Today's Stories

February 6-8, 2009

Alexander Cockburn
Obama's First Bad Week

James Abourezk
Obama, Mitchell and the Palestinians

Patrick Cockburn
Maliki's Triumph

Henry A. Giroux
Educating Obama

Jules Rabin
Israel's Disproportionate Responses

February 5, 2009

Michael Mandel
Self-Defense Against Peace

Saul Landau /
Philip Brenner
Killing the Monroe Doctrine

Ralph Nader
Tax the Speculators!

Robert Bryce
The Unraveling of the Ethanol Scam

Russell Mokhiber
Occupied Territory

Sameh Habeeb /
Janet Zimmerman
Innocents Lost

Dave Lindorff
Small Change

Carmelo Ruiz-Marrero
Beyond Green Capitalism

George Ochenski
A Blow to Big Coal in Montana

Website of the Day
Putting CEO Pay in Context

February 4, 2009

Arno J. Mayer
On Corruption

Paul Craig Roberts
The War on Terror is a Hoax

Patrick Cockburn
The Iraqi Elections

Jonathan Cook
An IDF Jihad?

Fred Gardner
Obama's Mixed Messages on Marijuana

Stan Cox
Slumwrecking Millionaires: India's Fragile New Temples

Margaret Kimberley
The Deepening Economic Crisis

Lawrence Velvel
Agony & Desperation: Madoff's Victims

Dave Lindorff
A Generals' Revolt?

Doug Giebel
A Helping of Bitter Beltway Baloney

Serge Quadruppani
Student Protests Sweep Italy

Website of the Day
The San Francisco 8

February 3, 2009

David Price
Counterinsurgency & Anthropology: Roberto Gonzalez on Human Terrain Systems

Bill Moyers
Obama's Wars: an Interview with Pierre Sprey and Marilyn Young

Kirkpatrick Sale
Obama's Lincoln Thing

Conn Hallinan
When Mind Wounds Don't Count

Peter Morici
The Slippery Slope of Stimulus

George Ciccariello-Maher
From Oakland to Santa Rita: "Fired Up, Can't Take It No More"

Muhammad Idrees Ahmad
The BBC's Nadir

Allan Nairn
What Does It Take to Get a Meal Here, an Earthquake?

Norman Solomon
Why are We Still at War?

David Macaray
The Late, Great UAW

Website of the Day
The Bloody Cove

February 2, 2009

Uri Avnery
Under the Black Flag: Israeli War Crimes

Ralph Nader
What to Do About Wall Street

Gareth Porter
Generals Move to Obstruct Obama's Iraq Withdrawal Orders

Paul Craig Roberts
The Death of American Leadership

Harvey Wasserman
The Nuclear Industry's Latest Money Grab

Rannie Amiri
Gaza and the Crimes of Mubarak

Cal Winslow
Stern's Gang Seizes UHW Union Hall

Steve Early
Checking Out of Stern's Hotel California

Alan Farago
Superbowl as Panopticon

Diane Farsetta
Banning Domestic Propaganda

January 30 / February 1, 2009

Alexander Cockburn
Obama and the Oddsmakers

Michael Hudson
Obama's New Bank Giveaway

Ismael Hossein-Zadeh
"Too Big to Fail:" a Bailout Hoax

Dave Lindorff
The Ugly Truth: the American Economy is Not Coming Back

Saul Landau
Freedom Fighters, Terrorists or Schlemiels?

Andy Worthington
Blame the Chef: How Cooking for the Taliban Can Get You Life in Gitmo

Subcomandante Marcos
Gaza Will Survive

Robert Jensen
Future Farming: an Interview with Wes Jackson

Ron Jacobs
Return of the Democrats

Gareth Porter
Is Gates Undermining Another Opening to Iran?

Allan Nairn
Hope for the Dump Cities?

Laura Carlsen
NAFTA's Dangerous Security Agenda

Rev. William E. Alberts
The Feelings of a Stranger

Christopher Brauchli
From Gitmo to Supermax?

Jules Rabin
Israel and the Bomb

Col. Dan Smith
Thoughts From an Inauguration Refugee

Missy Beattie
The US Garden of Evil

Tom Barry
Obama's Immigration Challenge

J. Michael Cole
The Downfall of an Academic

Manuel Garcia, Jr.
Burning the First Amendment

Dan Bacher
How Dam Removal Can Save the Klamath River

David Rosen
Last Gasp of the Culture Wars?

