Thai-Burma Border

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The Road to Burma

Under threat of military reprisals Sebastopol physician Ben Brown and a cadre of colleagues bring medical aid to refugees on the turbulent Thai-Burma border.

By Janet Wells

WE HOP OFF a flatbed truck in the middle of a dusty rutted road in western Thailand, our faces and clothes clogged with the grit of two hours of open-air travel. As our driver lurches up a hill and out of sight, we turn to look at the low rugged hills rising just beyond the banana fields withering in the heat of the dry season: Burma, our destination, although we are far from any official border crossing.

Lugging bags of cucumbers, tomatoes, catfish, and cabbage, we walk a well-worn path through the fields to the banks of the Moie River, where we find two small bamboo rafts waiting to carry us over to one of the refugee camps dotting the Burmese side of the war-torn border. It takes several trips to ferry 10 people and supplies on the rickety rafts, which sink a few inches in the clear green water. On the other side, children and adults, sheltered by umbrellas against the scorching sun, stand silhouetted against the horizon, watching our arrival.

We are not supposed to be here, and I half expect Burmese soldiers to come bursting out of the jungle, waving guns and shouting in a language inscrutable to Western ears. But the camp is quiet, almost motionless during the sweltering midday hours, and I realize that we are not the ones in danger. When the sun goes down, we get to leave, back to where there are no bombs falling, where soldiers aren’t burning our homes and fields, where there is enough food and water.

The people here, ethnic Burmese forcibly moved from their villages and relocated to this desolate border camp just a stone’s throw from Thailand, have only the luxury of hope.

Sebastopol resident and family-practice physician Ben Brown has been spending his vacations in the battle-scarred villages along the Thai-Burmese border since 1989, when, as a fourth-year medical student, he took off for northern Thailand with the idea of working at one of the refugee camps along the borders of Burma, Laos, and Cambodia. An American doctor sketched a crude map on a napkin, pointing the way to a makeshift refugee medical clinic near Mae Sot, a border town northwest of Bangkok.

Committed and compassionate, with a ribald sense of humor, Ben has a penchant for jumping up onstage to play harmonica or drums. His stories of the Burmese people, the politics, the land are hard to resist. Ben raises thousands of dollars each year for the clinic through his brainchild, the Burmese Refugee Care Project, or BRCP, and when he returns each year to Thailand, he almost always has friends or colleagues in tow.

Veronica Vuksich, a 45-year-old Santa Rosa osteopath and HIV expert, is returning to the clinic for the third time. In 1994, she was part of one of the first mobile medical teams to foray deep into the Burmese jungle to offer treatment in remote villages. Veronica faces more than the usual language barrier of working in an area where little English is spoken. Deaf in one ear and hearing-impaired in another, Veronica relies on lip reading. “But not with the medics here,” she says cheerfully. “They have completely different phonetics.”

Sebastopol photographer and freelance writer Diana Cushing, 46, has known Ben for 10 years. When Ben hit upon the idea of the Burmese Refugee Care Project, Diana offered to extend the non-profit status of her own group, Arete, which she started in 1984 to help orphaned children in Ethiopia. Diana first visited the clinic last year, and is coming back to write a story, she says, “because I love it here.”

Dana Harrison, Berkeley resident and a former Charles Schwab & Co. vice president, is in the enviable position of being retired at age 38.

Ben Brown



Like me, Dana is seeing the clinic and the western border area of Thailand for the first time. It is early March, the beginning of the hot season, and the five of us converge at the Mae Tao Clinic, known to most locals simply as Dr. Cynthia’s out of respect for its chief physician Dr. Cynthia Maung. A bustling, ramshackle compound that sees 20,000 patients a year, the clinic offers the only care in the area for refugees, many of them suffering from jungle malaria. More than a few come in with land-mine and shrapnel injuries.

March is the busy time of year along the border, when the military historically steps up its operations against the ethnic Burmese and pro-democracy groups who oppose its rule. Last year and the year before, the Kway Kaloke refugee camp, located in Thailand only a few miles from the clinic, was shelled and burned.

This year, there are rumors of a March 27 onslaught.

Far from the neon and commercialism of Bangkok or the palm-studded beach resorts of the south, Mae Sot is a town with a frontier feel, the Wild West of Thailand. In this border town ripe for smuggling Burmese gems and drugs, the streets teem with a mixture of cultures and races. The town is accessible by tortuous mountain roads or two short flights from Bangkok, which offer aerial views of patchwork fields surrounded by dense hilly jungle. Brilliant green in the wet season, the rice fields now are seared and brown, the air smoky from seasonal burns.

At the outskirts of Mae Sot, we pull up in front of a motley collection of structures and shacks. Most are open-air, the predominant materials bamboo, broad dried leaves, and concrete floors.

Dr. Cynthia Maung’s house is at the entrance, the front door seemingly always open, people and dogs lounging around the stoop. There’s the old clinic, Ben says, pointing to a large wood house on stilts. Continuing the tour, he points at a thatched roof bungalow: the outpatient clinic. In its three classrooms, the medics conduct immunization, family planning, prenatal, and nutrition sessions. The new inpatient hospital, just completed two weeks ago, much of it funded by BRCP donations, is at the back of the compound. The most high-tech building, the clinic’s cinderblock and corrugated-tin-roof hospital boasts 18 plank “beds” with vinyl covers, and IV fluid bags nailed to bamboo poles. There’s a volleyball net over hardscrabble dirt, a small store, and, impossibly, it seems, a flower garden thriving in the tropical heat.

The sprawling compound represents a major improvement over the clinic’s start in a converted dirt-floor barn with just one medical text. Dr. Cynthia, as everyone calls her, escaped the Burmese capital of Rangoon in 1988 and established the clinic to treat the influx of refugees fleeing Burma’s repressive military regime, the State Peace and Development Coalition. Maung intended to leave for 10 days to protest the mass killing of pro-democracy demonstrators, then return to resume her medical practice.

She has not been back since.

We sit in the shade of the quiet outpatient clinic, closed on Sunday, and enjoy the slight breeze that wafts through every so often. Tacked to the split-bamboo screen are sun-faded posters of Burmese democracy leader and Nobel Prize winner Aung San Suu Kyi and the U.N. Bill of Human Rights. Both are ubiquitous in the border area, in guest houses, and in restaurants–and often are the sole decoration in refugee huts.

We ask Ben about cultural no-noes, and he tells us the basics: Don’t point your feet at anyone, don’t pat babies on the head, don’t wear short skirts if you’re female, and if you’re male, he says, wear the right kind of skirt.

It seems that Ben, eager to fit in with the Burmese men during his first stint at the clinic, decided he would wear a cool saronglike longyi. He bought a subdued grey and black flower-patterned cloth and wrapped it around his waist. “When I came out, one of the medics turned around and literally fell on the ground laughing. He finally managed to squeak out, ‘That’s, that’s a woman’s pattern,'” Ben says, laughing at the memory. “Men’s longyi are checked. But the Burmese give you a lot of leeway because you’re foreign.”

Our first stop is the Kway Kaloke camp, where 10,000 refugees make their home in thatched huts on stilts. An estimated 5 million Burmese are refugees of some sort, most of them from the ethnic Karen, Shan, and Mon tribes. Some are displaced within the country, others are living in camps in Thailand as officially registered refugees, many are living in Thailand illegally. Burma–renamed Myanmar by the ruling military–was once a thriving agricultural nation known as the Rice Bowl of Asia. Now, after more than a decade of civil strife, it is one of the 10 least developed nations in the world.

Ben, like most of the several dozen ex-patriots from Europe and America working in the border area with humanitarian aid groups, tries to stay as far away from the convoluted politics of war as possible. “You have to know the politics, but not give it too much weight, because it’s depressing,” Ben says. “You have to know it so you don’t get killed. You don’t want to go somewhere that’s going to be shelled.”

Kway Kaloke, Ben assures us, is safe during the day. But Westerners all leave by sunset because of the nighttime attack strategy of the DKBA, an ethnic Karen splinter group in alliance with the military regime. BRCP donations built the orphanage at Kway Kaloke and provided funds for art classes and a women’s sewing project, which was destroyed by shelling last year.


Diana Cushing (top and left) and Ben Brown (right)

In country: Caught between feuding factions in a bloody civil war, a Burmese family forced to relocate to a refugee camp bides its time (top); Santa Rosa osteopath Veronica Vuksich and Burmese medic Hmo Motin examine a woman at the camp’s makeshift clinic (left); a young freedom fighter exhibits his grenade launcher (right).

The camp’s Thai police officials, who are watching television in the shade under a hut, allow us in, and we find a lively group of children scissor-kicking over a piece of rope held high by their friends. The kids are barefoot, their faces grimy and clothes stained. They laugh and push each other, every now and then glancing sideways at the tall foreigners clicking pictures.

Ben starts juggling and within seconds is the pied piper of the camp, leading a throng of enthralled boys and girls. He does magic tricks, pulling a coin out of one boy’s ear, a red handkerchief out of another’s. They chatter and giggle, wide-eyed with surprise as things disappear and reappear. Veronica whips out her video camera and is buried under a swarm of kids eager to see their images on the view screen.

We climb a short bamboo ladder into a hut and greet Hser Paw, daughter of the camp’s headman and a resident of the camp since 1984. Wearing a longyi and a blue-striped Nike shirt, she sits on the bamboo slat floor. The roof and walls are made of tightly layered leaves from a teaklike tree. There are two open levels and two small areas sectioned by bamboo screens. There is no furniture; a single door is made of cardboard.

Sweet-voiced, with a luminous smile, 32-year-old Hser Paw struggles with English as she tells the story of running into the fields last year to escape shelling by Burmese troops.

Her mother was hurt by mortar shrapnel, she says, and her family’s hut burned to the ground. Their hut burned two years ago as well when soldiers set fire to the camp.

“Every people are frightened that tonight the Burmese will come,” she says. “Some children when they hear the noise of bullets, they are shaky. We are afraid. But we have to sleep here. We have to sleep.”

Hser Paw translates for her uncle, who displays a poignant faith in international support. “If the United Nations came and took care of us for six months, it will be peaceful in Burma,” he says, speaking Karen. “Because the United Nations stands for the whole world.”

Cool enough for a blanket during the night, it is already getting hot by 8:30 the next morning. I find Dana walking up the road toward Mae Sot. She is grinning hugely. “Mango and sticky rice,” she says, holding out a Styrofoam box procured from a street vendor. “Food orgasm.”

The final component of breakfast nirvana, she says, is Thai iced tea at the River House. I follow her into a cozy restaurant that caters to the ex-pats in town: real coffee, classical music, banana pancakes, Bangkok newspapers. No one minds that we brought our own food; they even offer forks to eat the special rice soaked in sweetened coconut milk, covered with succulent mango slices.

This is not Dana’s first trip to Thailand, or her first contact with the Burmese. She tells of a 1993 trip to Mae Hong Son, a provincial capital in the north, when she met two young men who said they were Burmese Freedom Fighters. “I asked where they learned such good English, and when they said ‘Rangoon University,’ I said, like a hostess, ‘Oh, how nice! And what are you doing now?’ ‘Living in the jungle,’ they told her, trying to evade capture by military soldiers who, they say, usually work the conscripts to death.

