Kids on Prozac

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Mother’s Little Helpers


Lee Ballard

Approved for adults only, Prozac is being used to medicate children as young as 8 years old. Why are we using powerful drugs to raise our daughters?

By Clare Kinberg

A few months ago, a 17-year-old girl I know went to her family doctor for a routine physical exam. Her anxious feelings about leaving home were compounded by the recent death of a family member, so in filling out the questionnaire at the doctor’s office–where everything from constipation to cancer is a yes or no question–Nina marked “yes” next to chronic anxiety. After the examination, the nurse practitioner, who did not know Nina’s medical or mental health history, asked if she wanted a prescription “for the anxiety.”

Nina was shocked by the practitioner’s casual suggestion and refused the drugs. Telling me about it later, she added that most of her girlfriends were taking some kind of antidepressants, and that during her first week at college she’d met several girls who were taking Prozac.

Nina’s experience is commonplace. In 1996, some 600,000 children and adolescents in the United States were prescribed Prozac, Zoloft, or Paxil, trade names for the current generation of antidepressants. While this number of prescriptions represents, for Prozac alone, a 46 percent increase over 1995 prescriptions written for 13- to 18-year-olds, it is a soaring 298 percent increase in prescriptions written for children ages 8 to 12.

Yet neither Prozac nor the other drugs have been approved by the FDA for adolescents and children, whose minds and bodies are still in the process of developing. Though Eli Lilly & Co., the makers of Prozac, have recently submitted data to the FDA on trial studies done on youth, Eli Lilly spokesperson Steven M. Paul says the drug will not be approved for children or adolescents anytime soon. Eli Lilly’s Web page for Prozac says in bold print, “Prozac is a treatment for depression in adults. The safety and effectiveness of Prozac in children have not been established.”

The vast increase in the use of antidepressants for young women raises troubling questions. Why are so many being prescribed a drug that hasn’t been deemed safe for them? Has this society let antidepressants become a widespread solution not only to emotional difficulties, but to any emotional response to life? Are adolescent girls who are anxious, sad, or angry being prescribed the new drugs just because adults want a shortcut to making these young women happy, satisfied, and calm?

When I was a teenager, around 1970, two women involved in the women’s liberation movement spoke at my school about sex-role stereotyping. I couldn’t relate to what they said. At 15, I already knew I wasn’t going to be relegated to the kitchen and laundry like my mother, but this awareness didn’t have anything to do with feminism. In my mind, I was a person free to do whatever I wanted. I didn’t need a movement.

But not long after this, I read an article in a feminist journal that changed my attitude. The story was critical of prescribing the tranquilizers Valium and Librium, often referred to as “mother’s little helpers,” to a burgeoning number of housewives to cope with the anxiety and depression in their lives.

This criticism struck home. My mother, seeking help with long-term unhappiness, had recently gone to a psychiatrist. He had listened to her cry, asked her a few questions, then prescribed an antidepressant, Elavil. The doctor didn’t even set up another appointment. To me, this “solution” to my mother’s unhappiness communicated despair and hopelessness. By not investigating her situation, the doctor was essentially telling my mother that her life was not worth examining and that there was no hope of making any changes.

I didn’t accept that message then, and I don’t now. When our society sanctions doctors prescribing mind-altering drugs in large numbers to depressed women, whether they are adults or teenagers, we are giving the message that personal and social conditions cannot change, that the best women can do is cope.

Preferred treatments by mental-health professionals have shifted over the years, spurred by social and political conditions as well as changing hypotheses about how the mind and body work. Currently, the majority of mental-health professionals are focused on brain chemistry as the source of emotional and mental troubles–and they’ve focused on one chemical in particular: serotonin. For more than 50 years, researchers have been investigating the complex physical and emotional role of serotonin, one of many neurotransmitters–chemical messengers–in our brain that seem to affect our moods.

The hallucinogens LSD, mescaline, psilocybin, and ecstasy, and the antidepressant Elavil are all serotonin-related drugs. So is the recently recalled (because 30 percent or more of its users could develop abnormalities in their heart valves) diet drug Redux (fenfluramine, or fen-phen). Prozac, Zoloft, and Paxil are called “selective serotonin re-uptake inhibitors,” or SSRIs, because they act to keep more of the already present serotonin active in the brain synapses for a longer period. Using SSRIs as antidepressants is based on the theory that sluggish or low levels of serotonin in the brain are a cause of impulsive behavior, depression, violence, and suicide.

Many people who take antidepressants are pleased with the results. Some would swear the drugs saved their lives. This does not, however, negate the fact that researchers have yet to comprehend fully the body’s complex system of neurotransmitters.

Prozac and the other SSRIs are prescribed for, among other conditions, anorexia, bulimia, anxiety and panic disorders, obsessive-compulsive disorder, child and adolescent emotional and behavioral problems, depression, PMS, chronic fatigue syndrome, phobias, and seasonal affective disorder.

Curiously, most of these conditions are diagnosed most often in women and girls. The makers of Prozac have emphasized that Prozac is for “clinical depression,” and not, as their advertising seems to imply, to improve personalities or relieve the everyday stresses of living. But a report in the April 1996 issue of Professional Psychology, Research and Practice summarizing all research on SSRIs up to that date indicates the drugs have failed to “demonstrate greater efficacy than placebos in alleviating depressive symptoms in children and adolescents, despite the use of research strategies designed to give antidepressants an advantage over placebos.”

And yet, the number of prescriptions for adolescents and children is steadily rising. Prescriptions for girls make up the large majority, and with recent studies on the use of SSRIs for PMS and eating disorders, more girls will be given prescriptions.

T O HELP ME understand this trend from a more personal point of view, I spoke to a number of young women who were prescribed the new antidepressants. Sasha, a 17-year-old girl who has been depressed on and off since she was 13, tells me that during her first session with a new therapist she was told that a healthy brain makes and circulates good chemicals, but a depressed brain means that circuit is interrupted. “What the Prozac does,” she was told, “is bridge that gap.”

Essentially, after just one session, Sasha heard there was something wrong with the way her brain works. Still, she says she’s relieved to be diagnosed with clinical depression because it gives her hope she can get better. She likes taking Prozac, she says, because it gives her more energy. Her complaint is that she doesn’t feel comfortable expressing her feelings to her therapist.

“When I start to get a little bit more depressed, she ups the dosage,” Sasha says. “I’m not dealing with anything in therapy, but I’m talking to my friends more. I think taking Prozac has been the right thing for me, but I still have a lot of work to do.”

In fact, none of the 10 girls I interviewed were actually in a productive therapeutic relationship while they were taking antidepressants. Most of the prescriptions had been written by a family doctor or by a psychiatrist to whom their parents took them with one purpose: to get them on antidepressants. What is even more striking is that most of the girls did not initially want to take antidepressants.

One young woman, “Teresa,” was prescribed Prozac after being hospitalized because she had overdosed on Tylenol and sleeping pills. “They insisted I was anorexic or bulimic and I wasn’t either,” Teresa says. “Their ‘treatment’ consisted of [monitoring my bathroom use] and prescribing Prozac. I was really depressed, but I don’t think Prozac was the answer. I needed more than just something that was going to change my brain.”

Sandra, 18, had abused drugs and alcohol in her early teens, but had been clean and sober for more than two years when she went to see a therapist to help her through what she thought was seasonal depression. After one session, the therapist suggested she see a doctor about antidepressants, but Sandra felt uncomfortable about putting drugs back into her body. Instead, she found another therapist, who helped her stay on a program of meditation, exercise, and good food. She is now doing well, taking a full load in school while continuing to see her therapist.

