Posts by Sarah Weinman

Sarah Weinman is a contributing editor to Reluctant Habits.

Forgotten Writers: Dorothy Uhnak

In 1953, the idea of a single female police recruit to the New York City Police Department, let alone a handful, was big news. And when the New York Times wrote up the-then shocking idea of these women engaged in public outdoor physical activity as part of the examinations they needed to pass, naturally they included photos of the department’s newest members — including one young mother and engineer’s wife, born and raised on Ryer Avenue in the Bronx. A decade later, Dorothy Uhnak immortalized her beat-walking experiences — which included knocking down a robber more than twice her size — in her memoir Police Woman.

By the end of the 1960s, Uhnak had added to pioneering police work literary acclaim with a trio of award- winning novels following the career of Christie Opara, a detective protagonist as cool and methodical on the trail of multiple murderers (The Bait) political protesters (The Witness) and mobbed-up types (The Ledger) as she was raising a child on her own and considering a romance with her brash and sharp-tongued boss. Consciously or otherwise, Uhnak was planting the seeds for female detectives more private-minded — like Millhone, McCone and Warshawski — and subsequent generations of hard-boiled literary women. But until the Times reported Uhnak’s death of a self-administered drug overdose in 2006, her contributions went unnoticed by a great many readers — including me. I soon realized this void was shameful on several levels.

Uhnak dispensed with Christie Opara so quickly (a much-altered version of the character surfaced briefly on television in Get Christie Love) because her matter-of-fact prose and complex characters needed more room to breathe. Spurred by her editor’s desire to emulate such 1970s publishing phenomena as Mario Puzo’s The Godfather and Joseph Wambaugh’s The New Centurions, Uhnak made the leap from tight-focus cop chronicles to blockbuster sagas, including 1977’s The Investigation and Victims (1985), a loose account of the Kitty Genovese murder. Sadly, the only one of these novels that remains in print is the first, the meaty, multi-generational doorstopper Law and Order (1973), which charts the entwined fates of the O’Malley family and their perpetual employer, the NYPD.

Those twin worlds, depicted between 1937 and 1970, are insular ones. The O’Malleys, with their repeating names and vigorous breeding habits, are too busy taking care of their own — personally and professionally –to bother with what happens outside their Ryer Avenue environs or the codes, written or otherwise, of the department. A brutal opening scene sketches the boundaries of the mindset. When the elder Brian O’Malley, a hard-drinking, rough-living Irish cop, meets his grisly death at the hands of a black prostitute he frequents, “I don’t want any part of it,” thinks his brand-new partner, Aaron Levine. “God he wished they were on their way back to the precinct house. It was nearly time for the tour to end. He never thought that filthy precinct would feel like home, but it was where he wanted to be right now.”

Levine’s wilful blindness, which continues as he slides all the way up to a cushy academic position (the reward for his “not wanting any part of it”) is the key metaphor for how people operate in Law & Order. O’Malley’s death is covered up, blamed on a robbery gone wrong. His eponymous son Brian steps in his father’s place, a brilliant recruit on the fast track to becoming Detective Chief Inspector — but not before he also tunes out the disturbing signals that don’t fit the overall narrative of cop culture. As for the O’Malleys as a family, they too doom themselves to repeating the same mistakes, generation after generation. Margaret, wife of the original Brian, grows from a young woman fearful of the clan she’s married into a hardened shell prone to snapping at her children. Eldest daughter Roseanne pays the price of her insolent adolescence when the wild young man she fancies turns out to be a rotten husband (her niece Maureen, the daughter of Brian Jr., will make virtually the same mistakes decades later.) Brian is himself prone to self-castigation about “sins of the flesh”, going so far as to try purging himself at the confessional, but — even after marrying a girl whose supposed job it is to rid himself of base desires — he indulges in multiple affairs.

