Wednesday, September 04, 2019
THE AMERICAN METH WEST
Some studies suggest that the drug of choice in the Eastern US is cocaine, the trendy nose candy. The drug of choice in the Midwest is pot, good old steady weed. And the drug of choice in the American West is meth. Why is this?
Meth is the power drug. it makes the guy who is flat broke, homeless, friendless, car-less and ugly feel like a winner. Winner, hell! Feel like a God. Feel like Davy Crockett and Pecos Bill and Paul Bunyan all rolled up together. The kind of man a Western man is SUPPOSED to be, invincible, omnicompetent, irresistible.
Until he comes down again. Then he's picking at bugs under his skin, aching with rotten stubs of teeth, so depressed he can only slump in the corner. Only one cure for that -- more meth.
Meth is the poor man's drug. Any high school kid can make it with coffee filters and iodine and cold meds and . . . look it up on the internet. There are plenty of decrepit sheds where a guy could set up a lab. If the cooking starts a fire, who cares? Maybe a wrecked house trailer or an abandoned rusted-out old school bus. Even one of them run-down motels that was on the highway until the Internet went through. They don't ask no questions. Rent by the hour.
The American West came out of the Civil War, which prepared the country for the Prairie Clearances (first the bison, then the Indians) so the government could offer free land to white people who would pay taxes and travel by railroad. The Indians weren't using their land anyway -- where were their fields, their fences, their houses? Their flags? if you couldn't make it on a homestead, you could hire on as a cowboy. If you got to drinking, so did everyone else, and so did everyone else get taken to the cleaners by the bank. Wasn't the fault of the rancher. It was the drought. Times are hard. Life is short.
The big myths took hold easily, dominating every television set and silver screen in the nation with tough guys in Stetsons. Guys who smoked Marlboros until they found meth. If the women nag you, hit 'em. Why don't they get a job? If the kids bug you, hit them, too. Throw 'em against the wall. Throw 'em out. if authorities come around, just don't answer the door. Make 'em get a warrant. Get hold of a gun.
Make 'em shoot you and put you out of your misery. That's the Meth West. Not your fault. On meth you're invisible. You'll never feel the bullet.
Sunday, April 24, 2016
TROPIC HORMONE LOOPS
Sunday, August 16, 2015
EMBRACING THE OCTOPUS
Recently I’ve accumulated a little stash of quotes about identity, consciousness, reality, and our drive to understand what goes on in minds. Some will be quite disconcerted by these suggestions and others will sigh with recognition.
Friday, December 02, 2011
AIDS, STIGMA & OMAR
Yesterday was World AIDS Day but I didn’t write about it for several reasons. By now there are so many causes and so many official World Days that the ribbon colors are re-cycling: now red ribbon is supposed to mean you’re against violence. But what IS new is that the Great Falls Tribune ran the story on page one and the continuation inside on page three showed members of the Metropolitan Community Church of Montana in a formal church setting. WITH personal photos and WITH names. Two AIDS activists, Steven Barrios in Browning and Trisha Gardner from Great Falls were interviewed because the governor gave both of them awards for their work. I had never heard of either of them until now.
There is no color of ribbon loop for stigma, but this time around both the Governor and the recipients defied stigma by being public. Stigma is what gives permission for the persecution and punishment that is no color, no day, but every color, every day. Human nature wants things labeled, put on the calendar, separated out so as to keep up with the causes. Let’s be frank: so as to know whom it is safe to ignore or attack as opposed to those whose feet had better be kissed. Stigma is often transparent, hardly noticed.
I’m on a number of environmental listservs for academics, usually mainly students and therefore young and often at least half of the commentors are female. Because of that there is stigma attached to two demographic groups more than others: the wealthy and white males. A recent discussion hit both on grounds that the wealthy are powerful people who control and abuse other people’s lives. I got the impression that they thought all the most powerful people were white males and that they were all wealthy and surely they didn’t have any diseases. Someone suggested they were never subject to domestic violence or police brutality or any other troubles or worries. They are describing unicorns and centaurs, nonexistent creatures.