In some cases, ambivalence about taking antidepressants led to irregular use and wild experimentation. Carey, whom I spoke to at a drug and alcohol recovery program, says she was prescribed Paxil by her family doctor, but wasn’t sure she wanted to take it. Sometimes she just wouldn’t. Once she swallowed 10 pills at one time “just to see what it would be like.”

Another girl said she felt sick if she took Zoloft and then consumed alcohol, so if she wanted to go out drinking she’d just throw the pills under the bed. I also heard reports of girls snorting Prozac, “sharing” pills with friends, and selling the pills on the street.

Even though Lucy Zammarelli, program manager for Project START, an Oregon drug and alcohol recovery program for teenage girls, knows her clients abuse drugs–whether those drugs are legal or illegal–she favors using SSRIs in the recovery process because they help make her clients feel better, she says. “Even outside the brain chemistry, there is an emotional sadness in the girls we see in recovery,” she says. “Many of the girls have been sexually or physically abused, but even for the ones who haven’t, most don’t have fathers or any caring man in their lives. Relationships with their mothers are strained. They have a yearning for the wonderful TV family. They’ve lived in poverty, and we know that poverty is one of the premier precedents for depression.”

These girls start by drinking and/or smoking marijuana or using meth to make themselves feel good. “Then we say your life is a mess, you’ve got to stop using. So they go into the deep depression that goes with withdrawal and detoxing,” says Zammarelli. Most of the girls start to feel better after a few weeks of being off drugs and alcohol, she says, adding that only 10 to 15 percent of the girls are recommended for antidepressants. Those clients, she says, “tend to do better than the ones not on antidepressants” in terms of staying in recovery and getting on with their lives.

“Even after they are clean, the sadness is still there, the craving, and the desire to drink is still there,” says Zammarelli. “They still don’t have resources in their family; their moms still really aren’t there for them. So we tell them, ‘Well, here’s something that you can take. It’s going to help your brain feel better.’ They try it and they can smile, they can laugh, they can have fun. It’s so sad when the girls are depressed. I mean, it breaks your heart.”

Other mental health professionals also see the new generation of antidepressants as beneficial. Betty Merten, a therapist who specializes in depression, estimates that one third of the girls who come to her are already using antidepressants. After getting a full picture of her clients’ lives and making diagnoses, Merten says, she recommends to another third that they should start taking the drugs.

“Depression can happen when a series of things finally deplete a person’s resources,” Marten says. Most people can get well without antidepressants, she admits, “but adolescence is such a critical time, I’m for using all the tools that are available.”

Merten and Zammerelli’s views assume that these antidepressants are essentially innocuous; that if they don’t help the girls, at least they don’t hurt them. However, there is much evidence to cast doubt on that belief. Several of the girls I talked to experienced unwanted effects from the antidepressants.

Many felt anxious and had trouble sleeping, and were then prescribed something to help them sleep. Some had a loss of appetite.

Teresa describes the most seriously negative effects from Prozac: “It really heightened my emotions, and my biggest emotion right then was anger. So it made my anger so much worse. I’d run around the house screaming. I couldn’t control my emotions. I would yell at people for no reason. Finally, I tried to kill myself again by taking all the Prozac and whatever else I could find.”

T ERESA’S reactions to Prozac are not unusual. One published study specifically designed to investigate side effects of Prozac in youth 8-16 years old showed that 50 percent of the participants exhibited two or more of the behavioral side effects described as “motor restlessness,” “sleep disturbance,” “social disinhibition,” and “subjective sensation of excitation.”

In a study of children diagnosed with obsessive-compulsive disorder, 14 percent developed self-destructive phenomena associated with being treated with Prozac. Serotonin’s action in the body is not limited to the brain, but affects the entire central nervous system and blood vessels in the lungs and heart. Though there are significant differences between the weight-loss drug Redux, which was recalled just 18 months after it received FDA approval, and SSRI antidepressants, the Redux experience ought to add at least a note of caution to the assumption of harmlessness.

Nor should we forget women’s experience with another of Eli Lilly’s infamous “wonder drugs,” DES. Between 1947 and 1971, 5 million women in the United States were prescribed the synthetic hormone diethylstilbestrol to prevent miscarriage and to ensure healthy pregnancies. However, research as early as the ’50s showed DES not only to be ineffective in preventing miscarriage, but also to cause cancer and deformed reproductive organs in rats and mice.

Though the FDA issued a warning in 1971 against pregnant women taking DES, and thousands of daughters born to women who took DES developed an often fatal vaginal cancer, Eli Lilly has never publicly admitted any problem with the drug. It has, however, settled many lawsuits out of court.

Can Eli Lilly or the FDA be trusted to ensure Prozac’s safety? According to a January 1996 interview with Peter Breggin, medical doctor and author of Talking back to Prozac, “there are about 160 suits out against Eli Lilly, for people who either committed murder or suicide or mutilated themselves or did something horribly violent on Prozac.”

Another danger is that the prescription will be seen as a quick fix, or as an end in itself. Although every professional I talked to stressed the vital nature of continuing therapy whenever an antidepressant is prescribed, there were vast differences among therapists in their use of the drugs with their patients.

For instance, psychologist Mitch Schwartz says that in his years of practice, he’s never referred an adolescent client for medication. If a client’s depression hasn’t lifted after several months of therapy, he says, he would consider an antidepressant. But only as a last resort. “If someone is depressed, I try to find out why they are not enjoying life,” he says. “Then we work cognitively. What are the person’s assumptions and beliefs about the world? What are her self-talk tapes? The idea is to take a perspective on one’s own thinking.”

Therapist Jon Garlinghouse, whose specialty is suicide prevention, also isn’t satisfied with the medical approach to relieving depression, but he’s glad it’s there. “I use it as a backup all the time. I’m absolutely certain it saves lives,” he says. “But as a singular approach or solution to depression without any analysis of what is driving the depression in a person’s history, it’s nuts. You need an integrated approach where somebody asks certain questions and knows how to ask the questions.

“Whatever people say about psychiatric medication as an intervention,” Garlinghouse emphasizes, “it is a profound thing to do to your body. There are times when that is exactly what is needed to keep a person alive.”

Still, Garlinghouse says, he would recommend antidepressants only if he felt it was dangerous not to. If it’s possible, though, he would “rather take the time to do the education, put the connections together to see what a person can do on their own.”

Schwartz and Garlinghouse’s approaches are supported in a study by April 1996 University of Montana psychologists John and Rita Sommers-Flanagan. They recommend that psychologists seeing adolescents find all the following criteria before referring youth for medical consultation: the absence of clear environmental determinants (e.g., family conflict, divorce, etc.); severe depressive symptoms with strong physiological components (e.g., sleep disturbance, somatic complaints, appetite changes, and associated weight loss or gain); treatment response is lacking after 10 to 15 therapy sessions; and the patient expresses a clear preference for medication over psychological interventions.

But a huge difficulty for girls and their families in this era of managed care is the time this kind of therapeutic approach takes. Managed-care health insurance simply will not pay for the “long haul” therapy needed to get to the bottom of serious depression. Schwartz and Garlinghouse’s approaches, far from quick fixes, would probably not be covered by most medical plans or HMOs. In fact, HMOs may be heading in the opposite direction by recommending that customers start taking antidepressants in order to cut health-care costs.

