Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities, Craig Steven Wilder, 17 September 2013

Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities, Craig Steven Wilder, 2013

A 2006 report commissioned by Brown University revealed that institution’s complex and contested involvement in slavery—setting off a controversy that leapt from the ivory tower to make headlines across the country. But Brown’s troubling past was far from unique. In Ebony and Ivy, Craig Steven Wilder, a rising star in the profession of history, lays bare uncomfortable truths about race, slavery, and the American academy.

Many of America’s revered colleges and universities—from Harvard, Yale, and Princeton to Rutgers, Williams College, and UNC—were soaked in the sweat, the tears, and sometimes the blood of people of color. The earliest academies proclaimed their mission to Christianize the savages of North America, and played a key role in white conquest. Later, the slave economy and higher education grew up together, each nurturing the other. Slavery funded colleges, built campuses, and paid the wages of professors. Enslaved Americans waited on faculty and students; academic leaders aggressively courted the support of slave owners and slave traders. Significantly, as Wilder shows, our leading universities, dependent on human bondage, became breeding grounds for the racist ideas that sustained them.

Ebony and Ivy is a powerful and propulsive study and the first of its kind, revealing a history of oppression behind the institutions usually considered the cradle of liberal politics.

Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety, Eric Schlosser, 17 September 2013

Command and Control, Eric Schlosser, 2013

Democracy Now!, 18 September 2013: Thirty-three years ago [1980] …, the United States narrowly missed a nuclear holocaust on its soil. The so-called “Damascus Accident” involved a Titan II intercontinental ballistic missile mishap at a launch complex outside Damascus, Arkansas. During a routine maintenance procedure, a young worker accidentally dropped a nine-pound tool in the silo, piercing the missile’s skin and causing a major leak of flammable rocket fuel. Sitting on top of that Titan II was the most powerful thermonuclear warhead ever deployed on an American missile. The weapon was about 600 times more powerful than the bomb that destroyed Hiroshima. For the next nine hours, a group of airmen put themselves at grave risk to save the missile and prevent a massive explosion that would have caused incalculable damage. The story is detailed in Eric Schlosser’s new book, “Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety,” which explores how often the United States has come within a hair’s breadth of a domestic nuclear detonation or an accidental war. Drawing on thousands of pages of recently declassified government documents and interviews with scores of military personnel and nuclear scientists, Schlosser shows that America’s nuclear weapons pose a grave risk to humankind.

The Blood Telegram: Nixon, Kissinger, and a Forgotten Genocide, Gary Bass, 1 August 2013

The Blood Telegram: Nixon, Kissinger, and a Forgotten Genocide, Gary Bass, 2013

Gary Bass, The Blood TelegramA riveting history—the first full account—of the involvement of Richard Nixon and Henry Kissinger in the 1971 atrocities in Bangladesh that led to war between India and Pakistan, shaped the fate of Asia, and left in their wake a host of major strategic consequences for the world today.

Giving an astonishing inside view of how the White House really works in a crisis, The Blood Telegram is an unprecedented chronicle of a pivotal but little-known chapter of the Cold War. Gary J. Bass shows how Nixon and Kissinger supported Pakistan’s military dictatorship as it brutally quashed the results of a historic free election. The Pakistani army launched a crackdown on what was then East Pakistan (today an independent Bangladesh), killing hundreds of thousands of people and sending ten million refugees fleeing to India—one of the worst humanitarian crises of the twentieth century.

Nixon and Kissinger, unswayed by detailed warnings of genocide from American diplomats witnessing the bloodshed, stood behind Pakistan’s military rulers. Driven not just by Cold War realpolitik but by a bitter personal dislike of India and its leader Indira Gandhi, Nixon and Kissinger actively helped the Pakistani government even as it careened toward a devastating war against India. They silenced American officials who dared to speak up, secretly encouraged China to mass troops on the Indian border, and illegally supplied weapons to the Pakistani military—an overlooked scandal that presages Watergate.