Diana Cushing



“I asked them if they would go for amnesty in the United States, and they said if they did their country would never enjoy the freedoms we have,” Dana says. “They were incredibly educated about democratic principles. I felt like I was talking to Patrick Henry and Thomas Jefferson.

“It really struck me,” she adds. “I came back to California, and that year there were a lot of those really stupid ballot measures. We have options and freedom and this is what we’re doing with it? The contrast was tremendous.”

At Maung’s house, Diana is compiling a tongue-twisting list of acronyms representing the 30 non-governmental organizations funneling aid to the clinic. Ben suggests unifying groups that are working in the same areas, and Maung reminds him of the politics of humanitarianism. “It’s difficult to do it without creating conflicts between governments and the NGOs,” she says. “It’s better to keep it small and focused.”

The heart and soul of the clinic, 39-year-old Maung is seemingly unflappable, even in the midst of endless bureaucracy, sick patients, and visitors all wanting a piece of her time. The clinic is much like a small business, requiring more than $150,000 annually in donations and grants to cover medicine, food, rent, lab tests, orphan care, fees to the Thai hospital in Mae Sot, and training for more than 100 refugee medics. Dressed in a green-striped longyi and white T-shirt, her long black hair in a loose ponytail, Maung sits in her “office”–two chairs and a low table separated from the kitchen by metal filing cabinets and bookcases.

Ben has an almost reverential respect for Maung. “She has a quiet confidence, an unconscious caring. She’s like a mother,” he says. Ben helped deliver her first child, a boy she named Nein Chan, which means “peace” in Burmese.

Ben almost canceled his trip this year when he heard that Maung was scheduled to travel to the United States in March to meet with congressional and U.N. leaders. He figured he would be needed more as an escort, easing her foray into the international spotlight. But Maung declined the trip, worried that she would not be allowed back into Thailand since she is a Burmese refugee with no passport.

“I want to see other parts of the world,” she says, her voice quiet. “But it’s risky. And in the dry season on the border, it’s more fragile. The fighting has already started inside [Burma]. People in the camps are not secure.”

In one of the clinic’s bamboo-screened outpatient rooms, Veronica consults with Tamara Horwich, a Columbia University medical student, about a 33-year-old man complaining of pain near his belly button. Tamara feels a mass and wonders if it is some kind of infection.

In the West, says Veronica, doctors would immediately order a blood count, CAT scan, and biopsy. Here the main tools are reasoning skills and experience. Veronica diagnoses a tumor, probably non-Hodgkin’s lymphoma, she says. There is no radiation treatment available, so Veronica, with medic Ah Mang translating, explains the condition and answers questions.

“It’s frustrating sometimes not to be able to give the standard of care [we’re used to in the West],” she says. “But we can help them understand what’s going on and what to expect.”

Veronica sees patients and helps train the medics in everything from rashes and HIV to diarrhea and nutrition. While the clinic has little in the way of technology, there’s a sense of freedom, she says, that Western medicine lacks. “This isn’t diluted with insurance forms, legal ramifications. “There’s not a lot of bureaucratic overlay. It’s very rewarding,” she says. “This is where I can practice real medicine.”

In the cool of the morning we leave the clinic for the refugee camp inside Burma, standing in the truck for much of the two-hour drive. The camp has grown from 200 to 4,500 residents in less than a year. The residents were forced from their homes, but, unlike Burmese refugees in Thailand, they are allowed to walk back to their villages during the day to tend their coconut and mango trees and animals.


Janet Wells

Juggling act: Ben Brown entertains children at the camp.

We cross the Moie River and carry food supplies up to the camp clinic, a single bamboo hut next to a field charred and ashy from recent clearing.

We walk up a scrub-covered hill to the camp’s church-funded school, where the students sing Christian hymns in Burmese. One young boy proudly recites the ABCs for us. Although teaching any language but Burmese in the camp schools is prohibited, students learn a smattering of English, Thai, and Karen. In the distance we hear the sound of drums and cymbals, and catch a glimpse of a colorful parade through trees thick with dust.

Four youngsters, dressed in lace and sequins and gold-trimmed finery, their faces rouged and powdered and shaved heads covered by ornate flowered headdresses, are re-enacting the legend of Siddhartha giving up the riches of royalty.

It is an annual rite of passage for Burmese boys who choose to become Buddhist. Men carry the boys on their shoulders, and a crowd of musicians and well-wishers holding bright umbrellas against the afternoon sun weaves through the camp to a make-shift temple in one of the huts. The boys, dark-eyed and solemn, sit above everyone, drinking juice. The symbolism of sacrifice seems almost jarring in a place where most families have little more than one pot for cooking.

After a traditional Burmese lunch of jungle vines, catfish, and vegetables in an oily curry paste, I walk toward the creek, trying in vain to find a pair of elephants spotted earlier in the fields.

“What’s so incredible is the amount of suffering all these people have gone through,” says Diana, returning from a picture-taking foray. “I look around the camp and think, wow, I can take great photos, it’s beautiful. But their lives have been blown apart.

“My son gets freaked if he has a bad dream or sees a weird movie. These kids are living a weird movie,” she says. Even in the shade with the creek burbling nearby, the air is hot and close, smelling of smoke and sun-baked dirt. Three men work in the sun to fix a waterpipe snaking from the creek to a newly tilled field. “People can go through so much and still smile. You see the depths of the human will come forth,” Diana says.

She muses about returning to Sebastopol in less than a week, to the comfort of her own car, her own house, her family. “The hardest thing about coming back to Sonoma County is how isolated people are,” she says. “It will feel strange to go to Food for Thought, where you roll your little cart down the aisle, instead of the open market where people are wearing colorful clothes, bumping into you, spitting, saying hi.

“It’s important to get out of the bubble in California and wake up to what’s happening in the world,” Diana adds. “Burma is not the only place. There are so many places that have their own unique version of the same situation.”

On the ride home, we all lie down in the truck bed, drained by the day’s heat. Our driver stops to pick up a Thai soldier, and I learn from Ben that our access to the camp is no accident: Maung’s supporters cultivate friendships with Thai authorities. The Thais officially are neutral in the conflict between the Burmese military, the pro-democracy forces, and the ethnic tribes. Wanting to remain on peaceful terms with their neighbor, Thai officials have done little to stop forced relocations or attacks on refugee camps even in Thailand. Many refugees live in fear of being deported.

Ben talks quietly about the day at the camp and about his past trips to the clinic. The sun slowly sinks, a golden glow reflected in the roadside jungle and fields. “There’s always a lesson for me,” he says, his voice mellow and sleepy. “I’m never sure what it’s going to be.”

The next morning I see Dana at the River House, looking very glum. “I had a little situation last night,” she says, leaning forward. “But I don’t want to talk about it here.”

We finish breakfast and walk toward the town’s open market. She explains that she had gone out late in the evening to buy a soda, and started talking to a man in his 50s who spoke excellent English. “He invited me to sit, and I said that I didn’t want to sit because I had been on a long truck ride. He said, ‘Oh, a long truck ride? Where to?’ When I told him about going into Burma, he proceeded to basically grill me.”

Who was she with, what did she see, how many in the group, what were the names of the camp’s teachers, the man asked. “I’m such an American, I was, like, ‘Blah, blah, blah.'”

When the man mentioned that he was a businessman from Myanmar, Dana’s guard went up. “No single other person that we’ve run into has said ‘Myanmar.’ I started being vague, and got the hell out of there. The good news is that I didn’t mention Maung, Ben, any names of organizations,” she adds. “But I did mention the name of the camp, the school, and that they teach Thai, Burmese, Karen, and English. He was all over that.”

Ben had Dana re-create the entire conversation late that night. “This is not good,” he told her.

Diana Cushing



“He didn’t pretend to be Karen, so he’s probably not a Burmese secret agent, but he’s probably high up, and there’s a likelihood of him going and telling someone that there’s an American group that went into the camp,” Dana says. “I just feel so stupid.”

Ben tells Dana that his cover story when visiting Mae Sot is tourist-trekking to border waterfalls and seeing friends. For fear of reprisals, he asks me not to print the name of the refugee camp in Burma or the last names of many of the refugees.

“He felt badly that he didn’t warn us more,” Dana says. “His advice is to treat this as though you were in a spy movie.

“This is a war zone.”

My last night in town we go to Crocodile Tears, where the Thai owner plays American cover songs on the guitar. “This place is like Mae Sot’s Cheers,” says Ben, waving at a group of ex-pats coming in the door. “You walk in and everyone’s like, ‘Hey! Hi!'” The owner’s wife starts playing a large table dulcimer called a Crocodile, the bar’s namesake. Haunting and rollicking at the same time, the music gets everyone clapping and makes me feel good and a bit melancholy, as if there’s a sad story under the chords.

An apt ending to our sojourn to the Burma border, I think, as we all raise our glasses in a toast.

Back in Sebastopol three weeks later, we sit around Ben’s kitchen table, looking at Diana’s photographs. In between bites of stir-fry noodles and tofu, Ben brings us up to date. March passed with no military action, he says. And the BRCP raised an unprecedented $43,000 just in the month he was in Mae Sot.

A man from Boston, who had read about the BRCP on the Internet, showed up with an astounding $10,000 in cash, and some travelers from Oakland who were in the area looking at Burmese antiques dropped by the clinic and plunked down $400.

Then a couple from the East Bay, who are longtime BRCP donors, made their first trip to the clinic. Ben gave them the grand tour, showing them the new hospital, taking them to Kway Kaloke camp, and to a special Burmese dinner.

Dana put together a funding proposal totaling $33,000 for a new computer for the mobile medics program, a microscope for a satellite medical clinic, and two years’ salary for an administrator. “We thought they’d fund just one project,” says Ben. “They funded all.”

As always, Ben says, he receives more than he gives on his trips to the border. “I’ve only been back a week,” he says, blue eyes shining as he looks out the window at sheep roaming in a neighbor’s pasture. “But everything here is so much easier than when I left. I’m feeling a lot of gratitude for simple things–a hot shower, a bed, being able to cook in my kitchen, and having a sink. It’s a real comfort and ease with what I have.

“That’s a gift.”

Dr. Ben Brown will host a slide show to benefit the Burmese Refugee Care Project on Thursday, April 29, at 7, at the Luther Burbank Center. For more information, call 522-9701, e-mail BR**@*****or.net, or check the BRCP website.

Owing to the threat of police retaliation, the exact location of the refugee camp has not been disclosed.

From the April 15-21, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Double Take

Life Is Beautiful.

Mary Doria Russell and Peter Carey discuss ‘Life is Beautiful’ and ‘The Last Days’

By David Templeton

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This column is not a movie review, but a freewheeling discussion of popular culture.

Mary Doria Russell is the best-selling author of The Sparrow and Children of God, a hard-hitting, two-part science fiction epic she gleefully describes as “Jesuits in space.” The winners of numerous awards, Russell’s astonishing extra-terrestrial tragedy is the saga of an intelligent, well-meaning band of priests and scientists from Earth who attempt to make mutually-beneficial first contact with the inhabitants of a distant planet. Peter Carey is the Australian-born author of Oscar & Lucinda. His recent best-seller, Jack Maggs, is an absorbing tale of a convict from the prison colony of Australia who illegally returns to London to (unwittingly) face his own ghosts with the help of a nefarious hypnotist.