ACCORDING to a recent story in Fortune magazine, at least one HMO recently decided to cut costs by identifying customers they think might benefit from mood-elevating drugs. Lovelace Health Systems, based in Albuquerque, N.M., speculated that heavy users of medical services may suffer more from mental distress than physical.

If a person has been admitted to a hospital or used an emergency room three times in a year, or is taking seven or more medications, or has run up over $25,000 in medical bills in one year, Lovelace sends out a psychological survey of 20 questions. Based on the individual’s answers, Lovelace may refer that person to a doctor, who generally prescribes a combination of counseling and Prozac.

According to Lovelace’s own report, the program has already yielded results: The medical expenses of 2,079 patients who started taking SSRIs at the suggestion of Lovelace were $2.1 million lower than in the previous year. The story concludes that “Prozac and its sibling drugs could be an important remedy for rising health-care costs.”

Though most of the girls I talked to were prescribed antidepressants after one or two sessions with a therapist, every therapist I talked to, including some who regularly recommend antidepressants to clients, said they thought that psychotherapy alone was “equally effective” in the vast majority of clients, and more effective for the long term. Zammarelli of Project START said she thought that eating healthy food, and getting exercise, a weekly massage, and acupuncture treatments would be as effective in improving girls’ depression as the pills. “But none of these are paid for by available health plans,” she says.

My mother’s situation had two important elements in common with many other women of her time, and unfortunately of ours: When she turned to the mental health system for help, she was given the message that her individual thoughts and feelings were of no interest or importance, and the only “aid” available was to alter her body chemistry so that she could cope.

Now, in the 1990s, pharmaceutical solutions, rather than looking at real issues, are still the way women are encouraged to cope with our lives. We’re told that the new generation of antidepressants are “feminist” drugs because, according to Peter in his best-selling book Listening to Prozac, they get women out of the house and into the workplace.

But being drugged into being “happy” cannot be an answer.

This is the first of a two-part series on the growing use of powerful mindcontrol drugs on children. Next week: Boys and Ritalin.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Organic Farming

Dirty Deal

Michael Amsler


Has the USDA slaughtered organic farming?

By Stephanie Hiller

A SKED WHY he chose to grow food organically, Scott Mathiesen, owner of Laguna Farms in Sebastopol, replies, “Because there’s just no other way.” But the meticulous process to which Mathiesen is so ardently committed is being challenged by less stringent standards put forth Dec. 16 by the United States Department of Agriculture–ironically at the behest of organic producers themselves, who had hoped for more stringent regulations.

If the new rules go into effect, farmers say, the organic label the public has learned to trust will have no meaning. “A chicken raised in cramped conditions, fed inorganic feed that was fertilized with sewer sludge, given antibiotics, and then irradiated, could be sold as organic,” says consumer activist Patricia Dines, who addressed a packed Feb. 25 meeting of local organic producers and consumers at the Sonoma County Farm Bureau. “That’s not the public’s idea of an organic chicken!”

The meeting was called to brainstorm strategies to block the proposed regulations, which have met with unanimous opposition from the organic community nationwide. At stake, spokespersons say, is the future of a $4.2 billion industry built up over the past 25 years. The lion’s share–some 50 to 80 percent of the crop–is produced in California. Sonoma County alone tills 2,341 acres, yielding $5 million in sales last year, a much bigger hill of beans than organic publisher J. Rodale was looking at when he set forth the first certification standards for organic food in 1971.

Because of the growth of the industry, farmers had asked for a uniform set of national rules. Congress adopted the Federal Organic Farm Production Act in 1990, authorizing the National Organic Standards Board to establish the guidelines.

“There was a lot of consensus building within the industry,” says Kate Burroughs, co-owner of Harmony Farms in Graton. “I really felt the NOSB was able to bring together a lot of divergent opinions and make regulations the industry could live with.” The USDA chose to ignore most of them. Hence the furor, which has stunned federal officials with nearly 5,000 letters, faxes, and e-mail posts rejecting the rules–and the outcry, opponents say, has just begun.

Last week, Rep. Lynn Woolsey, D-Petaluma, wrote Secretary of Agriculture Dan Glickman, charging that the new standards will “threaten the integrity of the organic process in our state.” Staggered by the vehemence of the opposition, the USDA has extended the comment period to April 30 and chosen a new acting program manager, Keith Jones, purported to be more sympathetic to the organic foods industry.

Marin Agricultural Commissioner Stacey Carlsen, who participated in the NOSB process, reports that the state board has now received 460 comments, all but one of them opposed to the new rules. He believes the entire package of regulations should be thrown out. “They don’t address the process the organic community wanted. The model varied way too far from its intent.”

“The NOSB was supposed to say which materials were allowed,” says David Letourneau, chairman of the government affairs committee for California Certified Organic Growers. “But these regs are allowing substances that the NOSB specifically prohibited,” including nicotine sulfate, a highly toxic insecticide used in greenhouses; sodium fluoroaluminate; and four cotton defoliants sprayed to control weeds. Seeds may be treated, and chemical fertilizers would be permitted. Pressure-treated wood, which leaches arsenic into the soil, is another item the NOSB prohibits, but the USDA permits.

Burroughs says, “It’s as though you gave the USDA the right to regulate kosher food, and the first thing they said was, ‘Pork is OK’!”

Dines calls it “slaughtering the chicken who laid the golden egg.”

The rules do not address irradiation, sewer sludge, and genetically engineered foods. Specifically prohibited by the NOSB, the “big three” are receiving most of the attention in the press, but critics allege that the USDA is using them as a smokescreen to cover up small inconsistencies sprinkled throughout the hefty document.

Does anybody support these rules? John Westoby, assistant agricultural commissioner for Sonoma County, couldn’t think of anyone. Neither could Carlsen. “I think they stink,” says Dan Benedetti of the Clover-Stornetta dairy. “They have eliminated one important aspect, the people of this country. What we eat should not be beyond our control. It’s up to the people to decide what they consider safe.”

For that reason, Benedetti believes that public reply is “crucial.”

Why did the USDA choose to dilute the hard work of the board? Critics charge that the agency has violated the 1990 law, which gave the NOSB sole authority for setting standards, and has set itself up for multiple lawsuits. “The USDA was not authorized to change the definition of organic,” insists Dines. No one really knows why the USDA has turned on them.

Some believe it was unduly swayed by agribusiness, which are heavily invested in genetic engineering. “The USDA is a proponent of genetic engineering,” charges Letourneau. Others, like Burroughs, shy away from such conspiracy theories, calling them “cynical.”

Michael Hankin, senior marketing specialist for the USDA’s organics program, says the agency has adhered to the NOSB’s guidelines, noting that “only seven” subtances prohibited by the NOSB have been allowed in the proposed new regulations.

IN ANY CASE, not all the alterations were done by the Department of Agriculture. The federal Office of Management and Budget dropped a full 200 pages, which dealt with restricted materials (ash, chlorine, antibiotics, certain sanitizers, and disinfectants) because their legality was open to question.

Any benign intent the government might be presumed to possess in this matter is shadowed by the document’s labeling clause that specifically prohibits the marketing of a purer product under some other eco-label, a necessary alternative for producers choosing to adhere to current higher standards. But organic growers don’t want to surrender the O-word to a weaker standard, anyway.

