Through a Glass Darkly

 

“11 When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.
12 For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.
13 And now abideth faith, hope, charity, these three; but the greatest of these is charity.”
— The Apostle Paul in a letter to the Corinthians, 1 Corinthians 13:11-13, from the King James Version of the Bible.

DNA kits are very popular now, both for people ordering them for themselves and for those giving them as gifts. Sales of kits doubled in 2017 over all previous years, and have increased again in 2018 over 2017. Interest appears to derive mostly from curiosity about immediate ancestors, on which the kits do a good job of enlightening people, and secondarily about genetic health risks, on which the kits dealing with the subject deliver mixed results, needing confirmation from a medical professional.


One area of controversy with the results, at least for Americans, has come from links to African ancestry for European-Americans, and links to European ancestry for African-Americans. Most European-Americans, or white folks, get results that include some ancestry going back to Africa two hundred years or more, usually less than 10 percent of their total genetic makeup. Most African-Americans, or black folks, get results that include around 25 percent European ancestry.

Cesky Sternberk Castle CZ family tree 116
Portraits of six generations of the Sternberg family in Jiří Sternberg’s study, Český Šternberk Castle, Czech Republic. Photo by takato marui. Tracing ancestry is easier in the pure bred lines and close quarters of Old Europe than in the melange of ethnicities and transcontinental migrations of the New World.

Compared to the ethnic homogeneity of most Old World countries, Americans are mutts, and the melting pot was particularly active in the years of heavy immigration from Europe from the mid-nineteenth century to the early twentieth century. Africans brought into the country as slaves until the Civil War eventually made up a larger proportion of the total population through that period than they have since, averaging close to 20 percent of the total for the first hundred years of the republic, and settling to a range of 11 to 13 percent of the total population afterward. It shouldn’t therefore surprise white people taking DNA tests to discover they have at least a small percentage of relatively recent African ancestry.

It is interesting, however, that DNA test results for black people yield an average of 25 percent European ancestry. It is not surprising there has been mixing of the races, despite laws against miscegenation going back centuries, but that black people have a much higher percentage of European ancestry than white people have a percentage of African ancestry, and yet black people are still and always considered black. This is Pudd’nhead Wilson territory, in which even a tiny percentage of African blood is tantamount to an entirely African genetic heritage. In America, once a person has been accepted into white society, it requires a considerable amount of African genetic input, along with other factors involving economics and relationships, for a person to fall from grace, as it were, from whiteness to blackness.


The evolution of man- a popular exposition of the principal points of human ontogeny and phylogene (1896) (14594954920)
In this 1896 illustration by Ernst Haeckel (1834-1919), “Man” is precariously at the top of a tree encompassing all life on earth.

The grade has always been uphill, on the other hand, for black people to be accepted into American society, always predominantly white, no matter how much they were genetically European. Initial branding of blackness meant staying black in the eyes of white society until extraordinary circumstances or subterfuge intervened. In all this, what the majority of people, black and white, seemed to have missed was that racial differences were minuscule, along the lines of one half of one percent of the genetics every human being shares. Race itself is an artificial concept, a social construct, rather than a real biological divider.

It’s all in the mind, and those who would reinforce race as a divider of the human species have to perform mental and ethical gymnastics to justify their beliefs since science won’t do it for them. The idea that DNA test results with some percentage of African ancestry are showing merely what goes back millions of years for all of humanity also does not hold up. Yes, everyone on earth does have common ancestors in Africa, but that is not what the makers of DNA home test kits design them to illustrate, since they typically only research genetic relations going back several centuries, that being within the time frame for which they have reliably detailed information on background in their databases.

The immigration scene of young Vito Corleone, played by Oreste Baldini, in Francis Ford Coppola’s 1974 film The Godfather: Part II. Unlike Vito Corleone when he matured, the majority of immigrants, then as now, do not end up engaged in dangerous and unlawful activities, despite what rabble rousing politicians want everyone to believe.

There also appears to be an assumption among even open-minded white people that since Africa is the cradle of all humanity, then Africans themselves must be genetically closer to that cradle than the rest who emigrated to far continents. African ancestry noted in the DNA test results must, they reason, be hearkening back to long ago ancestors white people share with everyone on earth. No. The test results show genetic input from recent African ancestors. And those recent African ancestors have evolved along with everyone else on earth, including Europeans, triggered by similar environmental and social changes pushing them to adapt. The European discoverers should not be so quick to flatter themselves with ideas of inherent superiority that they lose sight of how other societies have adapted quite well under unique circumstances without prizing discovery and conquest above all else as the sine qua non of human existence.
— Ed.