Drawing on previously unheard White House tapes, recently declassified documents, and extensive interviews with White House staffers and Indian military leaders, The Blood Telegram tells this thrilling, shadowy story in full. Bringing us into the drama of a crisis exploding into war, Bass follows reporters, consuls, and guerrilla warriors on the ground—from the desperate refugee camps to the most secretive conversations in the Oval Office.

Bass makes clear how the United States’ embrace of the military dictatorship in Islamabad would mold Asia’s destiny for decades, and confronts for the first time Nixon and Kissinger’s hidden role in a tragedy that was far bloodier than Bosnia. This is a revelatory, compulsively readable work of politics, personalities, military confrontation, and Cold War brinksmanship.

(Finalist,  2014 Pulitzer Prize in General Nonfiction.)

Fruitvale Station, Ryan Coogler, 2013

Fruitvale Station, Ryan Coogler

Winner of both the Grand Jury Prize for dramatic feature and the Audience Award for U.S. dramatic film at the 2013 Sundance Film Festival, director Ryan Coogler’s FRUITVALE STATION [2013, 85 minutes] follows the true story of Oscar Grant (Michael B. Jordan), a 22-year-old Bay Area resident who wakes up on the morning of December 31, 2008 and feels something in the air. Not sure what it is, he takes it as a sign to get a head start on his resolutions: being better son to his mother (Octavia Spencer), whose birthday falls on New Year’s Eve, being a better partner to his girlfriend Sophina (Melonie Diaz), who he hasn’t been completely honest with as of late, and being a better father to Tatiana (Ariana Neal), their beautiful four year-old daughter. Crossing paths with friends, family and strangers, Oscar starts out well, as the day goes on, he realizes that changes are not going to come easily. His resolve takes a tragic turn, however, when BART officers shoot him in cold blood at the Fruitvale subway stop on New Year’s Day. Oscar’s life and tragic death would shake the Bay Area – and the entire nation – to its very core.

(Additional resource: Democracy Now!, “Fruitvale: Ryan Coogler’s Debut Film on Bay Area Police Slaying of Oscar Grant the Buzz of Sundance,” 25 January 2013.

The Square, Jehane Noujaim, 2013

The Square, Jehane Noujaim

The Square, 2013, 108 minutes: The Egyptian Revolution has been an ongoing rollercoaster over the past two and a half years [January 2011-July 2013]. Through the news, we only get a glimpse of the bloodiest battle, an election, or a million man march. At the beginning of July 2013, we witnessed the second president deposed within the space of three years.

The Square is an immersive experience, transporting the viewer deeply into the intense emotional drama and personal stories behind the news. It is the inspirational story of young people claiming their rights, struggling through multiple forces, in the fight to create a society of conscience.

Dirty Wars: The World is a Battlefield, Jeremy Scahill, 18 January 2013

Dirty Wars, Jeremy Scahill

Dirty Wars [2013, 86 minutes] follows investigative reporterJeremy Scahill, author of the international bestsellerBlackwater, into the heart of America’s covert wars, from Afghanistan to Yemen, Somalia and beyond.

What begins as a report into a U.S. night raid gone terribly wrong in a remote corner of Afghanistan quickly turns into a global investigation of the secretive and powerful Joint Special Operations Command (JSOC).

As Scahill digs deeper into the activities of JSOC, he is pulled into a world of covert operations unknown to the public and carried out across the globe by men who do not exist on paper and will never appear before Congress. In military jargon, JSOC teams “find, fix, and finish” their targets, who are selected through a secret process. No target is off limits for the “kill list,” including U.S. citizens.

Drawn into the stories and lives of the people he meets along the way, Scahill is forced to confront the painful consequences of a war spinning out of control, as well as his own role as a journalist.

We encounter two parallel casts of characters.

The CIA agents, Special Forces operators, military generals, and U.S.-backed warlords who populate the dark side of American wars go on camera and on the record, some for the first time.

We also see and hear directly from survivors of night raids and drone strikes, including the family of the first American citizen marked for death and being hunted by his own government.