“We’ve worked hard for organic,” says Mathiesen, whose own standards are so high that he calls his produce “beyond organic.” Mathiesen expects to survive by continuing to sell directly through farmers’ markets and Community Supported Agriculture, in which individual subscribers receive weekly baskets. But he fears other farmers may be forced to shut down.

Asked how he would be affected, local organic farmer Shepherd Bliss says he would be pressured by an upsurge of competitors whose food is not organic. “It’s not just the product, but the process by which it is grown,” he explains. The care, the stewarding of the earth “feeds my soul. That’s what organic food is about.”

Says Ernie Shelton, owner of Food for Thought groceries: “The way these rules are written has nothing to do with the bigger picture of environmental well-being or the magic of organic farming because they don’t know how to define magic at the USDA.”

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Mary Gordon

Hunger Artist

Spending March 13.

Joyce Ravid


Spending time with Mary Gordon

By Gretchen Giles

MONICA SZABO has raised her twin daughters to a righteous adulthood, teaches art at a college in New York city, and paints as her passion dictates. She’s 50-something, has had one husband and doesn’t want another, has close friendships, and loves to cook, run in the park with her dog, and make love. Her guilt level is at an extreme low. Extreme, because she is a character made out of novelist Mary Gordon’s imagination. And all of Gordon’s characters–and at her own admission, even her own character–are defined by guilt.

Monica is the emancipated artist around whom Gordon’s newest novel, Spending (Scribner; $24), revolves. Slyly subtitled “A Utopian Divertimento,” Spending follows the surprising turnaround of a make-do female painter whose life is upended when she finds B, a male patron who not only loves her work, but wants to love it up the old-fashioned way: with cash.

Using B (his name is not revealed until the novel’s end) as her muse, Monica creates a series of works based on old-master depictions of a deathly Christ. However, she paints this elegant male form as suffering not the big death, but the little one. Titling her series “Spent Men,” Monica depicts postcoital Messiahs, drawn after B’s body, causing an uproar with the religious right and propelling her into the Schnabel-high firmament of stardom.

Loaded with sex, meals, swims, and long chewy passages about the process of painting, Spending is certain to hit the beaches with a tidal flow this summer. Gordon, whose 1978 novel Final Payments made her an overnight success at age 29, continued her career with 1981’s bestseller The Company of Women, won the O. Henry award for short fiction in 1996, and received much acclaim for the 1996 memoir The Shadow Man, her autobiographical search for the true identity of the adored father who died when she was just 7 years old.

Now 50 herself, Gordon lives in Manhattan with her second husband and two teenaged children, and teaches literature at Barnard College. She appears Friday, March 13, at Copperfield’s Books to read from her latest.

From what we’ve heard tell, and from what the pages of Mirabella would have us believe, 50 is a point of freedom for those women who have done the down-and-dirty of childrearing, particularly female artists. Do Gordon and Monica share in this sense of liberation?

“I’m guess I’m kind of excited, because I’m not sure that it’s really been written about in a somewhat serious way,” Gordon says by phone from her upstate New York vacation home, where she is resting in preparation for a seven-city tour. “I’m a feminist, and I’m not afraid to say that this is a feminist novel, because it’s as if feminism immediately means ‘joylessness’ to people, and I don’t think that this is it at all. People of my age have now accomplished a certain amount, and we’re not scratching at the door begging to be let in anymore. We’re in now, and we’re still young enough to enjoy it, and there are new sets of problems and challenges, but that’s where we are, as cohorts.”

Spending‘s shadowy B is a commodities trader–whatever that is; Monica never bothers to find out–whose paper shuffling has earned him millions. When Monica needs to see a work by Mantegna up close, B flies with her first-class to Milan. Heck, when Monica needs some time to regroup after her success, he flies with her first-class to Rome–for the weekend. She spends some time worrying about trading sex for B’s money, gnashing out the word ‘whore,’ but when she finally makes her own cash, she generously endows him. About spending on many levels, this novel frankly addresses the brokerage that couples enact.

“What I’m trying to talk about is what money can buy at a certain point in your life, and one of the things that money buys is time,” Gordon, who rises each day at 5:30 a.m. to write in longhand, says emphatically. “And time seems to me to be a really, really grueling issue for women: How do you make the space that makes the time? And I sort of cut through the problem of time by giving her money.”

But it is Gordon’s informed depiction of the painter’s life that brings Spending above the tidal mark of the beach book that it could be. Monica’s thought processes as she paints, her intention with the canvas, and her love of color all ring gorgeously true.

“One thing that I really envy my painter friends for is that they get to play with stuff, this physical stuff,” Gordon says. “It has this aspect of literal making in a way that something that you do with words doesn’t have. But with both painters and people who work in words, there’s always the problem of your vision never being able to be captured–that sense that no matter what you’re doing, it’s always a failed enterprise, that what is bodied forth in the world is never as absolutely ravishing as your vision.”

Gordon, whose scholarly work includes an incomplete dissertation on the writings of Virginia Woolf, ends Spending with a party that would have made Mrs. Dalloway proud (“Suppose that Mrs. Dalloway had to do all the work herself instead of just ringing Rumpelmayer’s … ,” Gordon chuckles). But Monica ends alone, in bed, hearing B leave the apartment, secure in the knowledge that he will return, but not wishing a more complete union. Isn’t Gordon shortchanging her character of love and marriage?

“She’s not a young woman,” Gordon answers thoughtfully. “And I think that that dream of total immersion is essentially a young woman’s dream. As you get older, solitude becomes a voluptuous entity in itself, and you almost yearn for solitude in the way that a younger woman yearns for complete union.

“It becomes,” she says, “a real hunger.”

Mary Gordon reads from and discusses Spending on Friday, March 13, at Copperfield’s Books, 2316 Montgomery Drive, in Montgomery Village, Santa Rosa. 7 p.m. Free. 823-8991.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

White Wines

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Instant Gratification

White is right: There’s no reason to wait years for white wine to age to perfection. For the most part, white wine is already perfect when you purchase it. Drink it while you’re waiting for the red–and yourself–to age.

White wines that are ready to uncork now

By Bob Johnson

THE EVOLUTION of a wine drinker roughly follows this pattern: Phase I–You open a bottle from the folks’ stash as a teenager, take one whiff, and either add 7-Up to the libation or quickly pour the contents down the drain with one hand while grabbing a can of beer from the fridge with the other.

Phase II–You share a box of wine with fellow sorority or fraternity members looking for a cheap buzz. (Bottles of wine occasionally make their way into dorms, and almost all of them have screw caps, so if you can’t find a box of wine on a Saturday night, a few screw-capped bottles suffice.)

Phase III–While hanging out at a “meet market,” a friend suggests trying a glass of white zinfandel. You don’t know why, but you find you like white zin a whole lot better than the boxed stuff.

Phase IV–A few weeks later at the same “meet market,” you encounter a member of the opposite sex who offers to buy you a glass of chardonnay. Not having a clue what chardonnay is, and not wanting to appear unsophisticated, you agree.

(This is where the evolution stops for many people. If they don’t like the chardonnay, they return to white zin and never look back. Since white zin is the top-selling wine varietal in the country, it’s obvious that countless numbers fall into this category. If, however, they enjoy the chardonnay, the evolution may continue.)

Phase V–Either through your own curiosity or at the behest of a friend, you try a glass of red wine. If you find it too “strong” or too “alcoholic” or too “sour,” you’ll likely stick with chardonnay in the future. But if you like it, you’re on your way to …

Phase VI–Otherwise known as “wine geekdom.” You start trying different varietals. You may even read a book or take a class about wine. And you start talking the talk, amazingly enough, using words like aromatic, unctuous, and cloying in everyday conversations.