What follows is a complete transcript of the Talking Pictures conversation with Russell, Carey and interviewer David Templeton.

Russell: Did you notice the stunned silence in the theater? As if no one could bring themselves to get up and walk out on the credits. It felt as if, to walk out on the credits would have been an insult. That film, to me, should be required for anybody who goes and sees one of these exploitative comedies, like Life is Beautiful. I get angrier and angrier when I think about that film, and The Harmonists and Jakob the Liar [an upcoming Robin Williams comedy/drama set in the Polish ghettos of World War II] and all the rest. If you go to those films you should be required afterwards to see The Last Days.

Carey: [Addressing Russell] I didn’t feel your sense of intense anger about Life is Beautiful when I saw it. But I’m perfectly capable of feeling it now. But when I did see it, I certainly had a lot of reservations, while enjoying a lot of things about it. But there were things that didn’t quite make sense, that were badly done. But I was thinking, there are assumptions that are made about what people know already about the Holocaust. So when you say what you just said–a film like Life is Beautiful is read differently by people who know about the things shown in this film–as opposed to your 13 year-old son, or even someone’s 30-year-old sons and daughters–who have no idea. I don’t know what that leads to, but …

Russell: I was only annoyed before. But after seeing The Last Days … This was an intensely emotional experience, and I was completely unprepared for how enraged I am by use of the Holocaust for entertainment. So there. I’ve really put a damper on this conversation, haven’t I?

Carey: Well, I think the film put the damper on the conversation, really. After watching this, almost everything around us seems trivial.

Russell: Yes.

Templeton: Anything we say would be only restating what the film has already said much better. I’ve seen a number of documentaries about the Holocaust, and I almost always prefer them to fictional films about the same subject, including Schindler’s List, although even that was …

Russell: … based on a true story. Only based on.

Templeton: Right. And yet this film, The Last Days, was among the most powerful I can remember, because it did balance those images, the mountains of bodies, with those very minute, highly personal details of the survivors lives. And those who didn’t survive. By flowing back and forth between the Big Picture and the Small Personal Picture, I think it really got through any emotional barriers people might but up.

Russell: This is the one that I would want people to see. This was made to educate people about the Shoah, as opposed to using the Shoah to educate people. That’s a subtle distinction, but it’s important. You don’t take the Holocaust and make it into a tool to teach people about “man’s inhumanity to man.” Okay? That’s appropriating the Holocaust. It’s using it for a larger purpose. This film was to educate people about this one event in history, an event which belongs to those people who were victims of it, who experienced it, who survived it. I think that’s something that very few people get. The difference between using it to teach, and teaching it. A subtle difference, but extremely important.

Templeton: I think that your anger, your angry reaction to films like Life is Beautiful and The Harmonists is very important. Because anger is something we’re always so uncomfortable with. When people are upset at any cause that is important to them–and they display a sense of anger or outrage–our initial reaction is to calm those people down, make them feel better, and shut then up as quickly as possible. [Turning to Carey] Though it refers to an entirely different situation than the Holocaust, I was struck by something I read in an interview you once gave, where you were talking about reading David Copperfield, and recognized that the character of Magwitch was an ancestor, a convict sent to Australia, and that your reaction was one of anger.

Carey: Well, yes. But let me tell you. The intensity of that anger was not at this level. [He gestures toward Russell.] I mean, they are real feelings, and they’re not manufactured, but it’s not like this. And I feel wary of even getting into that conversation, because it feels like getting into a book promotion chat, and that also feels … sort of inappropriate right now.

Russell: I’ll be very honest with you, and tell you that one of the reasons this hit me so hard, is that my third novel is about the Jewish underground in Genoa during the Nazi occupation of Italy. That’s what I’m working on right now. I’m Italian by heritage, and I’m a Jew by choice. So this brings together two elements of my background to do this.

Templeton: You were raised a Catholic, weren’t you?

Russell: You can’t even go that far. I was raised as a Catholic in a very spotty manner, because my mother happened to have married a Catholic and had to promise to raise the children in that religion. I never saw my parents in a church, outside of weddings and funerals, my whole life. So it’s not like I was ever very Catholic. I was an atheist for many years and … it’s a long story. I’m writing about an era of history, and about a place, where there was an 87 percent survival rate. Okay? The Italian part of me wants this to be known, that there was one place in occupied Europe where the opposite percentage of deaths took place–when compared to the rest of Europe–where the people of the villages where Jews lived, and in the cities and the neighborhoods, where the people did not turn on them when the Nazi’s rolled into town. Where people did simply accept refugees that knocked on their door in the middle of the night. I spoke to one woman who is collecting stories for Steven Spielberg in Northern Italy. One woman talks about when she was a very small child–I’m not sure how old she was–they were from Austria, and they got off the train in Italy and literally went to the one place where there was a light on. And her mother knocked on the door, and the woman who came to the door began to scream at them. ‘I’ll have nothing to do with strangers like you.’ They were very obviously Jewish, of course. ‘I’ll have nothing to do with foreigners.’ And as she’s screaming this, she’s writing an address down. She hands this address to Maryanne’s mother, and they go to this address and 20 minutes later, this woman arrives with milk and blankets for the children, and says, ‘I’m sorry. I had to yell. We have a fascist who lives across the street and we had to make an opera for him.’ For the next 20 months that woman took personal responsibility for making sure that Maryanne Krause’s family lived through one of the most brutal and vicious occupations of World War II. Because they knocked on her door in the middle of the night. Now, I have interviewed Italians on both sides–Italian Jews, and Italians who helped, who became rescuers. And what you hear these Italian rescuers saying, over and over again, is, ‘Oh, I didn’t do anything special. Anybody would have done that.’ We’ve just seen a documentary that shows how few people did help, and how extraordinary the Italian reaction to the occupation was. To know that at the end of those 20 months, they had lost only 10 to 12 percent of their Jewish population–still a terrific die-off rate–but compared to the 90 percent that was occurring elsewhere, it’s extraordinary.

Carey: Yeah.

Russell: Now, where am I going with this? I want to tell the story of people who were decent, who maintained their common humanity during this awful period of time. And who paid a terrible price for it. Villages were leveled when they were found to be harboring Jews. And everyone knew this was the price they’d pay if caught. Early on in the occupation, the Nazi’s would randomly round up and shoot ten Italians for every one German who was killed. They’d be executed in public. So everyone knew what the price was for going against the Germans. So I may be fueling this feel-good aspect of the Holocaust. And I’m appalled by that. So I’ve been mentally rewriting the end of my book, thinking, ‘Damn! I’m going to have to kill all of my characters off, to show that they paid the price.’ I’ll have to have readers invest their emotions in these people, only to kill them all off–and that’s too much like my first two books. [Laughs.] So I’m suddenly saddled with this professional ethical problem. I was horrified when I saw the trailer for The Harmonizers. I thought, ‘Oh my God! Another one.’ All about how, if you only had enough courage back then, you could up and slug a Nazi–and get a way with it. They would have put a bullet through his brain that second. He’d have been spattered all over that dining room. But I’m sure that’s not what happens in the movie. And I doubt very sincerely that particular incident was part of the true story.”

[She pauses, taking a deep breath, then shaking herself as if to shake off the tirade.]

Carey: Well. The thing that I was thinking about, and it’s not so much to do with Great Expectations or Magwitch or any of those things, but I was thinking about the whole business of … I was thinking about myself. And I was thinking about guilt, and about responsibility, and about why Australians are the way they are. The history of Australia is not only that the place was this terrible prison, it was a concentration camp.

Russell: Yes. Absolutely.

Carey: So there are twin things at work here. The first thing being, there’s this horrible concentration camp which effects a country forever. Who we are, how we act, and everything, are to a huge degree determined by that concentration camp experience. Then the other thing that happens is the aspect of genocide. When you’re thinking about Australia, and what’s our moral inheritance, it’s a very complicated thing. Because on the one hand you have these people who are, well, some of them are political prisoners, but for the most part they are a criminal underclass that have been sent away.

Russell: If they’d done anything really serious they would have been hung back in England.

Carey: Well, sometimes they gave them the lesser sentence to be nice to them. So it’s very complicated for we Australians to think about this, that our ancestors were murderers and thieves. But it’s also complicated for us because we’ve done two things with this information. Some of them have just started denying that convicts and imprisonment had anything to do with our past. And then, more recently, others started this thing of thinking it was cool to have a convict ancestor. Australians have to do this really complicated thing, of hating their forebears. There are so many threads of self hatred at play in the Australian personality, and part of it has to do with, well … It’s why, when you’re an Australian and you visit Germany, they’re very interested in talking to you. It’s quite under-the-surface, but it’s there. We have something in common. Our forebears did unspeakable things. That might sound rather glib, but …

Russell: That’s very interesting. I listen to you talking about how there’s this sense of responsibility at war with the notion that we ought to be proud of our ancestors. One of the things that happens when you try to universalize the Shoah, for example, and make it into “a lesson for all mankind,” as opposed to its being its own horrible event–is you begin to develop the notion of collective guilt. That Germans who were born in 1950 are somehow responsible for the things that their grandparents and their parents did. I reject that. I think they are responsible for learning everything that they can to know about it, and to prevent other things that are like it from happening. I think that, partly, it’s why the Germans were in so much agony about Bosnia. To watch the genocide happening again. To see other people being lulled into that sense of, ‘Well, it’s not happening in my country, it’s not about me, it’s a civil war and I don’t have to get involved.’ Until very recently, Germany has been one of the most liberal country’s in Europe about accepting refugees. Because of the their commitment to learning from their past. So I don’t accept collective guilt.

Carey: But there’s guilt and then there’s responsibility.

Russell: You’re responsible for what you can do today, now, right at this moment. You are not responsible for what grandpa did.

Carey: Absolutely.

Russell: My grandfather did time for armed robbery. I do not feel responsible for that.

Carey: Yes, of course. So responsibility is good–and that assumption of guilt is very unhealthy–I agree.

Russell: But, should you choose to follow in your forebears footsteps, you know exactly what kind of guilt you’re getting yourself into.

Templeton: There was an incident that took place here in the Bay Area when Schindler’s List came out. A predominantly black high school had a field trip, and sent an entire class of students to see the movie. The expectation was that these black underprivileged students would identify with the oppressed Jewish people in the camps. What happened was, to the horror of the adults in charge of this event, that the students started laughing at the most brutal moments of the film, even cheering when prisoners were executed.

Russell: I remember when that happened. I think it was simply adolescent nervousness with anything that touches them. Teens are so scared of their own emotions that they laugh to distance themselves from those feelings. But going back to the idea of universalizing the Holocaust and turning it into something different, I’ve heard blacks in this country describe slavery as a holocaust. But it wasn’t a holocaust. It was, in its own way, something equally horrifying, but they didn’t put blacks into ovens. They didn’t shoot them by the hundreds and push them into mass graves. They bred them like cattle. Don’t lose track of that specific particularity, don’t lose sight of that specific inhumanity by trying to equate it with the Holocaust. The Shoah has become the great global metaphor for all inhumanity. When, in order to maintain a sense of the real breadth and depth that our species is capable of, you’ve got to keep in mind what specific things humans have done to one another. To be bred like cattle for four centuries, to be treated as property over that period, is a horror that needs to be understood and remembered on its own terms. In Australia, it wasn’t a holocaust, it wasn’t a genocide …

Carey: It was in Tasmania, but anyway.