What I see is that -- worldwide -- people of color are also despots, mega-million income CEO’s, controllers of armies, master minds of the underworld. Some of them might even be female. One of the things Bob Scriver and I learned when Bob’s work began to sell into the higher income groups was that the main thing money buys you is the ability to be cloaked -- NOT to find yourself on the front page of the newspaper.
This is totally irrelevant, but “Scriver” is derived from the word “shriver” which means a maker of cloaks. “To shrive someone, in old-fashioned English . . . is to hear his acknowledgement of his sins, to assure him of God's forgiveness, and to give him appropriate spiritual advice. The term survives today in ordinary usage in the expression "short shrift". To give someone short shrift is to pay very little attention to his excuses or problems.”
The subject on the listserv was not AIDS (they never mention AIDS) but rape and whether rape were too serious a crime to use it as a metaphor for the destruction of land, though they consider “destruction” of land to be the major crime of our times and though they consider “destruction” to be anything that they don’t want to happen. Some of them still believe that making the air unbreathable, running out of human food, cutting all the tropical forests and so on “destroys” the planet when in truth it destroys humans and the earth they must have in order to keep living. (The planet shrugs. It likes volcanoes and earthquakes.) Others have gone so far as to stigmatize all humans and consider only animals to be “innocent.” (Yes, yes, we’re all animals but not grad students, surely; what could be less animal-like? It’s the undergrads who rape, walk on the grass, get drunk, attend football games.) Any group can be stigmatized.
In the hunter/gatherer millenia stigma meant marking enemies or contagious people or people who were troublemakers, Excluding them, even by killing them, was practical in terms of protecting the group. Much of the business of the hunting band was making worthy children, so the stigmatized should be excluded from reproduction. Of course, they got frustrated and took what they weren’t supposed to have.
These deep assumptions are hard to challenge. In fact, I don’t think reasoning or parsing words or arguing history does much to change them. What DOES work is story and particularly filmed story, artfully presented. I’ve been enjoying the whole sixty-episode span of the series called “The Wire” and have just completed the first story span, three years long. It’s complex but the subject is society as illustrated by the city of Baltimore. The writers and producers call it “long form television” which has several meanings. First, it’s five years worth of hourly episodes; second, now on DVD one can sit down and watch all sixty episodes at home just as one might read, say, “War and Peace.” Third, those interested can rewatch many of the episodes with voice-over commentary from those involved, hearing what decisions were made and why, what real life sources were used, and a certain amount of philosophy which boils down to “I love Baltimore, warts and all.” I’m sure they have had a profound influence on the argument about legalizing marijuana. (They’re for it and you see why.)
It’s not a bitter show and resists the stigmatization of any group. It’s like the yin-yang sign that has a little black in the white and a little white in the black. It shrives most characters but cloaks no one in the sense of invisibility. In fact, what begins to develop -- though only in my eyes, so I may be projecting it -- is my bottom-line which is that situations are what make villains. If you don’t have starving people, if you don’t have a forest full of game “owned” by lords, if you don’t have an oppressive sheriff, you don’t have Robin Hood.
As it turns out, the Robin Hood in this series is Omar: black, gay, a killer but not violent. (The other version is Brother Mouzone, an equally potent gunslinger from a similarly mysterious source. Brother would defend academics.) Omar is outrageous. Finding himself out of “honey nut” breakfast cereal he puts on silk satin pajama bottoms with a flowing matched robe and walks out down the street to the corner store, picking up a drug stash on the way back. But he takes his grandmother in her splendid “crown” (designer hat) to church once a month, he does not kill on Sunday, and he and Brother Mouzone are the only ones who never use the “f” word. And Omar doesn’t worry about AIDS, though his heart is broken when his lover is killed by torture in order to punish him. Omar is a challenge to the concept of stigma. He don’t need to wear no ribbon. Should he be shriven?
Sunday, July 12, 2009
"DRUGSTORE COWBOY:" a Review
In Portland, to interest tourists, they call the catacombs under the city “Shanghai tunnels” because of the 19th century practice of kidnaping drunk sailors and impressing them into service on ships headed for China. Theoretically that doesn’t happen now. But in the Seventies someone in the Mayor’s Office told me that the “white slave trade” was still a major problem: mostly girls at that time. No need to smuggle them out unconscious -- just give them a plane ticket and promise they’ll star in a movie shot overseas.