If you become truly affected by the wine bug, you may even turn your back on white wine altogether. I know a number of people who now drink nothing but red wine–usually big, bold cabernet sauvignons–and a handful of folks who won’t even look at a bottling that receives less than a 90 rating on a 100-point scale from one of those foo-foo wine mags.

While these people may think they’re drinking only the best, in actuality they’re missing out on some truly memorable white wine-drinking experiences. Especially for people who are eating lighter (chicken, fish, veggies), a well-made white wine can be just what the doctor ordered. The fruity, not overpowering, flavors of the wine can meld marvelously with the delicate, subtle flavors of the food.

Allowing yourself to drink white wine on occasion also serves another purpose: It frees up space on your wine rack for storing more reds. While most reds gain complexity with a few years of bottle aging, most whites are ready to be consumed now. And if you’re starting to get up there in years, it makes a lot of sense to live in the present. As an elderly friend recently said, “I’m not taking any chances on aging wines. Heck, I don’t even buy green bananas.”

There are countless quality bottlings of white wine on the market today, ranging from the ubiquitous chardonnay to varietals that are lesser-known but every bit as tasty.

The white wines that follow are rated on a scale of one to four corks: one cork, commercially sound; two corks, average; three corks, above average; and four corks, excellent.

Geyser Peak 1997 Sauvignon Blanc, Sonoma County–Pineapple and grapefruit flavors, with pleasing herbal nuances. Clean and sweet tasting. 3 corks.

Buena Vista 1996 Sauvignon Blanc, California–Luscious peach, fig, lime, and mineral notes in a sweet-finishing, pleasing style. 3 corks.

Martini & Prati 1996 Gatto Selvaggio Moscato Bianco, California–This Muscat Canelli bottling is clean, crisp, slightly spritzy, and refreshing, with a floral nose, and apple and pear flavors. 3 corks.

Martini & Prati 1996 Vino Grigio, California–Complex enough for the most discriminating palate, yet soft and fruit-forward enough to wow the white-zin crowd. Vanilla and green apple aromas jump out of the glass, accompanied by honeysuckle and ripe honeydew melon nuances. Nicely balanced and thoroughly decadent. 3.5 corks.

De Loach 1996 Early Harvest Gewürztraminer, Russian River Valley–Crisp grapefruit and rose petal aromas, and sweeter fruit flavors in the mouth. This clean, balanced wine stands up as an aperitif or as a refreshing quaffer with brunch or spicy Asian dishes. 3 corks.

The Pyramids Ranch Vineyards 1995 Chardonnay, Sonoma County–A delicious chardonnay from a relatively unknown winery … so far. Winemaker Gregory Graham, who also works for Napa Valley’s acclaimed Rombauer Winery, put this wine through 100 percent malolactic fermentation, which accounts for the creamy oak aroma and flavor. Toss in flavors of apricots and peaches, and you have a stunningly tasty bottling for the price–seen for under $12 in some stores. 3 corks.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

All in the Timing

Perfect Timing

A big bravo to All in the Timing

By Daedalus Howell

THE ACTORS’ THEATRE production of David Ives’ All in the Timing, a sextet of superbly comic one-acts, is so good, so astounding, so flawless that it betokens the supernatural, devilish pacts of souls swapped for profound talent. Numerologists may check their math to assure themselves that this show is indeed one crucial digit from marking the beast. Six plays, six directors, seven actors: 667–whew, close call.

An award-winning collection of short pieces, All in the Timing is testimony to Ives’ genius as a playwright. Actors’ Theatre meets the dramatist on his level with a crackerjack stable of double-cast performers and remarkably concordant directors. The community of talents at work in this production bespeaks utopia.

Sure Thing is a snappy social satire depicting a pair of romantically aligned strangers bungling through their maiden conversation at a cafe. Whenever the couple capsizes with an ill-conceived stab at communion, the dialogue is comically reset by a loud bell. As the fledgling paramours, an affable Brian Bryson and Jill Wehrer (masters of the uncomfortable pause and apprehensive grimace) are commendably directed by Celeste Thomas.

This piece is the perfect introduction to Ives’ often esoteric humor.

Words, Words, Words riffs on the philosophical adage that monkeys typing for an infinite amount of time will eventually result in the script for Hamlet. Actors Frankie Travis, Michael T. Galusha, and Robert Conrad appear as three primates (sardonically named Kafka, Swift, and Milton, respectively) amid a writing jag.

Costumed in Ema Phelps’ Tweedle-Dee twist on monkey regalia, the performers play Ives’ rapier wit to the hilt, turning the blade until one’s belly aches from laughter.

Director Sheri Lee Miller’s deftly interpreted The Universal Language finds lanky Ken Griffin as Don, the originator and sole instructor of the onomatopoetic language “Unamunda,” a veritable linguistic love child of James Joyce and Dr. Seuss intended to unite the world. Enter Dawn (the absolutely marvelous Sheila Groves), a stutterer who pines for verbal release through Unamunda.

What follows is sheer hilarity as the players’ agile oratory skills (Griffin is so adept at the nonsensical prattle he should have his tongue bronzed) are swimmingly deployed through a first lesson. Groves’ characterization of the nervy Dawn is so delectably sweet it should be eaten with a spoon.

Groves also appears as the wife of the title character in director Joe Winkler’s biting Variations on the Death of Trotsky, Bryson reappearing as the slain Bolshevik, a mountaineer’s axe wedged in his head. Bryson is marvelous as the befuddled Trotsky enduring several possible permutations of his own death. Galusha, too, is delightful as Trotsky’s nebbishy gardener-cum-assassin.

In The Philadelphia, Bryson directs Griffin and Conrad as diners who discover they are victims of a “Philadelphia”–an episode of metaphysical disorder that dictates they can get only the opposite of what they order from salty waitress Wehrer. Conrad is sublimely hilarious as Al, a brackish dime-store philosopher and apparent veteran of such paranormal inconveniences.

Closing All in the Timing is AT artistic director Argo Thompson’s immaculately directed Philip Glass Buys a Loaf of Bread. The perfect crescendo to AT’s lineup, Ives’ piece posits what the brand-name composer would experience were he to run into a former lover at a bakery. In an astute parody of Glass’ avant musical trappings, Thompson’s cast (most of the above, with Bryson as Glass) launch into a operatic tour de force of voice and movement with exhilarating results.

If you can see All in the Timing, do see it; go now. This is what theater is meant to be.

All in the Timing plays Thursday-Sunday through March 21. Thursday-Saturday at 8 p.m.; Sunday at 2 p.m. Actors’ Theatre, at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Tickets are $6-$12. 523-4185.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Speed Kills

By Bob Harris

THERE’S A NEW disease sweeping across our beloved land, an epidemic virus that can affect your speech, impair your judgment, and even cause aggressive behavior. The infection is most rampant among the Pentagon, the White House, and the news media. And it’s almost completely undiagnosed. You may be suffering from it yourself.

I’m referring, of course, to … the tragedy of Speedmouth.

Speedmouth strikes swiftly. One day, someone says the entire phrase, “Weapons of Mass Destruction.” The next day, it comes out as “WMD.” “Chemical and Biological Warfare” quickly becomes CBW. “No Fly Zone” collapses into NFZ.