 

 

I’m Not a Cook, But I Watch Them on TV

 

At a time when cable television shows are promoting cooking, and cooking in superbly designed and equipped kitchens, like never before, Americans are cooking at home less than ever before. In this sense of cooking, throwing a prepared meal from the supermarket into the microwave, oven, or a frying pan does not qualify. Cooking means readying and blending raw or minimally prepared ingredients in such a way as to constitute a full meal. Cooking in this sense refers to how many households prepared dinner, if not breakfast or lunch, forty or fifty years ago.

For dinner at least, the American home cook of 1960 or 1970 visited the grocery store to pick up ingredients in the produce department, usually the meat section, and perhaps the middle aisles for flour, sugar, spices, and canned goods. The home cook of that time rarely picked up things from the frozen food section, and then only basic ingredients like frozen vegetables instead of any of the frozen meals, of which the selection would have been limited anyway. At that time there were only a few cooking shows on television, and those, such as Julia Child’s show, were buried on public television where relatively few people saw them. Home improvement shows with their enormous kitchen remodels hadn’t even shown up yet, and wouldn’t do so in anything like their current form until the 1990s.


African woman working
African woman frying bean cakes at a roadside. Photo by IKoye.

In the years since the 1960s and 1970s, home cooking has dropped off considerably, and at the same time interest has risen in TV cooking shows and home improvement shows that feature enormous, professionally equipped kitchen remodels. It’s comical to watch on television these upper middle class couples with too much money tour homes that have kitchens large enough for the staff of a small restaurant, and which statistics about current trends and your own instincts as a viewer tell you the couple will never need nor use to its full capability, and to see them ooh and aah over it as if it’s perfect for them. These shows seem to be more about fantasy wish fulfillment than realistic expectations, and the same dynamic appears to operate for the cooking shows which have taken over cable television.

At a time when over one billion of the world’s population goes hungry, Americans are enthralled by television shows which detail how to prepare rich and intricate dishes, often with elements of stressful drama added for no reason other than to intensify viewer engagement in an otherwise prosaic process. This is perverse. Few of the viewers will actually attempt to make the dishes themselves, but that is besides the point. It is like the expensive and needlessly over-equipped kitchens on view on the home improvement programs. It is a sort of pornography. Those in the lower classes might wish they could make those fancy dishes in those elaborate kitchens. Those in the middle classes might ponder that with a home equity loan the kitchen would be possible for them, and then what times they would have in it, cooking and entertaining!

Julia Child, the original television cook, demonstrating on her public television show The French Chef that perfection is not always possible, and that’s alright.

The upper classes, of course, find all of this unnecessary, because they have, as they have always had, people to do all of this for them. As long as they can come down to the kitchen at midnight and find the makings for a sandwich on their own, they should be okay with any kitchen, however elaborate. The real target of these television programs, both the debt-inducing kitchen remodels and the guilt-inducing cooking shows, is the middle class, and especially those already in the upper middle class or aspiring to make it to those heights. What’s the point? Spend money, even money you don’t have, to become part of the People Living the Good Life. Eat well, even if you have to pretend to know how to do that. There’s no need for all these cooking shows. A few would suffice. Instruction in cooking for a good life doesn’t need hours upon hours of elaboration and drama; cooking to impress others with your station in life apparently requires whole cable television channels.
― Izzy

 

Charlie Don’t Surf

 

“Charlie, that’s beneath you,” Steve Bannon told interviewer Charlie Rose on the 60 Minutes television program this past Sunday, referring to Rose’s remark that we are a nation of immigrants except for the Native Americans. Bannon’s statement was bizarre and nonsensical, and seemed to come from his own peculiarly politicized vision of American history in which admitting that European immigrants largely stole the Western Hemisphere from Native Americans in a shameless display of cupidity and genocide is somehow nothing more than shameful leftist propaganda. So much for honestly facing the truth.

Charlie Brown parade balloon
Charlie Brown parade balloon at the 2016 Thanksgiving Day parade in New York City. Photo by Midtownguy2012. Maybe Steve Bannon was referring to all the immigrants in the streets of New York City below the floating Charlie Brown balloon.

Even though Mr. Bannon is out of the White House now, his legacy lives on in the administration’s immigration policy, specifically the recent announcement about ending the Obama era DREAMer policy of granting a path to citizenship for children of illegal immigrants. Mr. Bannon does not appear to care for immigrants, legal or otherwise, no matter what sort of intellectual gloss he slops onto his elitism. He is an unsavory man who sees nothing wrong with declaring war on the brown-skinned peoples of the earth, as long as people other than him and his kind are doing the fighting. The short termed White House Communications Director Anthony Scaramucci, in his own succinct way, characterized Bannon absolutely correctly. Mr. Bannon is someone who takes himself too seriously, and is accustomed to overawed admirers reinforcing his own high opinion of himself.

A clip from the 1979 film Apocalypse Now, directed by Francis Ford Coppola, and here featuring Robert Duvall as the gung ho Colonel Kilgore.