Russell: Yes. Well, in Tasmania there were the sweeps. That was a genocide. But on the Australian mainland, the idea was, ‘to make smooth the pillow of the dying race.’ The assumption was that Europeans were obviously the pinnacle of evolution, and the march of progress was such that these poor benighted people were destined to die out. So it was a great surprise to everybody when their numbers actually went up. But the notion was that the aborigines were on their way out and the Europeans would be present to make things nice at the inevitable conclusion of their race. That’s a different kind of particular tragedy that must be remembered and dealt with on its own terms. But not by using the Holocaust as a metaphor.

Templeton: I have to ask, not being up to speed on my Tasmanian history, what happened there?

Carey: There are no native Tasmanians in Tasmania. The last full-blooded aboriginal Tasmanian died, I can’t remember when, in the late 19th century.

Russell: In Tasmania, there were sweeps, very much like through the valleys of Italy during the last months of the war, where the Germans would start at one end of the valley just sweep through looking for Jews. In Tasmania, it was essentially the same thing. There would be lines of hunters, literally beating the quarry, just like they would have done with animals, shooting anyone who came in front of them. Tasmania’s not that big an island, so they’d start at one end, and move across. Now, again, that’s a tragedy that deserves to be remembered in its own way. They were exterminating vermin. The thread here is, that whenever the notion of group superiority raises its head, atrocities of this nature are bound to follow. There’s the commonality. The belief that the Europeans had a right to rid Tasmania of Tasmanians, because they were Europeans. You have the Germans believing that they are the Ubermenschen, so they have the right to rid the landscape of Untermenschen. You have European slave owners in the early Americas, who believed they had the right to use other people’s labor and lives as their property and their tools. The common thread in all of this, is the dangerousness of public belief in their superiority.

Templeton: This is why groups like the Religious Right are so frightening.

Russell: Don’t get me started. Now, here’s a question. How do you take a child and make him believe that he is someone who is superior? And that his superiority gives him permission to rob and rape and kill?

Carey: I don’t know that it even has to do with that.

Russell: There is a cultural element to it.

Carey: Yes, but it’s to do with groups, isn’t it? It’s not to do with, you know, you love your little boy to death, and you give him all this great self esteem and he grows up to think he’s got the right to do anything he wants. What we’re talking about is not the way one person behaves, but how groups behave. It’s how tribes, and groups, and families and everything work. We are we, and the others are other. And then one group strikes out against another. It’s happening all the time. Look at Bosnia. Look at Kosovo. We’ve always done it. It’s horrible.

Russell: Of course. You can’t explain Hitler by saying, ‘It was this,’ or ‘It was this,’ or ‘It was this.’ It was all of those things. It wasn’t either or. It was and, and. It was all of those things at once.

Carey: I think, sadly it’s part of being human. Human beings keep on doing this kind of thing. It’s part of who we are. We are continually, continually, continually doing these things. What is it about us? And how do we stop?

Russell: So it was many things. But I honestly believe that a lot of it was the human equivalent of fear biting.

Carey: Fear biting. Is that a commonly used term?

Russell: It is when talking about dogs. Dogs who bite are commonly called ‘fear biters.’ They are animals that have been abused to the point where their first reaction to any stress is to bite. And I think that when you find people who are fundamentally afraid–and it may be fear of insignificance, fear that they really are at the bottom of the heap, maybe because they deserve to be, or fear of being hit before they have a chance to hit first. There was a great amount of physical violence against children in this generation that came up with Hitler, that was so vulnerable to Hitler’s appeal. I think fear is at the root of a great deal of violence.

Carey: I’ve just been reading this biography of Coleridge, by Richard Hart. It’s an amazing book. And there’s Coleridge traveling around Germany in, what? 1798. And he was talking about the really horrible anti-semitism in Germany and the awful way Jews were being treated–and this was 1798. So anti-semitism was present way back in the time of Coleridge.

Russell: I just did a talk for the Cleveland Archdiocese Catholic women’s group, just before I left. I was their keynote speaker at this spirituality conference, and somebody asked how I felt about Jesus. I had to say, ‘Look, I don’t have a lot or feelings about him, but I do get nervous around Easter.’ And there was this big laugh. And I think the laughter was the assumption that, because I am apostate, having been raised as a Christian and having rejected Christianity, that I was worried somehow about my faith. But the rest of my sentence was, ‘Because that’s when the attacks on the synagogues come.’ And there was just silence in the room. No one knew how to react. And I said, ‘Look. I’m not blaming all anti-semitism on Christians, although God knows you’ve done a lot of it. Anti-semitism goes way back, It was there among the Egyptians, and the Greeks, and the Romans, We’ve pissed a lot of people off through history. In Judaism, I think, there are a lot of things that tend to make people deeply uncomfortable. Probably the central issue is that we seem so clear and sure that the god that other people worship is our God.

Carey: I’d like to suggest that a lot of anti-semitism comes from a certain Christian arrogance, too.

Russell: Sure. They come along and write this book of scripture, appropriate ours, but call it the Old Testament while theirs is the New Testament. The new improved Testament. But anti-semitism is very old, and it goes back long before there were Christians.

Templeton: I’ve been rereading Exodus lately, preparing for a panel discussion nest week on the subject of Moses in the movies.

Russell: Oh God.

Carey: Speaking of Moses, I’ve been thinking a lot about something. I was in Chile, having another harrowing experience everyday, trying not to cry every minute for ten days. It was quite recently–with a South African writer, and Australian writer, and a Chilean writer. It was extraordinary. A life changing experience. We went around doing these series of colloquium, in various cities. We ended up in this one coastal area, where–this is it’s claim to fame–there was the biggest earthquake ever recorded–now, what happened on this day in 1960 something.

[Russell uses her arms to pantomime waters parting.]

Carey: Yes. The waters parted. Yes. That’s exactly what happened. And the local detail is sort of amazing. It’s a place of beautiful rolling green hills, and a harbor and a river. When the earthquake struck, causing huge destruction, and then the sea sucked out, far, far out. And what was revealed? Ancient shipwrecks. Ancient. Now, most of the people, being sensible folk, headed for the hills, because they knew that what goes out comes back in. And indeed, believe me, I saw ships that were picked up when the waters did rush back in, and these ships are now imbedded in the hills way up river. But some people did go down to these old galleons to look for treasure. And then the waters came back in with a rush, and that was that. So when I think of Exodus and the parting of the Red Sea, now I know what it was. It must have been a thing like this.

Russell: You know what’s interesting? There actually is an Egyptian account of what we celebrate as Passover, only it’s from the Egyptians’ point of view. It’s from long ago, picked up from written records over three thousand years old. And their version of the story is that the Jews, while enslaved in Egypt, had been making a lot of converts to monotheism. So the Egyptian gods were getting fewer and fewer followers. People were switching over to a one-god form of theology. So the Egyptian priests rose up against the Jews and threw them out of the country. We didn’t demand to be let go, they threw us out because we were a bad influence. Since so few people were doing sacrifice to the Egyptian gods, those gods were liable to get angry soon, so the Egyptians lives and way of life were at risk. So they tossed us out on our ear.

Carey: I like that story better than the other one.

Russell: I thought it was a wonderful story. ‘Hey, the Egyptians are letting us go. Let’s get the hell out of here!’ And my feeling is: and, and, and. Both are true simultaneously.

Templeton: I’d have liked to have seen that in Prince of Egypt.

Russell: You know, we were talking earlier about our books being adapted to the screen. I took my 13 year old son to see Prince of Egypt.

Carey: You didn’t.

Russell: I did.

Carey: Didn’t.

Russell: Did. And we enjoyed it.

Carey: I’m going to leave.

Russell: Oh stop. So as we were walking out of the theater–and they’d basically made the movie into a buddy picture, not about God and Moses, but about Moses and Ramses looking buff together with California accents–we walk out of this thing, and my son said, ‘Mom. Not even God could get a faithful screen adaptation.’

Carey: That’s marvelous.

Templeton: Talking about generalizing your message, Prince of Egypt fell all over itself to please every religion with some claim to Moses. Have you checked the Prince of Egypt web site? There are study guides posted, “For religious use of the film,” that are available in a dozen different religious flavors. There’s a Catholic study guide, a Mormon study guide an orthodox Jewish study guide, a Islamic study guide. You name it, they’ve got it.

Carey: You mean the studio provided these guides? Ahhh, shit. That’s amazing.

Russell: And you have to ask yourself, how many people ran out after the film and bought the book? That’s the big question.

Templeton: Bought the book. [Laughing]. Well, I went back to the book. I reread Exodus, thinking, ‘Wait a second.’

Russell: [Laughing.] Wasn’t Moses a much older man? And didn’t he stutter? And where’s God? He completely drops out of the movie as a character, but God the main character in our version.

Templeton: Val Kilmer did the voice of God too, just like Charleton Heston did in The Ten Commandments.

Carey: We all know God doesn’t talk like that.

Templeton: What does God talk like?

Carey: Only you would know that.

Templeton: Not anymore. Actually, I’m a former-fundamentalist. Years ago, in high school, I was severely born-again, and remained that way for about seven years. Now I look back on that experience as if I’d belonged to a cult. And when I began to see it in terms of being a “cult survivor,” I was able to put things in perspective.

Russell: Things became clearer to you.

Templeton: Yes. And though my experience was nothing like what happened to the people in this film, I did flash on something during the film. Last year, I traveled back to Southern California, to the church that I’d belonged to, as part of a story I was doing on my experiences as a born-again. I walked through those same doors, and talked to some of the same people. And all these old memories and emotions and even a lot of the pain of that time came flooding back. Like the ocean returning after being pulled away by that earthquake. In the film, The Last Days, we saw the survivors each return to their villages, their homes, and to the camps they’d been held in. And they brought their families, their children, their grandchildren, and showed them those places. I liked that they didn’t go back alone, just they and the camera crew, but that we saw them experiencing this flood of memories with someone they loved, someone they could pass the memories down to.

Carey: I think those were among the most moving moments in the film. To see the children and grandchildren trying to comprehend what had gone on there.

Russell: When I went back to Italy to do research for the third book, I went with a man named Alfred Feldman, who was a nineteen year old Jewish boy when he came across the Alps, in occupied Southern France, in 1943. Southern France was occupied by the Italians, and the feeling was, that if you could get over the Alps and into Italy, the war was over. You were safe, finally. Everybody believed this. But of course, when they got across they woke up on September 9, and realized that they were now an occupied country. Everything had changed. It had all turned on a dime. I was walking with Alfred Feldman, who had come across the Alps with the Italian fourth army, and he took me step by step, through the little villages where he was helped, we found the little seminary where he and his father were hidden, because at the beginning of the occupation they felt that they could get people out of Genoa via the sea, and could get them down below the line. The assumption was that the Americans would be there at any minute. ‘Any minute now. A week or so, It will all be over. The Americans will be here.’ What was interesting to me was, that when Alfred went back to these places where he’d been hidden, what everybody we met said was, ‘Oh. We were so worried for you. We were so worried you hadn’t made it.’ And they pointed to these tiny little caves on the sides of sheer drops of mountains, where they had hidden Alfred and his father while the troops were moving through, going house to house, searching for Jews. Nobody ever said anything about, ‘We were so frightened that we’d be caught. We were afraid we’d be killed for helping you.’ Their focus was entirely on the people they’d been helping to protect. And to see that 55 years later. I watched their eyes. I watched their faces. At no time during any of these conversations did they reveal that they’d been concerned for their own safety. It was just remarkable.