Don Monkerud
Religion in the American Bedroom

Binoy Kampmark
Updike: Apostle of the Middlebrows

Lorenzo Wolff
Playing Down a Bad Reputation: the Lovin' Spooful's Near Perfect Record

David Yearsley
When Orfeo and Euridice Lived Happily Ever After in Upstate New York

Poets' Basement
Valentine and Rihn

January 29, 2009

Peter Linebaugh
Tom Paine's Birthday

Paul Craig Roberts
Is It Time to Bail Out of America?

Riz Khan
The Future of Gaza: an Interview with Jimmy Carter

M. Reza Pirbhai
Pakistan: a New Cambodia?

Wajahat Ali
Obama's Al-Arabiya Interview

Gregory Vickrey
What About the Environment? Cap and Trade and Selling Out

Dina Jadallah-Taschler
Whither the Two State Solution?

Alison Weir
Killing Palestinians Doesn't Count: Fact-Checking Ceasefire Breaches

Alan Farago
Economy Without Escape Routes

Walter Brasch
Taxing a House of Cards

Website of the Day
Madoff Inc.

January 28, 2009

Norman Finkelstein
Behind the Bloodbath in Gaza

Noam Chomsky
Obama's Emerging Policies on Israel, Iraq and the Economic Crisis

Patrick Cockburn
Is Mitchell's Mission Already Doomed?

Rob Larson
The Clinton Foundation Donors

George Wuerthner
Who Will Speak for the Forests?

Allan Nairn
South-East Asian Groups Threaten Retaliation Over Gaza Invasion

M. Junaid
Levesque-Alam
A Muslim's Memo to Obama

Stefan Simanowitz
The Silent Trade

Charles R. Larson
The Autumn of the Patriot

Website of the Day
Veggie Love: PETA's Banned Superbowl Ad

January 27, 2009

Winslow T. Wheeler
Save the Economy by Cutting the Defense Budget

Yigal Bronner /
Neve Gordon
Fueling the Cycle of Hate

Joshua Frank
Obama's Neocon: the Curious Case of Richard Holbrooke

Jordan Flaherty
Torture at a Louisiana Prison

Ralph Nader
Access to Economic Justice

Rev. José M. Tirado
How Iceland Fell: a Hundred Days of (Muted) Rage

Benjamin Dangl
Bolivia Looking Forward

Russell Mokhiber
What If Israel Were in Your Neighborhood?

Martha Rosenberg
Who Says Technology Transfer Doesn't Pay?

C. G. Estabrook
The Inaugural Address: the Digested Read

Website of the Day
Who Profits From the Occupation?

January 26, 2009

Paul Craig Roberts
Speaking the Truth is a Career-Ending Event

Deepak Tripathi
The BBC's Day of Shame

Vijay Prashad
The India Lobby: Drunk with the Sight of Power

Peter Lee
Geithner's Pop Gun Volley at China

Allan Nairn
The Torture Ban That Doesn't Ban Torture

Uri Avnery
On the Wrong Side of History

John Sayen
The Next Shoe to Drop

Dave Lindorff
Afghanistan is No Threat to America

Lawrence R. Velvel
Investing with Madoff

David Macaray
Obama vs. Labor

Roger Burbach
Winds of Change in Cuba

Norman Solomon
The Ghost of LBJ

Website of the Day
Landscapes of Occupation

January 23 / 25, 2009

Alexander Cockburn
The Ghosts at Obama's Side

P. Sainath
The Freefalling Economy

Patrick Cockburn
In Israel, Detachment From Reality is the Norm

Saul Landau
Reasons for War?

Sasan Fayazmanesh
Our Current Economic Crisis: the Monks' Cure

Alan Farago
The Problem with the Stimulus

Christopher Brauchli
When Due Diligence is a One-Way Street

Andy Worthington
Return to Law?

Ron Jacobs
Obama's Pentagon: Bowing to the Masters of War?

Lawrence Velvel
Investing with Madoff: My Experience (Part Four)

Henry A. Giroux
The Audacity of Educated Hope

David Yearsley
The Music That Wasn't There: Chamber Music for Obama's Masses

Raymond F. Gustavson
Here We Go Again: General Shinseki and Veterans

Dave Lindorff
The Way Forward

Roberto Rodriguez
Fighting for Migrant Justice in the Desert

Dina Jadallah-Taschler
The Struggle of an Un-People

Fidel Castro
Meeting Cristina

J. Michael Cole
Can Obama's Shift on Terror Succeed?

Bob Fitrakis /
Harvey Wasserman
It's Time to Free Leonard Peltier

Ramzy Baroud
Breaking Gaza's Will

Mohammad Ali Shabani
The Aftermath of the War on Gaza

Richard Rhames
Panning for Pyrite on a Cold Day at the Mall

Stephen Martin
Voices in the Mirror

Lorenzo Wolff
Jurassic Radio

Kim Nicolini
Katrina's Endless Loop

Poets' Basement
Fleming, Henson, First, Jaramillo and Glendinning

Website of the Weekend
Cartoon Love

January 22, 2009

Paul Craig Roberts
Another Real Estate Crisis is About to Hit

Kathy Kelly
Worse Than an Earthquake

Allan Nairn
US Intel Nominee Lied About Church Murders

Lawrence Velvel
Investing with Madoff: My Experience (Part Three)