The sense of fait accompli comes out even in how Uhnak depicts Brian Jr.’s original police examination: “Thirty-three thousand young men took the examination for Patrolman, New York City Police Department. Fewer than twelve hundred survived the written, physical, medical and background check-out. The class at the Police Academy was comprised of the top 10 per cent of the resulting list of eligibles. Eighty-five per cent of them held college degrees. By the time they received their appointments, they all knew they were something special.”

No wonder then such recruits, like Brian, are invited to do as they please; to free, for example, a statutory rapist of a neighborhood girl considered to be a slut — while another man, guilty of raping Brian’s young sister, merits a life-threatening assault. No wonder certain recruits are allowed to take a doctored exam while others cavalierly murder in the name of shutting up a would-be snitch determined to expose department-wide corruption. It’s only when the stage is set for Brian’s son Patrick, fresh off a tour in Vietnam that’s exposed him as much to war as it has to racial divides, to take his place in the cop pantheon, that the presumptions undergirding the system are threatened.

Which is why, when the bad apples have been shaken loose and events mimicking the 1972 Knapp Commission partially reveal the fault line of corruption – as well as the truth about what happened to Brian, Sr. — we’re left with Patrick, having a drink with his old man, his mouth open and holding his hands up. “Christ, isn’t there a moral way to commit a moral act?” asks the younger O’Malley, sick with disillusionment over how the Department handles corruption from within. His father has none of it. “In all of my life I’ve found morality counts shit when it comes to getting a job done. What counts is doing it any goddamn way you can, but get the job done.”

When their minds meet, resolved in a middle ground, Law & Order completes its newest generational cycle, where innocence crumbles in the face of hard-earned cynicism and means justified by the ends. The NYPD is as much family as the O’Malleys, and in Uhnak’s hard-bitten world, both of them — no matter the cost — take care of their own.

Another Review of Moneyball

This is the second of two Moneyball reviews we’ve published. The first, featuring two fictitious sportscasters, can be read here.

I came to Moneyball not having read Michael Lewis’s book. There wasn’t really a good reason. Because I do read source material for a film whenever possible. Why? Because I like to play comparison games in my head. And because if the film doesn’t match up to the book, then I can figure out why. Or if it does measure up (and then some), I can analyze the differences.

Oddly, I didn’t do so when I saw The Social Network, which Moneyball is clearly trying to ape: from the Sorkin dialogue that managed to survive a zillion rewrites and doctoring to the shots of 21st century retro computing (2001 in Moneyball, 2004ish in TSN) to the meetings where old people need to be convinced of something new and foreign (in TSN‘s case, when the fictional Zuckerberg is being deposed by lawyers or telling the Harvard people why he doesn’t give a fuck about them but does about Facebook; in Moneyball, when beatific Brad Pitt as Billy Beane drops his masks and tells a room full of Fathers Know Best scouts they don’t know what they are doing.) Maybe Moneyball needed full-blown Sorkin, but I don’t think his script could have saved the movie, which was pretty much unsaveable from the get-go.

Here’s why: it opens with footage (real? doctored? who cares?) of the Oakland Athletics’s 2001 wild card playoffs, a strike against my childhood self who cried out for her 1994 Expos, their bound-for-playoff run aborted by the strike that killed the game and ushered in three rounds of post-season. There’s Jason Giambi before we knew he took steroids. There’s Roger Clemens before we knew he took steroids, perjured himself, and generally revealed himself to be a colossal douchebag of the highest order. And I’m distracted, thinking of the Mitchell Report, Itamar Moses’s amazing play about the late 1980s A’s, Canseco introducing McGwire to the magical elixir of what these drugs can do. And oh yeah, the A’s lose, Schott won’t give Beane any money, and everybody’s fucked until the Fat Kid Math Whiz comes along to save the day and make Beane look good with his Sabermetric-based statistical analysis of underappreciated players.

