so much,” our teacher said to us kindly. I thought, “I will never give a crap about politics again.”

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by Jen Paton

Chimamanda Adichie has a talk called “the danger of the single story.” She says, the “single story [that] creates stereotypes…that are not untrue…but incomplete.”

Lena Dunham's Tiny Furniture

I watched three stories about American women this weekend: Lena Dunham's Tiny Furniture (2010), the Diablo Cody written Charlize Theron “comedy” Young Adult (2011), and the blockbustering, blistering Hunger Games (2012). I suppose the latter is only tenuously about an American woman, as it takes place in a dystopian post war America called Panem where teenagers fight to the death on national television. But anyway.

Lena Dunham's Tiny Furniture takes place in the now, and is about a girl named Aura who rather than fighting to the death posts semi-nude videos of herself on Youtube in a bid at artistic expression. Aura, who comes home from college in Ohio to crash in her artist mom's (amazing) Tribeca apartment and figure out what to do next. (Artist Mom on film is Dunham's IRL Mom, as is the apartment her IRL apartment). Aura has her liberal arts degree, and in college made aforementioned arty Youtube videos where she undresses in fountains. Now she finds work as a restaurant hostess and flirts with lackluster dudes. Tiny Furniture is, as Glenn Kenney put it, “a largely adroit film concerning largely insufferable people.” Not a lot happens. But it does rather capture a certain kind of inertia of a certain kind of kid, someone really smart who doesn't really have the tools to get their act together because the consequences of not doing so are minimal. Dunham contends that her friends say the apartment looks smaller in real life, but in spite of this, she rather gets the smallness of the world she portrays, and pokes some fun at it.

And yet, and yet – it is so hard to get beyond our single stories. Dunham, whose TV show, Girls, about young women in Brooklyn premiered yesterday, made the Girls characters from Ann Arbor because “I was trying to choose places that felt like they weren’t New York but had weirdly analogous intellectual communities, so that if these girls appeared and they were quipping their heads off and they’d watched certain kinds of films since they were three, it would make sense.” Because of course, nobody else watches “certain kinds of films” or experiences culture except New Yorkers, and those lucky enough to live in a distant archipelago of college towns.

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