Andy Worthington
Halting the Gitmo Trials

Peter Morici
How to Fix the Banks

Joseph G. Davis
The First MBA Presidency and the Business Academy: a Damage Assessment

Adriana Kojeve
The Democrats on Israel: a Brief Oral History

Benjamin Dangl
Bolivia Poised for Historic Vote

Website of the Day
Support the Gaza Community Mental Health Program

January 21, 2009

Gabriel Kolko
Understanding Gaza

Harry Browne
Obama's Work Ethic

Michael Colby
Ready. Aim. Organize.

Lawrence R. Velvel
Investing with Madoff: My Experience

Audrey Stewart
Starting Over in Gaza

Wajahat Ali
Obama and the Muslims

Binoy Kampmark
The Marketing of Hope

David Kεr Thomson
Abolition

John Ross
In My Own Bones

Allan Nairn
Killer in Chief: Will This President Murder Civilians?

Sheldon Richman
The Peaceful Transfer of Violent Power

Website of the Day
Globistan

January 20, 2009

Chuck Spinney
Hosing Obama Israeli Style

Kathy Kelly
The Strongest Weapon of All

Raymond Deane
The EU, Gaza and the Lisbon Treaty

Ralph Nader
State Terrorism Against Gaza

Audrey Stewart
Why I am in Gaza

Jonathan Cook
Israel's Doctrine of Destruction

Harvey Wasserman
A Ten-Point Solar Agenda for Obama

Christopher Ketcham
Inauguration Ad Nauseam

Robert Jensen
A Citizen's Oath of Office

Dave Lindorff
Commie Chorus on the Mall: This Land Really is Made for You and Me

David Macaray
SAG Watches It All Slip Away

Weekend Edition
February 6-8, 2009

Why Revolutionary Road Was Shut Out at the Oscars

When Utopia Crumbles

By KIM NICOLINI

It's no wonder Revolutionary Road was shut out of the Oscars. As stated in this article from the New York Times, this year the Academy is looking to stories of the “indomitability of human will” to grace with its little gold statues. All of the nominees for best picture are “films built on individual successes” that provide “a nice, big chunk of uplift.” From Slumdog Millionaire to Milk to Frost/Nixon, these are stories where the little guy can beat the big powers that try to keep him down and where human will has the ability to allow us to conquer all, rise up, forge change, and take control of our own lives and destiny. Given that that many of the films deal with battling political and/or economic systems (presidential abuse of power, the Catholic church, economic class stratification), these films are classic Depression era narratives.

In fact, when writing about Slumdog Millionaire, I described it as Frank Capra goes to Mumbai in the 21st Century. Indeed, there is no hiding the fact that we are in a Depression. As the economy sinks lower and lower, people lose their homes and their jobs, and businesses collapse, there is no denying that the Depression is now. So maybe uplift and triumph is what people need. Apparently the Academy thinks they don’t need a movie like Revolutionary Road which provides a relentlessly brutal critique of the shallow illusion of the American Dream and the inherent fallacy of the institution of marriage. Revolutionary Road basically says that everything America pretends to be through its policies of blind acquisition, status through material gain, and a self-deluded vision of Norman Rockwellesque family life is a toxic lie. Well, isn’t it? Of course it is, but now that most Americans have had to look the lie in the face as the veneer of their American Utopia has crumbled under their feet, I guess they don’t want to see it in the movies too.