Dirty Wars takes viewers to remote corners of the globe to see first-hand wars fought in their name and offers a behind-the-scenes look at a high-stakes investigation.

We are left with haunting questions about freedom and democracy, war and justice.

Kill Anything That Moves: The Real American War in Vietnam, Nick Turse, 15 January 2013

Kill Anything That Moves: The Real American War in Vietnam, Nick Turse, 2013

Based on classified documents and first-person interviews, a startling history of the American war on Vietnamese civilians.

Nick Turse, Kill Anything That MovesAmericans have long been taught that events such as the notorious My Lai massacre were isolated incidents in the Vietnam War, carried out by “a few bad apples.” But as award-winning journalist and historian Nick Turse demonstrates in this groundbreaking investigation, violence against Vietnamese noncombatants was not at all exceptional during the conflict. Rather, it was pervasive and systematic, the predictable consequence of orders to “kill anything that moves.”

Drawing on more than a decade of research in secret Pentagon files and extensive interviews with American veterans and Vietnamese survivors, Turse reveals for the first time how official policies resulted in millions of innocent civilians killed and wounded. In shocking detail, he lays out the workings of a military machine that made crimes in almost every major American combat unit all but inevitable.Kill Anything That Moves takes us from archives filled with Washington’s long-suppressed war crime investigations to the rural Vietnamese hamlets that bore the brunt of the war; from boot camps where young American soldiers learned to hate all Vietnamese to bloodthirsty campaigns like Operation Speedy Express, in which a general obsessed with body counts led soldiers to commit what one participant called “a My Lai a month.”

Thousands of Vietnam books later, Kill Anything That Moves, devastating and definitive, finally brings us face-to-face with the truth of a war that haunts Americans to this day.

The Act of Killing, Christine Cynn and Joshua Oppenheimer, 2012

The Act of Killing, Christine Cynn and Joshua Oppenheimer

The Act of Killing, 2012, 122 minutes: Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers.

Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar himself killed hundreds of people with his own hands.

Today, Anwar is revered as a founding father of a right-wing paramilitary organization that grew out of the death squads. The organization is so powerful that its leaders include government ministers, and they are happy to boast about everything from corruption and election rigging to acts of genocide.

The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act oKillingis a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.

A Love of Cinema. In their youth, Anwar and his friends spent their lives at the movies, for they were “movie theatre gangsters”: they controlled a black market in tickets, while using the cinema as a base of operations for more serious crimes. In 1965, the army recruited them to form death squads because they had a proven capacity for violence, and they hated the communists for boycotting American films – the most popular (and profitable) in the cinemas. Anwar and his friends were devoted fans of James Dean, John Wayne, and Victor Mature. They explicitly fashioned themselves and their methods of murder after their Hollywood idols. And coming out of the midnight show, they felt “just like gangsters who stepped off the screen”. In this heady mood, they strolled across the boulevard to their office and killed their nightly quota of prisoners. Borrowing his technique from a mafia movie, Anwar preferred to strangle his victims with wire.

In The Act of Killing, Anwar and his friends agree to tell us the story of the killings. But their idea of being in a movie is not to provide testimony for a documentary: they want to star in the kind of films they most love from their days scalping tickets at the cinemas. We seize this opportunity to expose how a regime that was founded on crimes against humanity, yet has never been held accountable, would project itself into history.

And so we challenge Anwar and his friends to develop fiction scenes about their experience of the killings, adapted to their favorite film genres – gangster, western, musical. They write the scripts. They play themselves. And they play their victims.

Their fiction filmmaking process provides the film’s dramatic arc, and their film sets become safe spaces to challenge them about what they did. Some of Anwar’s friends realize that the killings were wrong. Others worry about the consequence of the story on their public image. Younger members of the paramilitary movement argue that they should boast about the horror of the massacres, because their terrifying and threatening force is the basis of their power today. As opinions diverge, the atmosphere on set grows tense. The edifice of genocide as a “patriotic struggle”, with Anwar and his friends as its heroes, begins to sway and crack.