Carey: So, we’ve talked about how anti-semitism has been around forever, all over. I wonder, listening to you before, if the degree of anti-semitism in Italy was considerably less than it was in Germany or other places.

Russell: Absolutely. At the time, there was a Jewish admiral in the Italian navy, there were Jewish generals in the Italian army. Starting from the unification of Italy in the late 1800s, the Italian Jews were given full citizenship. So they are enormous patriots. It was eerie to listen to the Hungarian witnesses talking about how proud they were to be Hungarian citizens. Not just Jews, but Hungarians. And of course they were completely assimilated. They looked like everyone else, there was a lot of intermarriage.

Carey: But what influence did the Catholic Church have. How did the church fit into all of this.

Russell: Okay. Good question. The Catholic Church. Let me tell you, Pope John Paul II is loved by the Italian people. He’s more popular there than anywhere in the world. They love him. But what country has the lowest birth rate in the world? Italy. Obviously, someone in Italy is using birth control. So the Italians love the Pope, but they pay no attention to him at all. The Italian attitude toward authority is very different from the rest of Europe. In Germany, authority figures are almost deified. German respect for authority goes very deep. In Italy, a disdain for authority goes very deep. The last time they were well-governed was what, Emperor Hadrian? You have to go back 1800 years to find a really good government in Italy. Getting around the government is like a national indoor sport in Italy. So one word from the authorities in Rome, and everybody goes on about their business exactly as they please. Italian Jews, by the way, are typically not businessman, as they were in Germany. Italian Jews are typically in civil service jobs, or in the military. Because the Jew’s history in Italy is to have been part of the war for unification, that followed Garibaldi, and so on.

Carey: My son the soldier.

Russell: Exactly. My son the soldier. My son the captain. My son the general. So Italians were in a very different place at the beginning of World War II. They had a Jewish prime minister, and about 20 percent of their population were university professors. So scholarship, civil service and the military was where you found Italian Jews. Even though the Jews were a tiny minority, everybody knew somebody Jewish, respected somebody Jewish. And because there was a lot of intermarriage, every Italian Jew had Catholic relatives. That was the upside of intermarriage. The Jews had somebody to go to for help.

Carey: Yes. Well. That didn’t work out so well in Hungary did it?

Russell: I don’t know if there was very much intermarriage in Hungary though. I’m really not sure.

Templeton: You know what’s disturbing, maybe this tells us something about human nature. We’ve just watched a film jammed with memorable moments, unforgettable stories and people. The woman hiding the diamonds from the guards in the camp. The man almost unable to step forward when he saw what remained of the ovens. The soldier showing the Mennorah made of nails from Auschwitz that had been given to him by one of the prisoners he’d helped. All these amazing images. But still, the face that I’ve flashed on the most often in the last hour, was the face of that Nazi doctor.

Russell: Dr. Munsch. He’s a fascinating character, isn’t he?

Carey: What’s frightening about him is his terrible total ordinariness.

Russell: Yes. I’ve seen him before. He’s rather well known. I do think he deserves some respect though, for how forthcoming he’s been, for the way he’s handled what can only be a devastatingly ugly part of his own personal history. He was a young doctor at the beginning of the “Nazi Vision.” I don’t remember everything I’ve read about him, but I do remember one extraordinary story that he told about being in Auschwitz, where one of the camp cooks had come to him and asked for a pass to go to the place where the bodies were. And the doctor, Dr. Munsch asked why do you want to go there, and the cook said, ‘We’re short on meat.’ And Doctor Munsch said, ‘Surely you don’t feed the prisoners meat?’ and the cook said, ‘Oh no. This is for the officers.’ That was when he asked for a transfer out.

[Dead silence.]

Carey: Well. Who knows what went on there?

Templeton: What I wanted from Dr. Munsch was an apology. When he’s sitting with the one woman survivor, who lost her sister and mother in the camps, I wanted him to say something apologetic. But he was so cold and businesslike.

Carey: This is a guy who’s been tried for war crimes, right? And he’s also agreed to do this thing, he will sit before a camera and answer questions.

Russell: He’s the tame Nazi doctor.

Carey: That’s his job. It’s not his job to apologize. It’s his job to answer questions and to tell stories about what happened in Auschwitz.

Russell: I can’t tell you, from other documentaries I’ve seen him in, if I’ve ever detected any sense of remorse on his part. He does feel that, under the circumstances, he was a moral man, performing harmless experiments on the Jews so that they’d be kept from the ovens. They’d come to him instead for his ‘harmless experiments.’ So he does, in some ways, see himself as a rescuer of Jews. And he may have saved lives. There may even be some ethical reason to accept this.

Carey: There may be. Whichever way it goes. Whether he’s actually saved lives or he’s merely come through this and been acquitted of criminal charges, he doesn’t feel that it’s incumbent on himself to apologize. And that’s very disturbing. When you look at his face, there’s a horrible mystery about that man. What the apology would do is to help diminish that horrible mystery. We’d be able to put it to bed a little more easily.

Russell: He was in another documentary, I think it was called ‘The Nazi Doctors.’ It was about the idea of ‘racial hygiene,’ and the fact that it was doctors who essentially invented Nazism. It meshed with what Hitler wanted to do very well. It took his psychosis and meshed that quite nicely with their biologically-based racism. They thought of what they were doing as public health. And Dr. Munsch, in his various interviews, presents himself as someone who asked for a place to practice medicine outside the cities. He wanted to get out into the country where it was nice. So they offered him this position at Auschwitz. He says he never actually did anything bad to any of the patients. But he admits to have done ‘The paperwork.’ And that, of course, is one of the ways the Nazi’s found to make this all acceptable to people; they divided the murders up into steps. So everyone can say, ‘Oh, all I did was turn a little knob.’ ‘All I did was wave the train through.’

Templeton: Do you believe he’s telling the truth, that he really did only harmless experiments on these people?

Russell: I don’t know.

Carey: See, that’s the truly horrible thing. You really can’t know. So we end up looking at ourselves and thinking, Who am I looking at? What am I capable of?

Russell: In my book, my Nazi doctor is someone who started off practicing medicine, was involved in the euthanasia program, and was eventually transferred to Auschwitz. He comes to a priest to confess, that he has personally killed 9,836 people. What do you do with that? The priest says, ‘What do you expect from me? What penance can I give you?’ Let’s take Dr. Munsch. Let’s say that he did, in fact, find himself being swept along with this tide, and that he did commit atrocities. We have very little concept of what it was like to be a German back then. We know that they were using propaganda. If you are in a world where everyone and everything, from the newspapers to your friends and family, were presenting this as the right thing to do, what do you do? My great fear is that by making my character understandable, I am making him sympathetic.

Carey: I think the most important thing though is to show that the monster is not that other person, you know, the monster is us. And if you are doing that, then you are doing something really important. It’s too easy to merely make them one-dimensionally evil.

Templeton: Evil is never one-dimensional.

Russell: There’s this horrible idea in my mind that they might want to make this new book into a movie. Now that I’ve done it once–I’ve signed a contract allowing my book to be made into a film and seen what they tried to do with it–I’m going to insist on a ‘no-cliché clause’ in my next contract.

Carey: Good luck.

Russell: It will say, ‘The Italians are no Mafiosi, the Jews are not tragic victims waiting to be rescued–in Italy, in fact, they were part of their own salvation–and the Nazis are not psychotic monsters.

Carey: Well, I tell you what. If you get a contract like that, you can publish it, and every writer in the world will buy it just to read it, and you’ll make a fortune.

The Last Days plays Thursday, April 15, at 7 and 9 p.m. at Washington Square Cinema, 219 S. McDowell Blvd., Petaluma; 762-0006. The film plays May 3-6 at the Rafael Film Center, 1118 Fourth St., San Rafael; 415/454/1222.

Web extra to the April 15-21, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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Del-Fi label tribute is way cool

Various Artists Delphonic Sounds Today! Del-Fi

The success of the 1987 La Bamba soundtrack sparked an interest in the late rocker Ritchie Valens and rekindled the Del-Fi label that issued his hits. After nearly 30 years of dormancy, this L.A. label is feted by an alt-rock, trip-hop, avant-pop lineup that includes the buzz-saw guitar attack of the Brian Jonestown Massacre, Georgia neo-surfers Man or Astroman?, and the twangy supergroup Los Straightjackets, all plumbing the rich Del-Fi vaults for some of highly underrated ’60s garage rock and pop. Often the results are captivating, particularly the haunting acoustic-based flower pop of Baby Lemonade, who reinvent Barry White’s 1967 hit single “All in the Run of a Day.” Sixties biker-flick mavericks Davie Allan & the Arrows sling stinging guitar licks on their cover of Bobby Fuller & the Fantastics’ instrumental “Our Favorite Martian.” And the Dekes of Hazzard–actually alt-rock guitar slinger Deke Dickerson–lend a psychobilly shiver to “The World’s Greatest Sinner,” an obscure 1963 B-side penned by a record-store clerk named Frank Zappa. And, of course, Ritchie Valens is represented in the teen-prom-night ballad “Donna,” sappily reinterpreted by Powerjive main man Elliot Kendall. GREG CAHILL

Joe Henry Fuse Mammoth

If the idea that a ’90s indie-pop songwriter should try stylish trip-hop production is no longer special, then Joe Henry can at least say he had that idea years ago. But his new disc, Fuse, is still waiting to be lit. Henry’s persona evokes an intersection of Leonard Cohen and Peter Gabriel, where grim, stark, confessional folk balladry meets a modern ambient dance-pop beat. On the plus side, Henry has a hip jazzy chamber music bent; on the down side, he’s soft and lethargic. Just as ’90s trends had Henry poised to seize the moment of folk-pop hybrids, he comes up shy on song and style. KARL BYRN

Kelly Willis What I Deserve Rykodisc

Alt-country journeywoman Kelly Willis has a right to some of the chip that’s on her shoulder–after a shoestring career as a critics’ favorite with no sales. But she’s finally landed on the maverick indie label Rykodisc, where her straightforward country-pop should get some deserved support. What I Deserve is a crisp neo-country study in sincerity, where Willis says all of the right things. What’s missing? The dynamic explosions that might otherwise push the alt-country envelope. K.B.

Various Artists Fish Trees Water Blues Bullseye

Save the world and groove mightily to boot. J. J. Cale, Ani DiFranco, Keb’ Mo’, Robert Cray, Sonoma County bluesman Charlie Musselwhite (with Bob Weir & RatDog), John Lee Hooker, Ruth Brown, and Branford Marsalis are among those contributing to this CD benefiting the Earthjustice Legal Defense Fund’s campaign to save salmon, ancient forests, and wild rivers. And you get a glorious gospel shot on “I’ll Fly Away” from Mavis Staples. Good vibes. Good grooves. Good cause. G.C.