And once Speedmouth attacks, the disease spreads swiftly. What begins as a hallway parlance infecting isolated policy wonks (who contract the contagion when data overload affects their mental immune system), a Speedmouth infection can suddenly surface in a White House press briefing and instantly reproduce like Ebola into the mouths and keyboards of reporters eager to parrot any military phrase in an effort to sound really butch.

Next thing you know, even TV-exposed housewives in Kansas are afflicted, rattling off meaningless Speedmouth phrases over tea at the card table with the somber gravity of a nuclear briefing in the war room.

“Never mind the CNN PR SNAFU at OSU, the DCI’s POV on UNSCOM correlates with CIA and NSA intel, confirming the CW about AP reports on WMD and CBW, so the CCC is projecting A-10s and F-16s into the Iraqi SOG … gin.”

This, my friends, is a shocking case of Speedmouth. This poor woman has no idea what she’s saying, but she’s convinced it means we have to bomb someone.

Unfortunately, while we understand the cause, the only known cure is a long and difficult one:Read a book.

BY NOW YOU’VE READ various news reports about last week’s skirmish at Ohio State between two CNN reporters and three Clinton advisers on one side and a small but vocal minority of the folks they supposedly work for on the other. A large group of normals, caught in the middle, was left trying to decide whom to trust.

If you saw the fiasco live on the tube, you already know that much of what was said, both during and after the show, was completely false. First, let’s be clear about what that TV show was–and was not. This was not a “town meeting.” At a real town meeting, priorities are decided as a result of what the people have to say. This CNN deal was set up so the big shots could explain priorities that had already been decided. The two are fundamentally different. The first is a form of genuine democracy. The latter, which happens so often we’re starting not to notice the difference, is what Noam Chomsky calls “manufacturing consent.”

And CNN was not just reporting the news. It cut a deal with the White House to get exclusive rights to the show by footing the bill, handling the logistics, and giving the speakers a worldwide audience. CNN did not demand–as an objective reporter might –that people who disagree should receive equal space and time. So, bottom line: CNN paid to produce a high-profile TV talk show starring Bernard Shaw as Oprah, featuring a unanimous group from one side of the debate about Iraq, presented to sell the official policy to the people.

In fact, White House aides actually complained the next day that the audience hadn’t been screened in advance, so anyone who lined up for a ticket–even the riffraff who ask embarrassing questions!–could get in. In other words, the real problem was the sloppy intrusion of actual democracy into the staged event.

That so many commentators deemed Clinton foolish for allowing such an outbreak to occur–without noting that it’s also the fundamental thing we’re supposed to be defending–tells you more about us media people than it does the protesters.

Once the press and citizenry begin giving the president the power of a generalissimo, how long will it be until he actually becomes one? Personally, I didn’t much care for a lot of what the protesters said, and I sure wasn’t fond of the way they said it. But they deserve credit for being hip enough to treat the event like the cheap stunt that it was all along.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Carol Flinders

Zazen!


Michael Amsler

Spirit’s slake: Carol Flinders pairs theory with practice in At the Root.

Carol Flinders’ search for a feminist spiritualism

By Marina Wolf

STANFORD IN THE EARLY ’60s wasn’t exactly a hotbed of spiritual exploration. But that’s where Petaluma author Carol Lee Flinders got her start, taking every course that had even a whiff of religion in it. “It was very slim pickings, of course,” she says of her early search. “But I remember a course on the theological novel of modern Europe that was taught by a man of really visible spirituality, which was what I was looking for.”

Flinders went on to UC-Berkeley to pursue medieval studies, specializing in women mystics, and devoted the rest of her time to Eastern Indian meditation. Her extensive background in and obvious love for both disciplines is part of what makes her newest book, At the Root of This Longing: Reconciling a Spiritual Hunger and a Feminist Thirst (HarperSanFrancisco; $21), so satisfying.

Flinders’ commitment to meditative practice began when many other women were making a different commitment … to feminism. Yet she felt she was being true to her incipient feminism, and not only by choosing a teacher with a matrilineal heritage and a powerful affinity for Mahatma Gandhi’s feminist-leaning philosophies. “I thought that if I could take care of the basics–ego, greed, anger–the rest would just fall into place.”

Flinders soon moved to a meditation center near Petaluma and continued research and teaching at UC-Berkeley. But conversations with her female students, and her own lingering anger, slowly stirred her out of her quest for egolessness into a fierce inner meditation/mediation between two seemingly contradictory forces. “It was like being close friends with two people who couldn’t seem to be in the same room together,” Flinders says. “You can work around it for a while, go out with them separately. But at a certain point you get very impatient with that. If you love them both, they should be able to talk.”

Over the course of many years, Flinders did get her two sides to talk. At the Root of This Longing is essentially a record of that dialogue, revealing what she calls “the critical stress points along the interface between feminism and spirituality.” How, for example, can a woman quiet the mind through silence, as many spiritual disciplines demand, and yet find her own voice to speak out against injustice? Does eliminating ego mean staying a doormat, or can one find and retain an authentic identity? What about desire? Can a woman reclaim her body and its longings even while she restrains them for the sake of inner stillness? And how can one reach out to “take back the night” and stay inwardly focused at the same time? It’s a daunting list of opposites that Flinders succeeds in reconciling into a potently beautiful conceptualization of feminist spirituality.

What happens when woman’s spiritual nature is ignored or attacked is illustrated by a key point from the Mahabharata, an Indian epic. In the story, the Princess Draupadi is seized from her private chambers as the final prize in a royal gambling match. Her supreme faith saves her, but the chaos and destruction that follow constitute a clear warning of what happens to a culture that dishonors the power and gifts of its women. “What the Mahabharata means us to realize,” writes Flinders, “is that the desecration of women–of the feminine principle, for that matter–is the sign and symptom of a civilization that has absolutely lost its moorings.”

In these terms, Flinders argues, our society is far gone. It hit her with fresh force after the kidnapping and murder of Polly Klaas in 1993, a private tragedy that struck a public chord of grief. That Flinders had told the story of Princess Draupadi at a conference only hours before Richard Allen Davis broke into Polly’s bedroom was too brutal of a juxtaposition for Flinders to look away from: “I had to ask whether I was doing everything I could, whether feminism didn’t still have some urgency for me.”

Her answer (or answers) to this question conclude At the Root of This Longing on a uplifting note, one that she echoes again when asked about her further plans. It depends on the response from readers, she says. “I really want to start a conversation that would be very far-reaching and not even necessarily involve me,” she says.

That’s feminist “no me-ness” for you.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

0

Sweet and Sour


K. Wright

Love Stinks: Former ‘Saturday Night Live’ comic Adam Sandler is out of love.

A relationships expert analyzes love, loss, and ‘The Wedding Singer’

By David Templeton

In his ongoing quest for the ultimate post-film conversation, David Templeton takes author, psychologist, and relationships expert John Amodeo to see the disarming romantic comedy The Wedding Singer.

DR. JOHN AMODEO has been warned. He knows that The Wedding Singer–starring B-movie comedian Adam Sandler as Robbie, an optimistic crooner-for-hire specializing in wedding receptions, who endures a horrifying depression after he’s dumped by his fiancée at his own wedding–is no work of art: it’s crude, rude, and entirely predictable. In spite of this, I’ve let him know, the genuinely funny new love story is, um, kind of sweet. Surprisingly sweet. Virtually everyone who’s seen the darn thing, in fact, has immediately popped out those same two words: surprising and sweet. Surprising because Sandler’s films have never been accused of being remotely likable, and sweet because … it just is.