Moneyball did pick up. I admit, when the movie turned to the streak, the grinding gears caused me to get caught up in the manufactured excitement. I mean, truth sometimes does trump fiction, and Hatteberg’s homer really was something else. But we’re only a couple of clicks away from finding out that Jonah Hill’s character is pure fiction (the truth, in the form of Paul DePodesta, Beane’s real-life assistant GM, got edited out because it wasn’t convenient, so DePodesta refused to have his name included), Beane was only following in predecessor Sandy Alderson’s footsteps, and going the quant route only works for the scrappers if the big guns haven’t figured it out. Also, I was kind of hoping for a cameo by some Theo Epstein stand-in, aka the man who ended up with Beane’s promised GM job at the Boston Red Sox. In fact, why hasn’t Ben Mezrich written about him yet?

Anyway, Beane is still with Oakland, though possibly not for long, as this New York Times Magazine piece reveals. He still hasn’t won a playoff. And that’s great, but is this a movie? It’s not that the lack of a Hollywood ending galls. Because it doesn’t. It’s that the lack of a Hollywood ending reinforces the fact that there wasn’t much of a Hollywood beginning or a middle. In other words, I want my damn 1994 Expos. Now there’s a team that might have changed the game further, and their shot wasn’t just ruined then, it was taken away forever.

Review: Tabloid (2011)

The first thing I was drawn to in Errol Morris’s new movie, Tabloid were Joyce McKinney’s eyes. They darted to and fro, down at her hands, up towards the ceiling, left to right, side to side. But they never faced the camera — or Morris’s Interrotron — directly. Considering that McKinney had quite a story to tell, that of a former beauty queen so enraptured with a Mormon missionary who she flew to London to rescue (or, well, “rescue”) him from that life and convince him through violent means that they must be married, the immediate conclusion on my part was, well, she wasn’t to be trusted. Couldn’t be believed.

That was all well and good, since I knew the bare bones of the Joyce McKinney story. I knew how the FBI’s version contrasted sharply with hers, and how the official — or perhaps “official” — version created a tabloid sensation that, even after almost 35 years, exceeds hyperbole. The UK Fleet Streeters, their dirty laundry credentials aired to full putrid effect throughout the month of July thanks to the never-ending phone-hacking scandal, were well in their element with McKinney, who was arrested and accused of kidnapping her Mormon man Kirk Anderson at gunpoint, squirreling him away to a Yorkshire abode, and raping him repeatedly for three days straight.

But then the camera left McKinney, who is now sixtyish and still a narcissist, to fixate attention on a younger man — raised a Mormon but now removed from the religion — though somehow expert enough to provide color commentary on its supposed cultish activity. And once I realized the younger man, too, did not face the Interrotron and Morris directly, Tabloid lost me. It’s one thing to cast an eye on your supposed subject and make him or her look wholly unreliable. That’s what documentaries do. But when the same techniques for doing so fall down in the face of some outside expert, there’s a serious problem at work.

Unfortunately, once the illusion of narrative coherence broke apart, the reality of how Morris failed in his efforts set in. If tabloid culture and its lurid taste for new content was so important, why did he only speak to two such types? There’s the capable but culpable reporter from The Daily Express, whose claim to fame was being taken in by McKinney’s not-exactly-truthful tale of pious living on the run after she and her accomplice Keith May (who died in 2004) jumped bail and fled London for America. His descendant probably got axed along with News of the World last week. Then there was the more sleazy photographer tasked with finding past dirt on Joyce in the form of bondage photos, among other pictorial delights, his tongue almost involuntarily going to his lips as he recalled the whole exercise.

But what of the larger culture of tabloidism — just eight years removed from Rupert Murdoch’s acquisition of NotW and its sister daily paper The Sun? What prompted the relentless pressure for arid scoops like what McKinney seemed to offer with Sex ‘n Chains? Why were the UK public so riveted by the story? Tabloid certainly wasn’t about to tell us. There was also an easily missed note in the credits that McKinney’s old boyfriend — the not-quite-innocent provider of the photos that splashed across the Mirror‘s pages for days on end — “could not be located.” Well, why not? Based on the scant number of people Morris talked to — at least compared to his earlier, more masterful investigative documentaries — it’s hard to shake the idea he didn’t really try very hard, helped by the fact that many of the other principals were dead (like May) or clearly unavailable (like Anderson).