From the April 15-21, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Director Robert Altman

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Indie Spirit



Robert Altman blasts Hollywood and discusses his new film, ‘Cookie’s Fortune’

By Nicole McEwan

I DON’T HAVE personality problems,” says director Robert Altman, referring to the notoriously troubled relationship he’s maintained with Hollywood over his long career making such critically acclaimed films as The Player. “I’m no maverick. It’s quite simple. The major studios and I and the business that they’re in are simply incompatible. I can’t make those films they sell, and they can’t sell the films I make with the machinery they have set up. Essentially, they sell shoes, and I make gloves.”

Because our conversation takes place only two days after the Oscars, the talk inevitably turns to that Hollywood institution. The 74-year-old director, speaking by phone from his office in Manhattan, bluntly compares this year’s Best Picture upset to the Holyfield/Lewis boxing debacle.

“It’s so wrong, boring, self-congratulatory, and fixed,” Altman says. “It’s not like someone actually puts money in your pocket to buy your vote; they just assault you with ads, which should be banned. Of course, that’s what Oscar is all about: advertising. It’s not about truth or any real thing. It’s not about the actual craft and it never will be.”

As for Shakespeare in Love, Altman goes on to describe Miramax, the company behind the evening’s biggest winner, as a “scavenger which picks up work when it’s already half-finished.”

In the year when George Lucas is releasing a large, but limited amount of Star Wars prints to ensure long lines at the multiplex, Altman’s cynicism about the economics of the business that has only sporadically embraced him seems less sour grapes and more harsh reality. It’s hard to avoid feeling that American cinema has become much like designer jeans–presold in splashy ads with A-list stars stamped on movie posters like corporate logos.

“This whole trend started in the ’50s,” Altman says. “Studios started telling us how much money they were making. Before then the public never thought about cost, profit, or loss. Now that’s all you hear about. It’s a different type of marketing. I have to laugh–or else I’d cry.”

This weekend, the director’s own new film, Cookie’s Fortune, hits theaters across the country, fresh from its showing in February at the 1999 Sundance Film Festival. Before a cheering crowd at the Utah festival, Robert Redford introduced the director with a heartfelt observation: “When one thinks about the definition of independent film and what it means, in my mind there is no greater example of that than Robert Altman.”

Altman quickly stirred the audience to laughter with his reply: “I was given a great opportunity 30 years ago, at what used to be the best festival, and it’s still OK. They call it Cannes.”

The year was 1970, and the tenacious Kansas City-born director had survived two decades of on-and-off work as a bit actor, writer, and TV series director. His first two films, Delinquent( 1957) and Countdown (1968), bookended that long climb. Then came M*A*S*H, the blissfully irreverent satire of the daily lives of Korean war medics. The film earned him the Palm d’Or at Cannes and an Oscar nomination for best director.

Suddenly the former World War II bomber pilot, ex-engineering student (he invented a machine for tattooing IDs on dogs), and insurance salesman was hot property. Having once said, “Filmmaking is a chance to live several lives,” Altman had already lived at least a dozen.

In the 30 years since, Altman’s output has included modern classics like McCabe and Mrs. Miller and Short Cuts, with numerous small gems, such as The Long Goodbye, strewn along what Altman calls his “journey.”

Cookie’s Fortune, his 31st film, stars Glenn Close, Julianne Moore, Patricia Neal, and Liv Tyler as three generations of women in the antebellum South. Like Ready to Wear, it’s a murder mystery with no murder. It’s also a Southern Gothic comedy of errors that gently spoofs Tennessee Williams while pointing a moralistic finger at “genteel” society.

Hardly a careerist, Altman takes on only those films that interest him. He chose Cookie for the ironic opportunities its setting presented.

“I love to look at these small towns in America where everybody knows exactly what everyone else is doing, yet they all pretend to know nothing,” he explains.

UNLIKE such mad perfectionists as Alfred Hitchcock, Altman has a technique that might best be described as jazzlike in its improvisational quality. Casting, he says, is “90 percent of the job. Once that process is done, I pretty much turn the work over to the actors. I don’t like to get in the way. If a film wound up coming out the way I envisioned it in the beginning, it wouldn’t be a very good film. So it’s a surprise. How can I sit there and ask the audience to be surprised if I myself am not?”

Surprisingly, though his career has spanned five decades and at least three so-called comebacks, the director has few regrets, other than losing Ragtime to Milos Forman in 1980.

“I know that there’s not a filmmaker alive, nor has there ever been, who has had a better shake than me,” Altman says. “I have never been without a project that I chose, [a project] of my own creation.

“Meanwhile, the press will come along and say, ‘Oh, God–the ’80s, where’d you go? Your career just crashed. … Did you have to eat off the street or what?’ My response is, ‘Well, I was doing great stuff, you just didn’t see it.’ To me those films that are dismissed by the general ‘publicity’–I just don’t see them from that negative standpoint, so I really don’t know how to answer those questions.”

Philosophically, he adds: “Really, there’s only one person who can like all my films, and that’s me.”

Relentlessly energetic, Altman is already preparing Mr. T and the Women–a comedy about a “pussy-whipped gynecologist.” He’s also at work producing Alan Rudolph’s follow-up to Breakfast of Champions, which has its U.S. premiere at the Rafael Theater in San Rafael on April 16 (see Film listing in calendar for details).

“The main thing which saves me is that I’m always working,” Altman says. “All that shit disappears and I’m really with the people I love. I’m creating, the actors are exploring, and the whole process is exciting. Overall, it’s a great way to spend one’s life.”

From the April 15-21, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Michael Quigley of Cafe Lolo

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Quick & Quigley

Michael Amsler



Cafe Lolo’s chef runs at high-high speed

By Marina Wolf

MICHAEL QUIGLEY is a big, fast man. Even his clipped, rapid-fire voice barrels through conversation. And his stocky frame slips easily between the tiny tables of Cafe Lolo with the ease and rapidity born from the scramble of a dozen hotel kitchens.

Indeed, the busy but relatively peaceful little restaurant he has had in Santa Rosa for six years seems almost antithetical to the Sheraton Hotel kitchens and sprawling spa facilities where Quigley got his chops after graduating from the well-known Johnson & Wayles University on the East Coast. “At one place I worked there were 90 cooks on the schedule,” says Quigley.

Now, between Cafe Lolo and his upscale catering operation, Quigley manages just 10 people. He’s planning to expand into the next-door space for more tables, but the popular restaurant will probably never be more than barely pocket-sized. Quigley seems OK with that. “When I was at the resorts and hotels, I didn’t think I wanted to have a small place,” he says, staring out of the window at the occasional passing car on Fifth Street. “But now that I’m doing this, I prefer it, because I’m my own boss. I can’t imagine going back to work for somebody else now.”

Quigley has always found it a little difficult to work for someone else. He recalls the comment that dogged him throughout high school: “Michael could do so much better if he’d only apply himself.”

“I got good grades because I did well on my tests and quizzes, I raised my hand and knew the answers, I participated in class, but I never did my homework, ever,” he says with not a trace of shame.

Of course, now that Quigley has applied himself, he’s focused like a bullet. Consistently high marks from local and regional press pack the house most days and nights. The catering business takes up slack, too. And even when the restaurant’s theoretically closed, Quigley does not have time to sit down. He’s up and answering the phone, chatting with the kitchen staff, checking delivery notices, getting a chocolate chip cookie for the rug cleaner who espouses the wonders of the recipe between crumb-dropping mouthfuls (talk about job security!).

Quigley’s parents, when they visit from out East, are amazed at his pace; his wife, Lori (aka Lolo), is not. Because she’s working there all day, too. “I know some couples would be, like, ‘Oh my god,’ ” says Quigley about the close and constant proximity. “But we’re actually not doing the same job. She’s in the front and I’m in the back, so it’s not as bad.

“Before we had the restaurant, I used to work so many hours. And the [worst] part, I was like, shit, I miss being around my wife. So now at least we’re working on something together, and even though it’s work, we’re able to spend a little time together.”

BESIDES BEING a gigantic sinkhole for time, the sheer scale of hotel work multiplies all the things that could go wrong. And in a hotel, the problems are that much bigger. Quigley remembers a notable disaster that occurred when he was the banquet chef at the Sheraton Palace in San Francisco. At the final party of the winter holiday season, they served bone-in chicken to a party of 150. “There was just a little bit of pink around the bone, which is common. The chicken was cooked,” says Quigley emphatically. But the woman in charge of the group saw the pink and took drastic action. “She got right on the microphone and said, ‘Nobody eat the chicken. The chicken is raw!’ ”

Quigley shakes his head as he remembers how he and his crew scrambled for 150 replacement entrées. “I was so pissed off,” he says laughingly. “Because I was looking at the chicken, and it was fine. It was cooked!”

EVEN IN food-savvy Sonoma County, Quigley still contends from time to time with people’s misconceptions about how food should be cooked. Take seared ahi, for example. “Some people, they ask for their ahi well done, and then they send it back, and say, this is really dry. Well, yeah!” Quigley snorts in disbelief. “If you see seared ahi on the menu, what do you expect? Seared on the outside, raw on the inside.”

With his innovative California menu and a drive to experiment, one might say that Quigley is just begging for that sort of misunderstanding. He recently reintroduced beef cheeks to the menu. Sounds unlikely, like setting out fish nostrils on the antipasto platter, but Quigley is nuts about the flavor. “[The cheeks] are so tough you have to braise them for hours and hours. There’s a lot of muscle going on there, because the cow’s chewing all the time. But if you braise them for several hours, they have such a beefy flavor. They’re so good. … I’m getting sidetracked here,” Quigley blinks and sits up from his reverie.

Animal faces aside, Quigley retains a fairly uncomplicated attitude about what he puts in his own mouth. He gets breakfast at the Cookhouse, chows down on barbecue at family reunions, hits as many ethnic restaurants as he can, and takes it all in happily. “If I go somewhere for dinner, I only have the expectations of what the restaurant is. I don’t expect that it should be this great, grand, glorious thing. As long as I get what I expect.”

People would be surprised, in fact, about how down-to-earth most chefs really are. Quigley says that the myth that chefs are always “on” gets in the way of his social life sometimes: He’ll get invited for dinner and sit down to a plateful of the cook’s performance anxiety instead. “I hate it when people do that–‘Oh, I can’t cook for you.’ I say, ‘Yes, you can. Please.’ ”

Quigley smiles almost wistfully. “Fix me whatever you’d normally fix. I love home-cooked meals. Make meatloaf. I don’t care. It’s just nice to have somebody else cook for me.”

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Sonoma County Authors

Fresh Crop

SPRING HAS SPRUNG, and you know what that means. No, we’re not talking about hay fever. The really momentous bounty sprouting up around the county is the latest flowering of books by local authors, who have produced a bumper crop that’s nothing to sneeze at. Reviews are by Shelley Lawrence, Patrick Sullivan, and David Templeton.