“It was very sweet,” Amodeo confirms, exiting the theater with a wistful smile. “It was very positive, very upbeat … very sweet.”

That’s not all, either.

“I think The Wedding Singer is an accurate comment on the pervasive superficiality of many modern relationships,” Amodeo enthuses. “It points to the real possibilities that exist for a more mature relating of two people’s hearts, one that creates a foundation for a more lasting and satisfying romance.”

Not bad for a movie in which the main character, in the midst of his post-break up doldrums, writes an earnest little love song with the abrupt chorus, “But it was all bullshit! It was all a goddamn joke! And when I think about you, I hope you fuckin’ choke!” (By the way, that’s not the sweet part; the likable aspects of the story are explored through Sandler’s tentative love affair with Julie, a kind-hearted, unhappily engaged waitress played by Drew Barrymore.)

Amodeo is familiar with the ups and downs of love, as demonstrated by his successful North Bay therapy practice and his writings. His popular 1994 book, Love and Betrayal: Broken Trust in Intimate Relationships (Ballantine), is now in its fourth printing, and he’s just finishing up work on another, an enlightening comparison of youthful notions of love and those of more emotionally mature lovers.

“The movie made a good contrast between what I call ‘young love’ and ‘mature love,'” he points out. “Young love is the kind of thing where you think, ‘I’m looking for someone to take care of me for the rest of my life, since I don’t feel I could take care of myself.’ Looking for someone to fill the inner emptiness. It’s ‘You make me whole,’ rather than my becoming a whole person who can connect with another whole person.

“In young love,” he adds, “you’re mainly looking for someone to be your caretaker.”

“If that’s the case,” I observe, “then ‘young love’ isn’t necessarily relegated only to young people, is it?”

“Oh, not at all,” Amodeo agrees. “Love is not a function of age. It’s a function of maturity. People have young fantasies of love long into their 60s and 70s. Some have mature fantasies while still in their 20s.

“What happened with Julia and Robbie is,” he continues [and if you don’t want to know whether or not the film has a deliriously happy ending, read no further], “that over time they came to experience each other’s joys and sorrows, I think. They got to connect on more than just a superficial physical level, but on a feeling/emotional level, which created the foundation for a more mature love.

“Robby and Julia got to share real human sorrows. They had the depth and maturity to recognize from their own experience what the other’s sorrows were. There was real empathy between them. Without that kind of empathy and compassion there can be no mature or lasting love.”

THE FUNNIEST MOMENTS of the film are those when Robbie is the most disheartened: his spirited disruption of a wedding reception with a snarling rendition of the song “Love Stinks”; his audaciously depressed love song that ends with a demand for someone to put a bullet in his head; the scene at a wedding when all the lovelorn guests rally behind him when he dares to say, “Like me, none of you will ever know true love.”

“It was pretty real,” Amodeo laughs. “Robbie was expressing what people often want to express, but hold themselves back from expressing. It was great that he could get into the depths of his pain.”

“But, um, isn’t that kind of unhealthy?” I wonder.

“Not at all. It’s good to go with those feelings,” he replies. “It’s good to feel your anger and pain, it’s good to go into the depths of that stuff. Because out of those depths, if you work with it, you can emerge a more open person.”

“Is it a function of young love, then,” I ask, “that when you’re dumped, you sometimes swear off love altogether?”

“Sure,” he nods. “A lot of people do that. When the illusion is exposed, people become very cynical and bitter. They close down their heart to connecting with anyone, taking on the safe belief that love is not possible for them. It’s very tragic. But it’s not necessarily the end of love for them, any more than it was the end of love for Robbie when he was left standing at the altar.

“What you have to do is to mine your pain,” Amodeo states with calm authority. “You can mine that pain for the golden lessons that are buried there. Then you will be open to even deeper intimacies, even sweeter connections, than you ever were before.”

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Jesus in the Movies

0

Sweet Jesus!

Salvation Saga: “The message of Jesus is the way he lived,” says director Paul Verhoeven, who will speak March 5 in Santa Rosa as part of the Jesus Seminar. “That he ultimately was killed was something that just happened.”



Director Paul Verhoeven discusses the importance of Christ’s life on film

By

THE STORY OF JESUS–that troubling legend of mankind at its worst and its best–has been a subject for the movies since the beginning of cinema. But a movie, generally speaking, is meant to please everyone, and this is almost impossible when the subject is Christ. Filming the story of Christ tends to offend both the pious and the impious. Watching yet another version of the Passion Play, New Yorker magazine film critic Pauline Kael asked the rhetorical question, “Why do filmmakers think it’s such a good story, anyway?” What’s left out of the story says as much about a society as what is included.

On March 5, the Santa Rosa-based Westar Institute hosts a panel discussion and public forum on the problems of portraying Christ in the movies. The institute yearly hosts the Jesus Seminar, a gathering of religious scholars to discuss the secular, historical roots of Christ, based on archaeological finds, newly discovered documents, and new translations of the Gospels. The internationally renowned group fights the popular notion, as George Bernard Shaw put it, that confusion is the proper condition in which to read the Bible. The institute has also published, through its own publishing house, W. Barnes Tatum’s Jesus at the Movies: A Guide to the First Hundred Years (Polebridge Press; $17.95).

At the forum, Tatum, a professor of religion at Greensboro College, will be getting together with the Episcopal priest Jim Friedrich and B. Brandon Scott, a professor of the New Testament at the University of Tulsa. Joining these divines will be the well-known director Paul Verhoeven, a Jesus Seminar fellow who is seriously attempting to film a new life of Jesus.

The idea could draw mockery–OK, here’s the maker of the ridiculous strip-fest Showgirls and the sci-fi flick Total Recall wanting to film a Passion Play (Matthew 12:33: “A tree is known by its fruit”). But there are a few historic parallels, there being nothing new in the picture business: Nicholas Ray, who made the 1961 King of Kings, later directed a soft-core porn picture titled Wet Dreams; Zalman King, who played the Messiah in The Passover Plot, is now wealthy from his own soft-core films such as Delta of Venus and 9 1/2 Weeks; and did you ever see Pier Paolo Pasolini’s Salo, the Italian director’s version of the exploits of the Marquis de Sade? Much rougher sledding than Showgirls, yet Pasolini also made The Gospel According to St. Matthew, one of the more admired versions of Jesus’ life.

The same temperament that finds transcendence in sex–the magic of one person merging into another–may eventually seek it out in the transcendence of faith.

During a phone interview, Verhoeven acknowledges that the life of Christ in Israel is a departure from the story of showgirl Nomi in Las Vegas. “It’s different from my usual American work, yes, but not so different from my European work, like Turkish Delight and Soldier of Orange. Here I’ve made RoboCop, Total Recall, Starship Troopers … it’s sometimes difficult breaking away from science fiction. But in [my native] Holland, my work was very much about autobiography and biography.”

I ask Verhoeven if he believes in the Resurrection. “I believe in the Resurrection of the Word,” he says. “I believe the disciples felt that Jesus was with them again. The [story of the] fingers in the wound I doubt, but I think the disciples felt a strong force around them, though the Church has postulated Jesus resurrected in body and came back. The Jesus Seminar has clearly stated that Jesus was buried and his body was decomposed.”

