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Meat and Empire
The pig-raising factories of Smithfield Farms stretch from Mexico to Rumania and back to home sty in North Carolina, where swine flu first mutated. Viewing Earth from outer space an alien ecologist might conclude cows are the dominant species of our planet. Alexander Cockburn on the conquest landscapes of the meat-producers. Nanotechnologies, say their boosters, are changing the way people think about the future. They rush to buy nano-products. But how safe are they? Steven Higgs has a chastening message for us. And Senator James Abourezk concludes his vivid “Adventures in Indian Country”, with the story of the occupation of Wounded Knee. Yes, he was there and he was one scared senator. Get your new edition today by subscribing online or calling 1-800-840-3683 Contributions to CounterPunch are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! CounterPunch books and gear make great presents.
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Today's Stories May 29-31, 2009 Vijay Prashad May 28, 2009 Joan Roelofs Paul Craig Roberts Ralph Nader Mouin Rabbani Joe Bageant James McEnteer Dedrick Muhammad Richard Morse David Macaray Harvey Wasserman Website of the Day May 27, 2009 Joanne Mariner Paul Craig Roberts Walden Bello Dave Lindorff Brian M. Downing Carlos Villarreal Nadia Hijab Adam Federman Laray Polk Isabella Kenfield David Michael Green Website of the Day May 26, 2009 Manuel Garcia, Jr. Mike Whitney Sharon Smith Marjorie Cohn Dean Baker Deepankar Basu Fred Gardner Jordan Flaherty Josh Ruebner Brian Cloughley Website of the Day May 25, 2009 Diane Christian John Ross Kenneth Hartman Uri Avnery Fred Gardner Cindy Sheehan Sen. Russell Feingold Sibel Edmonds Franklin Lamb Dave Lindorff Daniel Wolff Website of the Day May 22-24, 2009 Alexander Cockburn Michael Teitelman Mike Whitney Ray McGovern Sonia Cardenas / Clive Hamilton Conn Hallinan Fred Gardner Carlo Cristofori Dean Baker Rannie Amiri Andy Worthington David Macaray Nadia Hijab Franklin Lamb Ted Newcomen David Ker Thomson David Rosen Mark Weisbrot Robert Fantina Heather Gray Farzana Versey Chris Genovali Ron Jacobs Jay Diamond Dr. Susan Block Ben Sonnenberg David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend May 21, 2009 Jeffrey St. Clair / Paul Craig Roberts Chris Floyd Gerald Paoli Zach Mason Uri Avnery Andy Worthington Niranjan Ramakrishnan Norman Solomon Dave Lindorff Website of the Day May 20, 2009 Michael Hudson Gary Leupp Michael D. Yates Jonathan Cook Peter Lee Binoy Kampmark Peter Zinn William Loren Katz Gary Lapon Trudy Bond Website of the Day May 19, 2009 Kristoffer Rehder Mike Whitney Ray McGovern Vijay Prashad Mirjam Hadar Meerschwam Mustafa Barghouthi Andy Worthington Binoy Kampmark John Walsh David Macaray Website of the Day May 18, 2009 Dave Lindorff Abdul Malik Mujahid Jonathan Cook Ben Rosenfeld Patrick Cockburn Ralph Nader Stephen Soldz Eugenia Tsao Walter Brasch Roberto Rodriguez Charlotte Laws Website of the Day May 15-17, 2009 Alexander Cockburn Jeffrey St. Clair David Rosen Mike Whitney Bruce Page Jeremy Scahill Fred Gardner Tom Barry Mats Svensson Ramzy Baroud Mark Engler Mark Weisbrot Farzana Versey Ron Jacobs Hannah Wolfe Cal Winslow David Macaray Christopher Brauchli Mark Seth Lender Robert Fantina David Ker Thomson Stephen Martin Charles R. Larson Chase Madar Kim Nicolini David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend May 14, 2009 Michael Hudson Andy Worthington Paul Craig Roberts Jonathan Cook Ray McGovern Lance Selfa David Green Dave Lindorff Frida Berrigan Sue Udry Website of the Day May 13, 2009 Brian M. Downing Gareth Porter Robert Sandels Ricardo Alarcón Eric Walberg Dave Lindorff Deepak Tripathi William S. Lind Kevin Zeese Franklin Lamb Website of the Day May 12, 2009 Gary Leupp Richard Neville Wajahat Ali Dean Baker Franklin Lamb Norman Solomon Paul Craig Roberts Lisa M. Hamilton Bob Fitrakis / David Macaray Website of the Day May 11, 2009 Andrea Peacock Michael Hudson Patrick Cockburn Ralph Nader John Kelly Saul Landau Dave Lindorff David Michael Green Anthony Papa Paul Krassner Website of the Day May 8-10, 2009 Alexander Cockburn Jeffrey St. Clair Paul Wolf Steve Niva Neve