Anne Hill with Starhawk and Diane Baker
Circle Round: Raising Children in Goddess Traditions
(Bantam; $25.95)
“CIRCLE ROUND, and I’ll tell you a story.” Thus begin several of the tales and legends in Circle Round, a collaboration between Sebastopol author/ songwriter Anne Hill, Berkeley lawyer Diane Baker, and best-selling author-activist Starhawk. The book–identified in the foreword as a resource the authors wish they’d had years ago–is a compendium of stories, crafts, songs, games, rituals, and recommendations, all designed for parents who are raising their children in the goddess and pagan traditions. Clever, inspiring, and jam-packed with ideas, the book divulges the authors’ own hard-learned parenting lessons, with numerous practical examples and step-by-step instructions on the building of altars, organization of kid-oriented rituals, creation of story circles–even a complete guide through the major pagan holidays of the year. Eye-opening for anyone interested in passing on alternative nature-based knowledge to the next generation of Earth Keepers –D.T.

Daedalus Howell
The Late Projectionist
(Soco Arts & Media; $12.95)
THE SONOMA County Independent‘s own theater critic graces us with his first novel, a torrid tale of angst (both existential and not) set in a surreal little town a bit like Petaluma. Our narrator is a frustrated and slightly delusional would-be film director coping with art, love, and life while searching for a leg up (or at least a crumbling foothold) on his foundering career. Is he condemned forever to small-town Dullsville and his career as a beleaguered movie theater projectionist? Or will he reach the escape velocity attained by his former girlfriend, now a world-class concert cellist? Still, a mere summary of The Late Projectist‘s story line misses the book’s true strength, which is the hilarious interaction among the narrator’s charmingly bizarre circle of slackers, swingers, stymied geniuses, and other miscellaneous malcontents. Howell’s gift for dialogue is this novel’s greatest asset.–P.S.

Morris Turner III
America’s Black Towns and Settlements
(Missing Pages Productions; $12.95)
THIS HISTORICAL reference guide by Sonoma County author Turner offers information on approximately 200 independent communities established by African Americans in nearly all 50 states. Many of these communities were founded during the Black Exodus in the late 19th century, when African Americans sought to escape the racist laws, lynching, and land theft that pervaded the South after the Civil War. Turner’s book seeks to recover the hidden history of these pioneers and their unique communities. There are tragedies here, such as the story of Magala Island in Maine, whose all-black population was declared insane so that whites could grab their land. But there are also extraordinary tales of the triumph of courage and self-reliance.–P.S.


Close Encounters with Deadly Dangers: Riveting Reads and Classroom Ideas
(Libraries Unlimited; $19.50)
KENDALL HAVEN–renowned Sonoma County author and educator (and the only known West Point graduate ever to become a professional storyteller)–has learned an important lesson through his many face-to-face experiences with child-filled audiences: Kids like to be scared. In Close Encounters with Deadly Dangers, Kendall has infused the study of natural ecosystems with the same edge-of-the-seat, scare-them-out-of-their-wits suspensefulness he employs in telling ghost stories around the campfire. For use at home or in the classroom, the marvelously innovative book conveys factual scientific information about 17 different natural habitats of the world–from the South American Amazon to the deep blue ocean to the Alaskan wilds–the highlights of which are Haven’s occasionally bloody, often knuckle-biting not-so-tall tales featuring the ravenous adventures of a porpoise-eating tiger shark (the story is called “Tiger Jaws”), a female anaconda putting the squeeze on a very surprised caimen (“Squeeze Play”), a pack of wolves on the trail of an ox (“Howl of the Hunt”), and my favorite (“Feeding Frenzy”), the tale of three boys testing the waters of their jungle river for the presence of piranhas (I’ll let you in on a secret: The piranhas are there!). Along with other tales about scorpions, cobras, crocodiles, and Komodo dragons, Haven’s ingenious book is highly recommended, for teachers, parents, and scare-happy kids.–D.T.

Tosca Lensi
Beloved Disciple; Daughter of Logos
(LP Publishing; $12.95;
call 933-9077 to order)
AT THE END of the Gospel of John, in the apostle’s account of Jesus’ death on the cross, there is a mysterious pair of verses in which Christ looks down and sees his mother, Mary, and “the disciple, whom he loved.” According to the King James version, Jesus calls out to his mother, “‘Woman, behold thy son!’ Then saith he to the disciple, ‘Behold thy mother!’ And from that hour, that disciple took her unto his own home.” Bible scholars have long assumed that “the disciple” mentioned was in fact John, the author of the gospel. Author Lensi, of Sonoma, has another theory. In Beloved Disciple; Daughter of Logos, Lensi offers her own novelized version of the Gospel, in which “the disciple” turns out to be none other than Magda, otherwise known as Mary of Magdalene. In fact, Lensi’s entire gospel is told more or less from the point of view of the women in Jesus’ life. It’s a valuable and fascinating perspective, as challenging–and certainly as thought-provoking–as it sounds.–D.T.


Marijuana: Not Guilty as Charged
(Good Press; $24.95)
RIGHT OFF THE BAT, Sonoma County author David R. Ford lays out his informative Marijuana: Not Guilty as Charged in a clear and interesting manner. The author provides a strong argument, supported by studies, research, and personal anecdotes from people around the world, in favor of the use of marijuana and hemp. With its discussion of marijuana’s virtual harmlessness compared to other drugs, its validated medical use, and other benefits, the book is an interesting educational reference source that doesn’t turn flaky as so many “legalize it, man” marijuana books are wont to do. Even for those who aren’t positively inclined toward Cannabis sativa, Ford’s book provides a levelheaded look at a controversial issue.–S.L.

Jonathan London
COUNT ON Graton’s best-selling children’s book author to keep the pen rolling and his imagination working overtime. Each season, the hard-working London produces a bevy of new stories that are paired with beautiful illustrations. Here we synopsize his three most recent books.–P.S.

Froggy Plays Soccer
(Viking; $15.99)
FROGGY’S BACK (and so is his underwear) in this story any kid can appreciate. This time out, the ever-popular young amphibian takes on the sporting world, and getting dressed up in his soccer gear and out onto the field is only his first challenge. “Don’t use your hands,” his father reminds him, but that’s no simple matter when the ball keeps coming straight at his head. Can Froggy remember the rules and help win the game? This latest entry in the Froggy series is illustrated by Frank Remkiewicz.

The Waterfall
(Viking; $15.99)
A TOWERING waterfall proves an irresistible challenge to two young brothers on a camping trip with their family. Jill Kastner’s beautifully impressionistic artwork illustrates a simple story about having fun in the outdoors.

Wiggle Waggle
(Harcourt Brace and Co.; $13)
YOUNGER KIDS will enjoy this chance do an “animal dance,” as creatures ranging from elephants to penguins to camels show off their walking styles. The book comes complete with sound effects (“How does an elephant walk? Clomp, clomp, clomp”) and appealingly expressive illustrations by Michael Rex.

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Drug & Suicide Deaths in Sonoma County

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Ill Health

Local health report card: Drug-related deaths and suicides top state averages

By Janet Wells

REFLECTING A TREND that county health officials call a “major problem,” a report released this week by the California Department of Health puts Sonoma County in the top echelon for the number of deaths from suicide and drugs. Sonoma County ranks 13th highest in the number of drug-related deaths, and 15th highest in number of suicides.

Coming on the heels of the suicide of a Sebastopol teenager whose brother died of alcohol-related causes less than six weeks later, the report’s findings “speak to very complex issues involving social and quality-of-life factors,” says Sonoma County Public Health Officer Dr. George Flores. “If there is not adequate family support or if despondency grows out of lack of housing or a job, substance abuse, or domestic violence, suicide becomes a viable alternative for people who are depressed enough or sick enough,” he says.

Sonoma County’s average of 72 suicides annually in 1995-97 is higher per capita than that of either Marin or San Francisco County because there is a proportionately larger population of retirees, Flores says, and the suicide rate is higher among the elderly.

“This tragedy seems even more compelling when we hear of a young person,” Flores adds, referring to the deaths of 17-year-old Kyle Caldwell by a self-inflicted gunshot wound in February and his brother, Gene, after drinking at a party in March. “Somehow their needs weren’t being met. A situation arose that put them in a position of great tragedy. We need to do better.”

Since last year Sonoma County leapt seven rankings in the number of drug-related deaths. “I’ve been saying for years that we are in an area where things come together for a lot of drug usage,” says Michael Spielman, executive director of the Drug Abuse Alternatives Center in Santa Rosa.

Drug use is directly linked to drug access, Spielman says. The primary drugs that contribute to the death rate are amphetamines, cocaine, and heroin. “You can die 20 different ways from each,” he says.

In Sonoma County the drug of choice for adults is amphetamines, with 55 percent of Spielman’s adult clients stating that it is their main drug problem. Forty percent of the teenagers participating in programs at the center have tried the drug, which is manufactured locally at clandestine labs.

Cocaine and heroin aren’t as prevalent in the county, but increasing purity has contributed to more overdoses.

“Black-tar heroin from Mexico is 50 to 60 percent pure, compared to 5 percent 20 years ago, and it’s relatively cheap,” Spielman says.

The Drug Abuse Alternatives Center offers several treatment and education programs for teenagers and adults. But, says Spielman, the death rates are likely to continue rising unless more money comes available.

“The war on drugs really wasn’t very successful,” he says. “Of the $18 billion spent nationally, $13 billion was spent on cops and just $5 billion on prevention, education, and treatment. Keep spending $13 billion on cops, but spend $13 billion on treatment. The goal is quality treatment on demand for anyone who needs it.”

DRUG-USERS asking for placement at the center’s nine-month 58-bed residential treatment program typically wait six months to a year. Spielman is proud of a recent survey that showed 100 percent of the residential program clients had stopped or significantly reduced drug use.

“When they are waiting, they are either continuing to use drugs, stealing, and doing all the things drug addicts do, or they are waiting in jail, where it costs far more money to keep them,” Spielman says. “If you look at people who have had a drug problem and went to jail, you’re lucky if maybe 20 percent stopped or reduced drug use.”

Dr. Flores also is frustrated by funding priorities. Of the county’s $18 million public health budget, 1 percent is spent on prevention.

“After someone is ill, we’re essentially chasing the cow after it has escaped the barn,” Flores says, adding that he would like to see at least 6 percent of his budget used for prevention. “We can save public resources as well as lives and preserve health if we focus our resources.”

The 1999 County Health Status Profiles report, released to coincide with Public Health Week, also has some good news for Sonoma County, which leads the state in availability of prenatal care and in the fewest number of measles cases. The number of AIDS cases–while still high compared to other counties–decreased since the last state report, and the county improved its rating on other communicable diseases such as tuberculosis and syphilis.

“In the infectious diseases we seem to be doing a relatively good job, but we should not become complacent, because there are emerging infections at the same time,” Flores says.

“There is concern about tick-borne diseases and chlamydia, a sexually transmitted disease with enormous infection rates among teenagers.”

FLORES emphasizes that public health is a community responsibility. “Every time we get these reports we expect that raising the level of awareness of the community about health conditions will encourage people to make efforts to do what is necessary in their own families, schools, neighborhoods to improve health conditions as well as to support programs with these same goals,” he says.

“It’s not simply a matter of expecting the government to do it for you.”

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Musicians Helping Musicians

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Heart Beat

Love zone: Zone Music Store owner Frank Hayhurst, creator of Musicians Helping Musicians.’