RAISED A CATHOLIC, I’d been trained to believe that Jesus went to the cross in measured steps, fully aware of where he was heading. But after reading histories of the bureaucratic hot-potato game the various Judean authorities played with the case of Jesus, the Crucifixion seems more like a ghastly mistake on behalf of three parties: the Romans, the Jews, and Jesus himself.

“The Jesus Seminar describes it as ‘a car accident,'” Verhoeven says. “My guess is that Jesus was a Jewish cynic, witty and sharp, but then he had a change of mind and believed that the Kingdom of God was approaching. Remember that he was crucified for being king of the Jews, as a crown pretender.”

What about the dramatic problem of telling a story in which everyone knows the ending? “Well, what about Titanic?” Verhoeven responds shortly.

The writer Graham Greene, another good Catholic, noted on his travels that the poorer the country, the bloodier the crucifix. To inspire faith and sympathy, Jesus has to look more beat up than anyone else in a beat-up land. How do you film a crucifixion?

“The Crucifixion doesn’t have to be close to the camera,” Verhoeven allows. “It can be far away–it’s still the same story, the movements and details. These are the two ways of doing it: the more artistic way and the visceral. The political side of the film will be important, to remind people that the Roman government was crucifying people all the time. Maybe we’ll follow an earlier Crucifixion. It was a normal thing. Mark and all of the other gospel writers state it very simply, ‘He was crucified.’ His readers knew exactly how bad that was, how gruesome and terrible.

“But it would be wrong to stress this as the most important thing about Jesus. [Missionary doctor] Albert Schweitzer, who wrote about Jesus, said that only through suffering and pain can we get close to Jesus. Still, what Jesus was talking about was love, a happy, evangelical message. Of course, as Nietzsche comments, the evangelical message was immediately made de-evangelical, to emphasize the suffering.

“The message of Jesus is the way he lived. That he ultimately was killed was something that just happened. By seeing it as a sacrifice we diminish the importance of what he’s thinking. Putting the Cross and the Resurrection at the heart of the story has diminished the importance of Jesus’s message.”

As Pax Americanus supersedes Pax Romanus, Jesus’ story has an uneasy, pertinent side, something that ought to haunt any world power when it contemplates earthly power and glory. “Did you hear about that town hall meeting about Iraq?” Verhoeven asks. “Think of America’s own partnership with Indonesia, despite the massacres in Eastern Timor. We want Indonesia to be quiet and tranquil, so we can participate in their riches. Just like Rome, we want these countries to be quiet and docile.”

An important part of the message of Jesus is the frustrations of an occupied peoples about their oppressors. Considering such matters as the history of Jesus doesn’t sink Jesus beneath wisdom like a stone, as that cloying line of Leonard Cohen has it. Instead, study rebuilds respect for Jesus’ still revolutionary wisdom.

Paul Verhoeven and other fellows of the Jesus Seminar speak on “Jesus at the Movies” on Thursday, March 5, at 7:30 p.m. Flamingo Hotel, Fourth Street and Farmers Lane, Santa Rosa. Tickets are $10. 523-1323.

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Air, Fire & Earth

By Bob Harris

YOU’VE SURELY HEARD BY now about the tragedy in Aviano, Italy, where a U.S. jet cut the wire supporting a ski-lift gondola, causing 20 people to fall to their deaths. You’d surely hope that afterwards, somebody in the military would have stepped forward right away, explained what happened, and accepted responsibility in an honorable manner.

You’d hope.

Brig. Gen. Guy Vanderlinden (whom I loved on Barney Miller) is the deputy commander of NATO naval strike support forces in southern Europe, which are maintained so we can respond to trouble in northern Africa or the Middle East. (They’re also just in case Switzerland suddenly freaks out and declares war on France. Which could happen. You can’t trust the Swiss. Oh, sure, they look harmless with their clocks and lederhosen and instant cocoa. But I’m onto you, you twitchy Swiss misfits. I’m onto you.) Sorry. I digress.

Anyhow, so this Gen. Vanlindenhosen guy is explaining after the accident how a state-of-the-art EA-6B Prowler could happen to plow right into the cable supporting this ski lift and kill all these people. And this is what he said, direct quote:

“I do not believe the pilot diverted from the approved route.” Oh.

OK, Gen. Vanlandingpad, let’s see if I’ve got this straight: You’re saying that his approved route was directly into this ski lift. Y’all planned that.

As a training exercise, just in case Saddam Hussein equips the Republican Guard with ski lifts and gondolas. You’ve got a countermeasure. I see.

The Italians didn’t buy it. They said the pilot was miles off line and flying way too low. Which, after a bunch of denials, the Pentagon eventually admitted. The Marines also denied that the plane had a flight data recorder. Which they turned over to the Italians a couple of days later.

Will the Pentagon ever learn? What happened in Aviano was an accident. What happened afterward wasn’t.

And that’s why a lot of people don’t trust the military.

SOMETHING NEW and bad comes out about the tobacco companies almost every day. The latest: According to papers recently publicized by members of the Congressional Black Caucus, the sultans of smoke spent years consciously targeting black people, even though they were fully aware that cigarettes can kill.

Genocide? Nah.

Remember, these very same tobacco executives also marketed specific cigarettes to women, younger smokers, and especially–judging from all the giant Marlboro ads–sexually insecure white men.

All of which is plenty bad enough. And it gets worse.

It turns out that in 1972, tobacco giant Brown & Williamson also planned to manipulate the taste of their cigarettes to attract new customers. One idea they considered was to lure young people by creating a cigarette simulating the taste of cola.

The documents flatly state, “It’s a well-known fact that teenagers like sweet products,” and then list a number of different ideas for inventing a sweetened, Pepsi-tasting cigarette.

What were they planning to call it? “Smoka-Cola”? I can just see the billboard slogan: “Your breath stinks–and you burp!” That’ll impress the chicks. Heck, they should have even caffeinated the stuff. That way, an avid user could start the day with coffee, cigarettes, and a sugary donut … and then burst into flames before lunch.

How do we punish the executives who lied to Congress about the existence of so many of these documents? Maybe we could just sentence them to a lifetime of using their own products.

LAB TESTS PROVE: Being poor can damn near drive you nuts. Believe it or not, my life wasn’t always this glamour-filled joyride of all-night political humor parties with buxom showgirls.

No, I was actually poor myself once.

Anybody who really deals with poverty can tell you that one of the worst effects is psychological. Look, y’ever go to a party, and you were sort of the geek? Maybe your clothes were out of style, or maybe you didn’t know anyone, and so it was hard to get anybody to talk to you? It takes about 10 minutes before you’re feeling lousy about yourself, even though objectively you’re still just as cool as ever.

OK, now imagine that’s the whole world. Everywhere you look, everyone is richer and better dressed, and they don’t even want to look at you because they find you depressing.

Only it’s not a party. It’s real life.

That could be hard to cope with, right? Now there’s scientific proof. A new study of almost 10,000 people in the United Kingdom has found that the lower your income, the more likely you are to suffer from depression and other common mental disorders.

Inversely, you might imagine that being rich might make you more emotionally stable. Actually, the study doesn’t show anything of the kind. Which wouldn’t surprise anyone in Los Angeles or Washington, where celebrity self-destruction is sort of a local feature.

St. Louis has the big arch; Pittsburgh has the inclined trains. L.A. and D.C. have Roberts Downey and Dornan.

Bottom line: Money really doesn’t buy happiness. But enough to get by can rent a reprieve from despair.

From the February 26-March 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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