The world of the aimless drug-surfer, an expression of existentialism whether they know it or not since “knowing” anything at all becomes problematic for someone whose brain on drugs is less like a fried egg than a wildly twitching frog, anchored only by society’s determination to get everything under control through confrontation. Well, everything that makes trouble. If anyone wants to go off and slump in a corner and starve, that’s fine.
As an animal control officer I was in and out of their environments all the time. These were not meth people or even street drug people -- they were prescription drug people, the ones that Eric Newhouse is writing about in a series in the Great Falls Tribune as of major concern on Montana Indian reservations. On reservations this seems to have been triggered by the practice of delaying treatment for serious illness by simply providing palliative care: pain killers. The problem is, as usual, once hooked, one gets the substance of choice by stealing it or anything that can be sold to buy it. Since many of the patients are old or otherwise frail, it’s pretty easy to just take it away from them. A lot of people live in a world of hurt around here.
Back in the Seventies there was an explosion of uppers, downers, new pain killers, and other psychotropics and at the same time a cynical despair about life and authority figures that could be used to justify just taking pills and dropping out. It was evidently easy to knock over small pharmacies. The druggies in this film are not violent, just inventive. Deaths are a byproduct. Violence is enacted on them, not by them except that they're hard on property. Law enforcement doesn’t have a grip. But pretty soon the leader, who manages to think through the haze, realizes that they aren’t getting anyplace and that their angst is only growing. He decides to stop.
The counter-message, and one that makes this film far more interesting, is the presence of William Burroughs, who -- in a low key and dignified way -- defends the right to take drugs. He plays a priest, emaciated but coherent, who has been marginalized by his drug use His very survival is some kind of assurance. He would not be alive if he’d been taking meth. Still, he advises us to avoid “drug hysteria or any other kind of hysteria, for that matter.” Right. Good advice.
What makes life so hard to bear for young good-looking people with brains and a little “assembled” family? Why would they need drugs normally prescribed for those dying of cancer when their worst actual suffering is . . . what? Boredom. Fatique. They are “grayed out,” no goals, no excitement, flat-lined. So -- reservation life, life in low-income rainy Portland, life in the early 1970’s when there was another one of those “unpredicted” recessions, life on a planet that we were only beginning to understand was seriously corroding, and no countervaling forces of religion, patriotism, idealism, education or even aesthetics.
Actually, they had -- but the media hadn’t realized it yet. It was still sort of underground: hippies, granolas, gays, communes, all that experimental stuff. And they didn’t have anything against pills either, though they tended to use pot and LSD. They wanted bigger consciousnesses rather than oblivion, participation in the cosmos.
I guess. How do I know? I just read about it, mostly, but I DID know these parts of town and I did go into those kinds of households. “Panda,” the dear little dog, was not an anomaly.
Blacks are entirely excluded except for the social worker and the therapy group, which is a choice on the part of van Sant, since the Union Avenue motel where some of the action takes place is so Black that Union Ave is now MLK Jr. Drive. Race politics are pretty much excluded from the movie. Van Sant’s part of town is NW which is also where Ursula LeGuin lives and 23rd was about to become an extension of Rodeo Drive. This movie is not about greed or power, not about the big players, but about the aimless, the players of little scams and delusions trying to get by until they just, well, disappear.
But the story also makes a quiet pitch for an ordinary small life doing a repetitious job and living in a scruffy room, all alone. “It’s not so bad. It feels safe.” Simple existence.
To my mind this movie is probably more relevant now than it was then. At that time the little bunch of “cowboys” seemed sort of harmless deviants who did a lot of property damage but didn’t hurt much of anyone but themselves. The rage and craving that flame through this beginning century -- I wonder what Bill Burroughs would say about it. Now that the charred remains of so much is caving in on even the rich. It’s not the end of the world in any objective way, but we’re looking into a cratered dystopia that we knew was coming and couldn’t seem to oppose.
“Orpheus” doesn’t aim to save the world. It just suggests a pillow fight, some skate-boarding, and a community. Or, hey, let’s make a vid! But if you’re a boy dying of AIDS, you won’t die alone. And art is easier than crime.