Most dramatically, the filmmaking process catalyzes an unexpected emotional journey for Anwar, from arrogance to regret as he confronts, for the first time in his life, the full implications of what he’s done. As Anwar’s fragile conscience is threatened by the pressure to remain a hero, The AcofKilling presents a gripping conflict between moral imagination and moral catastrophe.

Mea Maxima Culpa: Silence in the House of God, Alex Gibney, 2012

Mea Maxima Culpa: Silence in the House of God, Alex Gibney

Mea Maxima Culpa [2012, 107 minutes] investigates and exposes the atrocious crimes of a Milwaukee priest who sexually abused more than 200 deaf children in a school under his control. Through this disquieting story and others, Alex Gibney’s documentary explores the secret cover-up and the procedures enacted by the Catholic Church in light of thousands of sexual abuse accusations all around the world. The accounts and facts incriminate prominent and powerful figures within the Church, including Marcial Maciel Degollado and His Holiness, Benedict the 16th. Using photos, video and first-person interviews, the film pieces together past events to empower four courageous deaf men – Terry Kohut, Gary Smith, Arthur Budzinski and Bob Bolger – in their quest to denounce the actions of their abuser and protect other children from harm. Their stories, the first known public protest against clerical sexual abuse in the United States, are vividly told through sign language and voice-over. For providing a harrowing story of clerical sexual abuse, empowering long-silenced victims and unveiling clandestine Church practices around accusations, Mea Maxima Culpa receives a Peabody Award.

Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power, Seth Rosenfeld, 21 August 2012

Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power, Seth Rosenfeld, 2012

Subversivesis based on some 300,000 pages of FBIdocuments, pried out of the resistant agency over more than two decades in a series of Freedom of Information Act lawsuits. The papers largely concern FBI surveillance, disinformation, and other monkey business during the student revolts that roiled the University of California at Berkeley in the 1960s….

Everyone knew that the FBI had no love for student leftists, but Hoover’s intense hatred for Kerr [president of the University of California system] is the major revelation of Rosenfeld’s careful and thorough book—and it was a revelation for Kerr as well when Rosenfeld shared some of this material with him shortly before Kerr died in 2003. “I know Kerr is no good,” Hoover scrawled in the margin of one bureau document.

Although Kerr was largely reviled by the activists of the Free Speech Movement, who were—quite rightly—protesting his university’s ban against political advocacy on campus, he was far more than the colorless bureaucrat he appeared. For one thing, he had a wry sense of humor, at one point quipping that the real purpose of a university was to provide sex for the students, sports for the alumni, and parking for the faculty. More importantly, he was a man of principle. From 1949 to 1951, for example, the university was riven by a fierce controversy over a loyalty oath required of all employees. More than sixty professors refused to sign, and thirty-one of them, as well as many other staff, were fired. Though a staunch anti-Communist, Kerr spoke out strongly against the firings and the witch-hunt atmosphere surrounding them. His stands on such matters won him the enmity of right-wingers, and he was soon on Hoover’s radar.

The heresy that Hoover feared most was not communism; it was threats to the power of the FBI. And so what pushed him over the line from hostility to absolute rage at Kerr was an exam question. University of California applicants had to take an English aptitude test, which included a choice of one of twelve topics for a five-hundred-word essay. In 1959, one topic was: “What are the dangers to a democracy of a national police organization, like the FBI, which operates secretly and is unresponsive to criticism?”…

[T]he misuse of intelligence-gathering for political purposes, from Ralph Van Deman and the Palmer Raids to J. Edgar Hoover and his meddling with a university board of regents, should make us aware that such things can happen again. The combination of electronic data collection, a vague and nebulous foreign threat, and tens of billions of dollars pouring into “homeland security” each year is a toxic mix, ripe for new demagogues. Subversives is a timely warning. That essay question on the 1959 University of California entrance exam is one we must never stop asking.