McKinney may be pathologically self-absorbed, or something more complicated, but Tabloid doesn’t really care about her, other than to subject her to the mockery of the audience. There is little in the way of empathy. Worse, there’s a rather nasty undercurrent of misogyny, aided by the fact that McKinney is the only representative of her sex. That’s a bitter pill to swallow when the current fallen Queen of UK tabloidism is Rebekah Brooks, and when the subject of female-to-male rape has only men to rebut it. I was also discomfited by the notion of all these men ganging up on Joyce in a manner not unlike the fictional Lisbeth Salander, whom Stieg Larsson depicts as the anti-beneficiary of a terrible tabloid campaign. Because hey — to be goth and bisexual and weird is to be splashed across the pages as a triple murder suspect and subjected to a punishing smear campaign that can only be resolved through the cathartic trial that brings the Millennium Trilogy to a close.

McKinney’s catharsis, on the other hand, never really arrived. She found refuge in her home state of North Carolina, still pining — or obsessing — over Kirk, but now so devoted to her dogs that the act of cloning them brought her back into the news cycle in 2008. Tabloid doesn’t really indicate what Joyce McKinney is like now, though it certainly judges her, mocks her, and paints her as a cartoon of ridicule. Morris, I suspect, would say that’s the point. Because tabloids do the same thing. But as we’re all finding out this month, there are limits to what behavior can be tolerated. Even sleaze has a ceiling. All Morris has done by engaging with this in the shoddy manner he has is to reveal uncomfortable truths about himself, most notably that he, too, counts among the man som hattar kvinnor.

You Can’t Be a Good Literary Critic Unless You…

…have moved furniture.

…whistle a happy (or sad!) tune.

…understand what it is to be poor.

…understand what it is to be rich.

…love some kind of animal. In my world, dogs more than cats, but there’s no hard and fast rule.

…have a vice. Several, in fact.

…admit you’re wrong, know you will probably be wrong, accept that you’re wrong.

…have a loving relationship with a human other than yourself. Actually, make sure you love and (especially!) respect yourself, first, because otherwise you’re hardly in a position to love and respect anyone else, are you.

…cast off any lingering or slow-building bitterness. It shows, and it sucks.

…accept your words and judgment come with responsibility but that responsibility doesn’t mean being timid or pulling your punches.

…have a passport.

…read widely. Sure, you can review within a narrow range of books, but those narrow range of books need context, from highbrow to gleeful trash to everything in between.

…write something other than book reviews or criticism. Otherwise you’ll get stale and bored.

…still have your inner six-year-old.

…accept that lists like this are a crock of bullshit.

…laugh at stupid jokes and cry when shit upsets you. Otherwise known as, if you have emotions, feel ‘em.

…understand your being a literary critic has a (very short) time window. And that the very idea of making a living at this will cause heaps of laughter, mostly within your own head.

…take a fucking risk every now and then.

…live. Because let’s face it, being a good literary critic involves the same thing as being a good, well, anything. And if you don’t live, what the hell is the point?

An Idiosyncratic Contribution

Hi folks, well I suppose there’s some degree of irony that I’m hanging out at Casa Ed when I’m not even blogging at my own site for the rest of the week, but when your mind dovetails into mindless parody, one has to find an outlet for it somewhere. Besides, now I can fulfill my true calling as the Court Jester of the Superfriends Kingdom.

And so, I present….

CHASING DUBYA

From Kevin Smith, acclaimed writer-director of Clerks, Dogma and Jersey Girl and the most original filmmaker of his generation, his most audacious movie yet, adapted from a novel by Nicholson Baker.