For all that, what do Mr. Bannon’s ideas amount to? Not much other than what can be found in the writings of Rudyard Kipling – the White Man’s Burden and all that – but without Kipling’s compassion. Steve Bannon is a man out of his time, which rightly should be about 150 years ago. Perhaps that was when America was great for him and his kind, or at least it was if he ignored the multitude of recent German and Irish immigrants, the millions of African slaves recently freed after the bloody Civil War, and all the Mexicans still at large in the new territories and states of the American southwest as a result of the giant land grab known as the Mexican-American War.

“Charlie Don’t Surf” from the outstanding 1980 triple album Sandanista! by the English band The Clash.


In that world, Mr. Bannon would no doubt have felt at home because his cognitive dissonance about American history would not have been noted by his contemporaries. He would instead have been part of the mainstream of Old Boy elites riding high on the backs of immigrant and poor persons’ labor, while snootily ignoring that fact and looking down on them, the source of his wealth, and of his leisure to engage in what amounts to little more than mental masturbation. Maybe that’s what he meant when he said “Charlie, that’s beneath you.”
― Ed.

The First Thanksgiving cph.3g04961
The First Thanksgiving, 1621, an early twentieth century painting by Jean Leon Gerome Ferris (1863-1930). The painting portrays Native Americans as guests partaking of the bounty provided by The Pilgrims, while by all honest accounts of the period the Native Americans generously saved the newcomers from privation in their early years of struggling to survive in the unfamiliar surroundings of the New World. Steve Bannon would no doubt find comfort and confirmation in the relationship of the two groups as portrayed in this painting.

This Land Is Our Land

 

The “Unite the Right” rally in Charlottesville, Virginia, on August 12 ended up being more about the neo-Nazi version of white supremacy than the purported issue of memorials to the Confederacy and whether or not they represent another version of white supremacy. Despite that difference, it hardly matters to the victims whether white supremacy is rooted in Nazism and World War II or slavery and the Civil War. The neo-Nazis merely co-opted the issue of removing a statue of Robert E. Lee from a public park in order to further their own hateful agenda.

 

The backlash to the rally in Charlottesville has had the effect of expediting removal of Confederate memorials around the country. Instead of preserving memorials to the Confederacy, an issue which the neo-Nazis obviously had an interest in only as a flash point, the effect of their demonstration has been to bring to the attention of the general public the real purpose of many of those memorials and why it is a good idea to remove them. The majority of the statues, for instance, were put up in the Jim Crow era, often outside courthouses, and it is clear from dedication speeches of the time that the statues were meant to serve the dual purpose of preserving the memory of the rebellion as well as reminding black people and their few white allies that the old guard was still in charge, no matter what the Constitution of the United States had to say about equality of the races.

Woody Guthrie NYWTS
Woody Guthrie (1912-1967), writer of “This Land Is Your Land”, performing in 1943. The sign on his guitar says “This machine kills fascists”. Photo by Al Aumuller of the New York World-Telegram.

Another bump in confederate memorializing came during the Civil Rights era of the 1950s and 1960s. Through the Jim Crow era assertion of the old order and then reassertion during the Civil Rights era the rest of the country took little note of the symbols being put up all around the South. Visitors might think some of the memorializing was odd to the extent that they noted it at all, but for the most part they put it down to a “Southern thing” in which it was best not to interfere. The region’s inhabitants, black and white, surely understood why the memorials were there, though some of the white people among them chose to gloss over their uglier meaning by looking at them only as symbols of plucky defiance against Northern aggression, ignoring the centrality of slavery to the conflict, which was written down in the Declarations of Secession by their own leaders.

 

Mount Rushmore
Mount Rushmore in the Black Hills of South Dakota, a region sacred to many Native Americans.

Now that the issue of Confederate memorials’ role in asserting white supremacy has come to national attention, it is perhaps time to start examining white supremacy memorials in every context across the country. The idea expressed by the neo-Nazis at Charlottesville that white people have an inherent right to lead this nation and subjugate other groups is self-evidently asinine. Native Americans are the only true Americans, and they of course are not white people. It is entirely unlikely at this point, however, that hundreds of millions of people, black and white, African and European, will board ships and return to their lands of origin, much as the real Native Americans may wish that at least some troublemakers would do just that.

Like it or not, this land is now populated by one big, argumentative family. Some of us hate each other, and it appears that will always be so, but the idea that one group of the family, namely white people – and in particular a subset of privileged white heterosexual males – should continue to dominate the others is an evil premise. Stow your petty, self-pitying grievances and move on, so that when we all get together for Thanksgiving we can have peace in the family.
― Vita

An August 1993 performance at Wolf Trap in Virginia. Arlo Guthrie’s daughters sing backup, his son plays keyboards, and Pete Seeger’s grandson is the singer in between Arlo Guthrie and Pete Seeger on stage.