All-star concert benefits ailing guitar wiz

By Greg Cahill

WE’RE GONNA make a T-shirt here that will say: ‘Zone Music–Run and Overrun by Musicians,’ ” says Frank Hayhurst with his tongue planted firmly in cheek. “That pretty much sums it up.”

Indeed, Hayhurst’s Cotati musical instrument store and recording studio have long been regarded as one of the most musician-friendly businesses in the county. That amiability extends to Hayhurst’s brainchild Musicians Helping Musicians, a non-profit charitable organization that helps defray medical costs and other expenses incurred by often uninsured players or their families. In the past four years, the organization has raised nearly $90,000 through benefit concerts and auctions.

It’s a cause close to Hayhurst’s heart.

A few weeks ago, Hayhurst learned that longtime Zone Music vice president Randy Quan–a Santa Rosa guitarist who has toured with the likes of soul legend Booker T. & the MGs–was stricken by a rare inoperable cancer that will require extensive radiation treatment and chemotherapy that may diminish his sight and hearing. While Quan’s medical expenses are covered by health insurance, Musicians Helping Musicians will stage a benefit concert on Sunday, April 11, to offset his living costs during the months he will be recuperating.

Among those scheduled to perform at the shows are Huey Lewis & the News guitarist Chris Hayes, Steve Kimock of the Other Ones, Michael Bolivar, Terry Haggerty, John Allair, Sarah Baker, Stu Blank, Danny Sorentino, and host of others.

Hayhurst founded Musicians Helping Musicians in 1994 when the uninsured wives of two local musicians–both close friends of Hayhurst’s–were diagnosed with breast cancer. In response, the music store owner organized a pair of all-day benefit concerts at the Tradewinds and the Inn of the Beginning, two downtown Cotati nightclubs.

Hayhurst and a horde of musicians–including L.A. rock guitar demigod Michael Lee Ferkins–returned to those venues the following year for a performance benefiting accident victims Bruce Day, former bassist for Pablo Cruise, and Jahn-Erik Jacobsen, a Harmony School student and son of keyboardist and technician Jack Jacobsen, a member of the Huey Lewis & the News road crew.

Ultimately, Hayhurst envisions a non-profit collective that will offer musicians a wide range of professional services. “My idea is to get 200 to 300 musicians, though I also include in this category all edge dwellers who are involved in the arts, and as a pool collectively buy health insurance and then make it affordable to those least able to afford it, by holding quarterly benefits to subsidize costs,” he says.

Production services and equipment for the upcoming benefit concerts will be donated by Zone Music, local nightclub owners and staff, and local musicians and technical staff.

“For some reason,” Hayhurst says, “people really do love music. Everyone is very compassionate and receptive to this idea.”

Zone Love IV, benefiting Randy Quan, will be held Sunday, April 11, from 6 to 11:30 p.m. at the Tradewinds and the Inn of the Beginning in downtown Cotati. Admission to both venues is $10. Additional donations can be made to the Randy Quan Trust at any Exchange Bank, or at Zone Music, 7884 Old Redwood Hwy., Cotati.

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

A Funny Thing Happened on the Way to the Forum

Solemn Endeavor

Forum.

Nothing funny happens at the “Forum”

By Daedalus Howell

THIS IS A cruelty-free review. Sonoma County Rep-Santa Rosa’s production of Stephen Sondheim’s infernal musical fantasia A Funny Thing Happened on the Way to the Forum was not harmed in the creation of this article because on opening night it had been mysteriously replaced by an inferior copy. It looked like SCR, but it wasn’t, and eerily, nothing funny happened.

Enter Pseudolus (Gerald Haston), a slave yearning for freedom, who can escape his servitude if he connects mail-order virgin Philia (Trisha Davis) with his lovesick young master, Hero (Matthew Proschold). Complications ensue when Pseudolus discovers Philia is already betrothed to vainglorious gladiator Milos Gloriosus (John Goldman). Moreover, Hero’s lascivious father, Senex (Lyle Fisher), mistakes her for a new housemaid with whom he plans to take liberties.

Lies, fraud, and shtick-in-the-mud antics ensue as Pseudolus’ comic capers lead to an inevitably tidy denouement. Long-lost children are found, bed hoppers are tucked in, marriage looms, and a desultory song and dance number caps what’s left of the evening (the show is nearly three hours long).

Staging a featherweight sex farce to usher in spring seems a natural choice, but the musical, as written, is more baroque than burlesque.Whistles accompany kicks in the ass and pratfalls a-go-go collide with tired puns like “religious cretin” (referring to the pious folks of nearby Crete).

This show is a golem. Despite Haston’s gallant efforts to breath life into it, he is left winded, overcome by the show’s own drafty antics. His Pseudolus hails from the Lou Costello school of rubes and is conveyed with much gusto–yet one can’t help but think that the effort is misspent. Haston is a proven comedic actor, but this role wastes his finer faculties. Instead, he plays a cartoon.

Likewise, Proschold’s serviceably doltish Hero is well complemented by Davis’ sugary Philia, but ultimately the roles seem unworthy of both their talents, and consequently the actors seem rather “outside” the piece.

Jonathan Graham’s Hysterium (head slave) and Tim Hayes’ Marcus Lycus (the hard-nosed flesh peddler), however, appear rooted in the world of the work. This is a credit as much to their acting as to their willingness to submit to oppression.

As the Proteans (transmutable onstage personnel who go from eunuchs to guardsmen), zealous young performers Derek Fischer and Greg Gallagher make a concerted effort to steal the show, though they forfeit what little booty there is with their sledgehammer-subtle stage presence.

Nina Raggio’s choreography during the courtesan dance sequence is a bizarre fusion of I Dream of Jeannie and the weirdo physical seductions found in the mid-’60s James Bond flicks. Neither particularly sexy or comic, the outcome can only be construed as an experimental ode to the ultramodern.

On balance, A Funny Thing Happened on the Way to the Forum is far from a feast but not quite a beggar’s banquet.

Sonoma County Rep-Santa Rosa’s production of Stephen Sondheim’s A Funny Thing Happened on the Way to the Forum plays through May 1, Thursdays-Saturdays at 8 p.m. and Sundays at 2 p.m., at 415 Humboldt St. $12. 544-7278.

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Emma Kallock

0

Wonder Girl

Michael Amsler



Emma Kallok is an athlete, a musician–and a newly published author. But what will she do in the seventh grade?

By David Templeton

FOR EMMA KALLOK, the last couple of days have been unusually, well, unusual. Let’s see. The Sebastopol sixth grader was sent home from school yesterday with a bee sting. Ouch. Her much-anticipated basketball practices have just begun, and she’s, you know, kind of amped up, looking forward to some serious athletic competition. Oh, and her brand-new novel hits the bookstores this week.

They announced it over the loudspeaker at school and everything.

“That was so embarrassing,” Kallok recalls with a shy grin, her eyes widening at the memory. “Everyone in class was staring at me. But I guess it’s pretty exciting.”

You bet it is.

Just today Kallok came home to find a big box waiting for her, crammed with shiny, hot-off-the-press copies of The Diary of Chickabiddy Baby. It’s her “author’s allotment” of the children’s novel she wrote when she was 10, and just last year sold to Tricycle Books, an imprint of Ten Speed Press. This makes Emma Kallok one of the youngest authors to have ever published a novel. The Berkeley publisher, which is releasing the title in both paperback and hardback–the hardbound versions are intended mainly for libraries–has already seen so much bookseller interest in Chickabiddy that it has increased its first printing from 6,600 books to 10,000. On April 14, Kallock will be making her first official bookstore appearance, reading and signing her book at Sebastopol’s Copperfield’s Books.

Now she’s doing her very first interview.

Cradling a copy of Chickabiddy fresh from the box, Kallok gazes down at the book in her hands. There’s her smiling face on the book jacket, beaming back up at her.

“I think I’m a little overwhelmed,” she succinctly remarks.

THE DIARY of Chickabiddy Baby–and the good news is that it’s good–is a first-person account of the summer-long adventures of one Prudence Brinker, whose mother chews with her mouth open while calling her daughter embarrassing names like “Chickabiddy Baby” and whose father, a children’s book writer, always seems to be suffering from writer’s block, which he cures by taking long baths with his clothes on. Prudence has a best friend named Mouse, two annoying brothers (Emma’s own twin sister, Hannah, is credited in the book’s acknowledgments as “my very first editor”), a boy she thinks is cute, and a brand-new neighbor she thinks is even cuter. She also has a mystery on her hands, since someone has been leaving “Ethiopian proverbs” on the magnolia bush she uses as her secret writing place. Continuously funny, well crafted, and well thought out, with some surprising plot twists and an refreshingly honest view of family life, Chickabiddy is truly delightful. It’s an accomplished work, on a par with Paula Danzigger’s Amber Brown books and the Walk Two Moons novels of Sharon Creech.

There is a knock at the door, and Kallok leaps up to hug Jonathan London, the well-known author of numerous popular children’s books who is now her own “career counselor.” Kallok has been friends with London’s son since the fourth grade, and she got to know London better when he began visiting their class last year as part of an ongoing “writer’s workshop” program at the school. It was there that London first recognized Emma’s gift for words.

“I read one short story she’d written,” he explains. “I was blown away. It was really incredible. The language, the dialogue, the setting, the characters were all well beyond her years.” When London asked to see anything else she may have written, Kallok reluctantly volunteered that she’d written a novel the year before.

“As much as I wanted to read her writing, when I heard the word novel, I silently groaned,” the Graton author admits. “I made the mistake of thinking–in spite of knowing what a wonderful writer she was–that a novel written at that age would probably be a chore to read.” It wasn’t until several weeks later, after a number of reminders from London, that Kallok finally produced the manuscript–a big, fat, handwritten stack of pages.

“I’m a slow reader,” London confesses. “But I sat there and read that book in one sitting. It was delightful and real and full of great observations and funny little details.” In short, he loved the book. “I guess I was relieved that it turned out to be so brilliant.”

RECOGNIZING the book’s potential, he assigned Kallok the task of transforming the handwritten pages into a typed manuscript. Acting as her unofficial agent–London’s own agent turned the book down, a decision he says she’s been “kicking herself about” ever since–the established author ultimately landed a publisher for Chickabiddy when he called Nicole Geiger, managing/acquisitions editor at Tricycle Press, and asked to read her the first page over the phone. It made her laugh, so he read another. Then Geiger asked to see the manuscript. Three weeks later, Emma Kallok had her first book deal.

“My first reaction was to jump up and down and scream,” she confesses. “I was pretty excited.” The advance money has already been invested in a new computer, on which she has been working on a sequel to her book. In fact, she’s already written two other books and is preparing to send them out as well.

“I can’t help it,” she explains. “I kind of have to write.”

When London remarks that other kids will likely take inspiration from Kallok’s success, she brightens even more.

“I hope this does inspire other kids to write,” the young author, now 11, asserts. “If they can see that they have stories and poems and books inside of them also, they’ll start writing them down too. Maybe some of them will be published.

“I think that would be exciting,” she says, flashing that shy smile one more time. “Don’t you?”

Emma Kallock will read from her new book on Wednesday, April 14, at 10 a.m. at Copperfield’s Books, 138 N. Main St., Sebastopol. For details, call 823-2618.

From the April 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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