Meet Jay.

Meet Silent Bob.

Jay summons his old friend Silent Bob to a motel room not far from the bowels of New Jersey. During the course of an afternoon, they share a pizza, smoke copious amounts of marijuana and plow through several six-packs of beer from the rooms fridge. They chat about everything from Silent Bobs success on Atkins to comic books to the unfortunate fate of their attempts to score with women.

And Jay explains to Silent Bob exactly why and how he is planning to commit a murder that will change the course of history.

[Interior: seedy motel room, equipped only with a television, fridge, bad artwork on the lefthand wall, two single beds, and a table. JAY and SILENT BOB sit at the table, directly across from each other, both facing the TV.]

JAY: Guess what?

SILENT BOB: [shrugs]

JAY: I have the best fucking idea ever. You know what Im going to do? I am so fucking excited about this, it is not even funny! Its so unbelievably best! Buzz!

SILENT BOB: [tilts head upwards]

JAY: Youre gonna shit yourself when I tell you, just completely fucking get wasted. Because it is the best fucking thing I have ever thought of.

SILENT BOB: [jerks head insistently, as if to say, get to the fucking point]

JAY: Im gonna kill the President! YEAH!!!

SILENT BOB: [says nothing]

JAY: I know, isnt that fucking awesome! Im going to take out that motherfucking cocksucker of a president. Hes the worst! Hes gotta go! Fuck yeah!

SILENT BOB: [says nothing]

JAY: Im sick and tired of working in a fucking convenience store all day, reading the same fucking comic books and seeing the same fucking peoplesorry man, I dont mean you, just every other motherfucking assholeI gotta do something different. Something that will make me eternally cool in this fucking wasteland. And the prezhes a total abortion, man, how can you stand it? With his weird lookin eyes and his funny voice and that whole Darth Vader shit going on. Doesnt it make you fucking MAD?

SILENT BOB: [folds arms, tries to cover up the fact that hes rolling his eyes every six seconds]

JAY: I mean look! LOOK! [leans over to the right and pulls out a stash of leaflets. He puts them on the table.] I spent fuckin hours working on these babies, getting them just right.

SILENT BOB: [picks up a leaflet and starts reading. His face darkens. He puts the leaflet back down on the table, then stares directly at Jay and sneers.]

JAY: I never should have invited you here, assclown. Youd never get it. Besides you didnt read that long enough. I bet you didnt even get to the part where I talk about why the president has fucked up the countryand more importantly, my fucking life–in seventeen different ways. What kind of fucking friend are you that you cant listen to me when I need you to help me out most?

SILENT BOB: [says nothing]

JAY: What do you mean, why? You know why! Read the fucking leaflet!

SILENT BOB: [says nothing]

JAY: [picks up the leaflet and starts reading.] Oh. Fuck. I didnt mean to say that. Fuck.

SILENT BOB: [looks at Jay, then looks at the fridge]

JAY: Huh?

SILENT BOB: [widens eyes at Jay, then points to the fridge]

JAY: Oh. You wanna beer? [opens the fridge, removes two beers and sets them on the table. SILENT BOB takes one, JAY takes the other.]

JAY: So like I was saying

SILENT BOB: [glares, then rolls his eyes.]

JAY: Oh. Yeah, I guess I see what you mean. It does sound kinda fucking stupid, doesnt it?

SILENT BOB: [nods]

JAY: Well, OK. You bring any weed?

SILENT BOB: [nods]

JAY: Yeah, gimme some.

[SILENT BOB pulls several joints out from his pocket, gives one to JAY. Both light up and take deep drags. Both exhale at the same time.]

JAY: This is the best fucking weed Ive ever had. Swear to GOD! So, what was I saying again?

SILENT BOB: [shrugs. He gets up and turns the TV on. A bunch of girls in bikinis and wet t-shirts appear on the screen]

JAY: Yeaaaaaaaaahhhhhhh..

[END OF SCENE]