I liked seeing it in the movies. Revolutionary Road is incredibly tight filmmaking. Set in the 1950s, it shows how a young couple, the Wheelers, falls into the trap of the American Dream (the suburban home and the family) only to find themselves strangled by their circumstances. Love becomes toxic hatred. The home becomes a lifeless tomb. Dreams become bitter ashes. Certainly the critique of the American Dream is nothing new in art, whether cinema, painting or photography, and indeed this film functions best as art. The power of the film is not in the narrative which we’ve seen and read a million times before. It is in how the narrative is delivered. While the movie is full of toxic moments, the most resonating scenes are ones of quietude where the entire environment resonates with a silent toxic death and an impossible longing. In one scene, we get an ominous view of the back of Shep, the Wheelers’ neighbor, as he stares down at the Wheeler’s home. The scene is silent. The silhouette of the man looms large over the sprawling lawn, and the Wheelers’ home and with its glowing windows echoes to him like some kind of unattainable alien world. This looming figure is simultaneously creepy and desperate. There is such loneliness in this shot, but it is loneliness that verges on the potential of violence. Likewise, in a scene where Frank Wheeler (Leonardo DiCaprio) sits alone on the side of the bed and turns his gaze to us, he looks out at us like a trapped animal. The desperation behind his eyes is so immense that it cuts right through us. The furniture, the lawns, the garbage cans, it is the silence of things that delivers the real horror of the film. Like in the photographs of Gregory Crewdson or the paintings of Edward Hopper, the characters in this film occupy an American Dream that is empty, alienating, and desperate with longing, but that also seems to lurk on the edge of some vast otherworldly presence. For example, in the scene when April Wheeler (Kate Winslet) flees the house and runs through the woods, the woods are both desperately empty and claustrophobic but also opening up to some great natural world that she has shut out from inside the comforts of her suburban life.

One of the most powerful scenes in the film is a quiet scene of Kate Winslet staring out of the picture window in her living room. As the camera pulls back, we see a tiny spot of blood on the back of her skirt. The spot spreads, blood drips quietly onto the rug, and the camera pulls from the scene. Certainly both sides of the story suffer in this narrative – the man who kills his dreams to bring home the bacon and the woman who forfeits her freedom to take care of home and family– , but the image of April bleeding silently in her living room reveals the core of the film’s aesthetic and ideological sensibility as it points to the film’s Sirkian portrayal of women trapped in the domestic. In fact, many of the shots of April in her home could have come straight from Douglas Sirk’s All That Heaven Allows, a film where the image of a television set in a perfectly decorated living room becomes the ultimate symbol of how women were imprisoned by their domestic roles. While ideologically I agree with the movie’s critique, its anchoring in the 1950s setting makes it resist our identification with the characters. The 1950s setting is preposterously irrelevant to most women’s lives here in the 21st century where the large majority of women are working mothers managing jobs, home and family. Long gone are the days when the husband goes to work, and the woman stays home suffering her isolation amongst her washing machine and television set. So while I watched the movie with relish, enjoying the venomous dialogue, the exquisite compositions, and the brutal dissection of the American Dream, I watched it with a cool distance. I kept thinking to myself, “What the fuck is SHE complaining about? I mean, why doesn’t she just make art all day and stop her bitching?" I personally, and ironically, had more emotional access to the men in the movie.

Speaking of men in the movie, I should mention that Michael Shannon (Bug) is utterly brilliant as the emotionally unstable son of the realtor (Kathy Bates) who sells the Wheelers their home. Shannon pulls out all the stops as his “mental illness” allows him to occupy a place below the artificial facade of American happiness and to unearth the ugly interior. He inserts himself into the claustrophobic narrative of the film with perfect timing, breaking through the surface with volcanic force. He explodes with venom, unflinchingly calling out the Wheelers’ flaws, exposing the lie that they are, and laying all the cards on the table. We laugh at his outbursts because they contain so much truth, and laughter, even when it is inspired by ugliness, provides relief from the tension and claustrophobia of the Wheelers’ suburban existence. Watching Shannon is well worth the price of admission.

I should mention that the Wheelers also represent that breed of American liberals who had high hopes of living a fringe life fueled by all things exciting and non-material (philosophy, theater, poetry, travel) only to find themselves trapped in a life of domestic servitude. Their real dreams become replaced by the American Dream, and they become the Living Dead. “Revolutionary” is simply the name of the road where they live in the sequestered insulation of suburbia. Sure the film’s critique of the shallowness of the American Dream rings true; however, I imagine it is a bit hard to swallow for the vast majority of the audience. Today, when losing one’s home is much more of a threat than being culturally strangled by a life in the suburbs, the movie’s vicious core echoes a bit hollow. Still, we have to remember that it was the driving force behind 1950s American conservatism and its emphasis on “family values” and material acquisition that encouraged people to place the value of their lives on consumer goods and to spend beyond their means which largely paved the way to our present state of economic crisis. It is the 1950’s ideology carried through to a global capitalist economy of the 21st century that largely contributed to bringing the system down. Maybe we need to be reminded of that. If so, Revolutionary Road is one ugly and brutal reminder, and a good one at that.

Kim Nicolini is an artist, poet and cultural critic. She lives in Tucson, Arizona with her partner, daughter, and a menagerie of beasts. She works a day job to support her art and culture habits. She is currently finishing a book-length essayistic memoir about being a teenage runaway in 1970s San Francisco. Her work has appeared in Bad Subjects, Punk Planet, Bullhorn and Berkeley Review. She can be reached at: knicolini@gmail.com.

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