Gordon Mike Whitney Warren Hinckle Serge Halimi Gareth Porter Sharon Smith Andy Worthington Mark Weisbrot Rosa Miriam Elizalde Cyber Command and Cyber Dissident: More of the Same? David Macaray Missy Beattie Ron Jacobs Diane Farsetta Ramzy Baroud Phelie Maguire Robert Fantina Kevin Zeese Margaret Flowers, MD Dave Lindorff Richard Rhames Ben Sonnenberg Kim Nicolini Stephen Martin Charles R. Larson David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend May 7, 2009 Paul Craig Roberts Chris Floyd Andy Worthington Alan Farago Ray McGovern Dave Lindorff Eric Toussaint / Ana M. Malinow, MD Jeff Armstrong Norman Solomon Website of the Day May 6, 2009 Doug Peacock Patrick Cockburn Richard Neville Manuel Garcia, Jr. Winslow T. Wheeler Deepak Tripathi Stephen Soldz Reuven Kaminer David Macaray Kevin Zeese Marjorie Cohn Coalition for an Ethical Psychology Website of the Day
May 5, 2009 William Blum Uri Avnery Steven Higgs Dean Baker Daniel Wolff Sibel Edmonds Carole King Klein Fidel Castro Belén Fernández Dan Bacher Website of the Day May 4, 2009 James G. Abourezk Jeff Leys Patrick Cockburn Andy Worthington Jaime Avilés David Swanson Paul Craig Roberts P. Sainath Eugenia Tsao Benjamin Dangl Sami Al-Arian Website of the Day May 1 - 3, 2009 Alexander Cockburn Gary Leupp Peter Linebaugh Jeffrey St. Clair / C. G. Estabrook Patrick Cockburn Mike Whitney Pierre Sprey / Andy Worthington Mairead Maguire Nadia Hijab Diane Farsetta Michael Calderón-Zaks Richard Rhames Russell Mokhiber Ramzy Baroud Rannie Amiri Deb Reich Steven Higgs Brian Cloughley David Michael Green Farzana Versey Jim Goodman Carl Finamore Christopher Brauchli Susie Day David Yearsley Lorenzo Wolff Peter Stone Brown Poets' Basement Dominguez, Orloski and Springate Website of the Weekend April 30, 2009 Ellen Cantarow Dana L. Cloud Paul W. Lovinger / Binoy Kampmark Brian Downing Frank Snepp David Swanson Conn Hallinan Ron Jacobs John Goekler Jasmine L. Tyler / Website of the Day April 29, 2009 Joann Wypijewski Patrick Cockburn Andy Worthington Chris Floyd Dave Lindorff Jeremy Scahill Doug Henwood Michael Hudson Russell Mokhiber Eric Toussaint Website of the Day April 28, 2009 Uri Avnery Jeremy Scahill Dean Baker Michael D. Yates Conn Hallinan John Stauber Tom Barry Harvey Wasserman Jeff Nygaard Frederico Fuentes Website of the Day April 27, 2009 Pam Martens Patrick Cockburn Andrew J. Bacevich Guardian of the Status Quo: Obama's Sins of Omission Mitu Sengupta Franklin Lamb Firmin DeBrabander Dave Lindorff Russell Mokhiber Mike Whitney Mark Weisbrot Rev. José M. Tirado Website of the Day April 24-26, 2009 Alexander Cockburn Marjorie Cohn Andy Worthington Jeremy Scahill Chris Floyd Mike Whitney Anthony DiMaggio Chris Kromm Saul Landau Dave Lindorff Greg Moses Joshua Frank Fred Gardner Manuel Garcia, Jr. David Michael Green Ramzy Baroud Rannie Amiri Laura Carlsen Richard Morse Nikolas Kozloff Kent Peterson Robert Bryce Niranjan Ramakrishnan The Financial Experts Ron Jacobs Richard Rhames Stephen Martin David Yearsley Poets' Basement Website of the Weekend April 23, 2009 Eamonn Fingleton Ray McGovern Michael Ratner Alan Farago Rob Larson Nadia Hijab Fawzia Afzal-Khan Dave Lindorff Helen Redmond Adam Federman Website of the Day April 22, 2009 Chris Floyd Joanne Mariner Vijay Prashad Gareth Porter Dean Baker Peter Morici Winslow T. Wheeler Barucha Calamity Peller Harvey Wasserman Aisha Brown / Teo Ballvé Website of the Day April 21, 2009 Randy Rowland Dave Lindorff Fidel Castro George McGovern Greg Moses Benjamin Dangl Sonia Nettnin Frank Barat Binoy Kampmark John V. Walsh David Macaray Website of the Day April 20, 2009 Mike Whitney Andrea Peacock Henry A. Giroux Liaquat Ali Khan Fred Gardner Stephen Soldz Nadia Hijab Dave Lindorff P. Sainath Nelson P Valdés Mark Engler Belén Fernández Website of the Day
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Weekend Edition You Can't Stay Neutral on MigrationSin Nombre: Only Part of the Border StoryBy JOSEPH NEVINS The Philadelphia Inquirer calls the film “[t]ough and beautiful,” the USA Today “a powerful and wrenching thriller,” giving it fours stars out of four. The Denver Post characterizes it as “vivid and haunting,” while The Washington Post praises he film as “an elegant, heartbreaking fable, equal parts Shakespearean tragedy, neo-Western and mob movie but without the pretension of those genres.” The movie receiving these adoring reviews is Sin Nombre (Without a Name), directed by Cary Joji Fukunaga. His first feature-length film — “[o]ne of the most memorable directorial debuts in recent memory” according to the Post — it won the California-born Fukunaga the directing and cinematography award in the dramatic competition at this year’s Sundance Film Festival. There is certainly much to recommend the film. It tells a visually compelling tale that takes the viewer on a journey from the streets of Tapachula, Chiapas — a mid-size Mexican city on the border with Guatemala—to Mexico’s boundary with Texas. In doing so, Sin Nombre brings the audience into the underworld of Mexican youth gangs, one depicted as often horrifically violent, while providing a window into the grueling trip from southern Mexico taken by many Central American migrants to reach the United States. The movie revolves around a young member of the Mara Salvatrucha gang, Willy, and a young Honduran woman, Sayra, who is trying to reach the United States with her uncle and her father, recently deported from New Jersey, and whom she hasn’t seen since she was a child. The two teenagers’ paths cross on the top of a freight train, an efficient but highly dangerous form of transportation for migrants traveling to “el Norte.” On the trip, Sayra develops—rather far-fetchedly—a deep attachment to Willy as he tries to outrun his former gang brothers intent on hunting him down. While the story in and of itself is quite engrossing, it presents a largely one-dimensional view of Mexico as a land of violence with few honorable people. At the same time, it presents no context to help the viewer understand who the gang members are, and how and why they—and the Mara Salvatrucha (MS-13) itself—came to be. Apart from a single reference to the gang’s presence in Los Angeles, there is no mention of the MS-13’s origins in southern California, and the U.S. government’s role in facilitating its emergence and spread. Salvadoran migrants, whose very residence there was owed to U.S. support for El Salvador’s brutal military-oligarchy alliance, created the gang in the 1980s as a form of self-protection. U.S. deportations of members helped to internationalize the gang, which now has a strong presence in many Central American countries, and in southern Mexico. Given the focus of the film, it is perhaps far too much to expect Sin Nombre to address such matters. But it begs the question of what the filmmaker is trying to accomplish by focusing on gang violence and its intersection with the Central American migrant passage through Mexico. It is in this area where Sin Nombre proves to be quite problematic and confusing. A question-and-answer session with Fukunaga and Focus Features CEO, James Shamus, following a recent showing of the film at Vassar College in Poughkeepsie, NY, helped to shed some light onto the production- and marketing-related thinking surrounding the film. Shamus somewhat cryptically called the film “radically political” (suggesting that it was so in a progressive sense), and praised the fact that it gives voice to people rarely heard in feature films — Latinos. He also gushed about how the film is bringing large numbers of Latinos into art-house theaters, evidence of its cross-over appeal. Fukunaga indirectly took issue with Shamus’s suggestion that Sin Nombre was political. “I didn’t write it as a political film,” the filmmaker asserted. “I wasn’t trying to change anyone’s mind.” Instead, he stated that he wanted viewers to have an “experience” and to “make up their own minds.” The question is, what is it that he wants people to make up their own minds about? In published interviews, Fukunaga makes clear that the migrant journey—specifically the dangerous odyssey by train from the Mexico-Guatemala border to the U.S.-Mexico divide—and the violence and suffering that surround it is his intended focus. Yet, this is at best a secondary aspect of the film, as Sin Nombre privileges the gang-related drama to a great extent. And in doing so in the way that it does, the film paints a picture of Mexico—and, by extension, its people—that is anything but flattering. Indeed, it is difficult to come away from the film not feeling a sense of revulsion toward and fear of many things Mexican, in particular the country’s men. In this regard, the film plays into some of the worst stereotypes that fuel anti-migrant sentiment—especially as it relates to Mexico. Undoubtedly there is a lot of brutal violence—perpetrated by Mexican authorities, gang members, and bandits—associated with the migrant passage from southern Mexico to the United States. And, in addition to the deaths and injuries brought about by such brutality, innumerable migrants lose their lives or limbs each year by falling off and underneath what many call the “train of death” or “the beast.” Sin Nombre provides a valuable glimpse into these varied forms of violence, but the film doesn’t give the viewer a sense of the frequent nature of the fatalities and injuries associated with the train itself. At the same time, Sin Nombre makes invisible the U.S. enforcement apparatus. In terms of the actual movement across the U.S.-Mexico boundary, it only shows a single unauthorized crossing, one that is successful and seemingly challenge-free. The films does this despite the fact that the size of the boundary and immigration apparatus has exploded in the last 15 years—the U.S. Border Patrol, for instance, has more than quadrupled in size (there are today 18,000+ agents) during this period. Meanwhile, more than 5,000 migrant bodies have been recovered in the U.S.-Mexico borderlands since 1995, a tragic manifestation of the boundary’s “hardening.” In addition to such misrepresentation, the movie effectively exculpates the United States for its role in helping to make Mexico a grueling zone of passage for migrants from Central America and beyond. In the 1980s, during a northward exodus of Central American refugees, Washington put considerable pressure on Mexico, and assisted Mexican government efforts, to crackdown on third-country nationals migrating without authorization through Mexico to get to the United States. Since the 1990s, U.S. authorities have intensified such pressures and efforts, while extending them geographically so that the U.S. boundary and immigration enforcement apparatus is today effectively present in Mexico and in countries well beyond. In other words, the arduous and dangerous journey across Mexico that the film helps bring to light has been made in no small part in Washington, D.C. Given this reality—and the almost omnipresent and highly charged nature of present-day debates surrounding immigration and boundary enforcement — it is, at best, pure fantasy to think that one can avoid politics in making a film that is to a significant degree about migration from Mexico and Central America. The title of one of Howard Zinn’s book says it best: You Can’t be Neutral on a Moving Train. To pretend that you can be otherwise facilitates the myopic thinking that led Fukunaga to make a film that purports to be a sympathetic portrayal of the migrant passage, but that ends up obscuring much and inadvertently fueling some of the flames which underlie the very making of the journey’s fatal obstacles that seem to concern him. It is easy to decry migrant deaths and the many forms of suffering endured by unauthorized migrants as they make the dangerous trek to the United States. Everyone from the Minutemen to the most ardent congressional advocates of increased enforcement does so. It is much more difficult—and important—to analyze and challenge the factors and agents that compel migrants to leave their homes and that deny them passage and entry to the relatively safety and security of places like the United States. Because it does the former without doing the latter, while reinforcing ugly images of Mexico that inform anti-immigrant sentiment, Sin Nombre is hardly progressive or radical, and is regrettably part tragedy in more ways than one. Joseph Nevins teaches geography at Vassar College. His most recent book is Dying to Live: A Story of U.S. Immigration in an Age of Global Apartheid (City Lights Books, 2008). He can be reached at jonevins@vassar.edu |
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