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  • From Syria >> Board Game Diplomacy

    Game Night at the American Language Center in Damascus is an eagerly anticipated annual event. Each classroom offers a different game, with a volunteer to explain the rules, supervise play, and arbitrate potential disputes. A day before the event, my co-worker Tanisha informed me that I’d be presiding over the board games Risk and Monopoly. The choices were purely coincidental. But the juxtaposition of games offered an unintended comment on American culture. “Have fun,” the language center seemed to be suggesting to its students, “and gain first-hand knowledge of two things Americans have excelled at over the years: accumulating wealth and invading other countries.”

    As the students poured into tiny classroom seven, I discovered that both Monopoly boxes were missing dice and game pieces. The Risk game sets were also incomplete and required about five minutes to assemble. But I enlisted two students, Tarek and Amer, to separate and stack the perforated sheet of game cards while Nawras and I made the dice by placing tiny stickers onto the uneven surfaces of three black plastic cubes. Amer’s brother Alaa and a reticent female student named Noor sorted the plastic armies according to color. As we set up the game, I explained the rules. Game cards are distributed among five players, with each card representing a particular territory on the board. The students must distribute their armies according to whatever cards they receive. The purpose of the game is to occupy territories and attack adjacent countries, while the ultimate goal is to eventually conquer the entire world. Armies are lost by low rolls of the dice. The reward for conquering a territory is a game card, and these cards can eventually be exchanged for additional armies.

    Ten minutes into the game, his position on the board already virtually indefensible, Nawras’ cell phone erupted with a popular Arabic tune. “Joel, I have to go,” he informed me moments later, and headed for the door. In the absence of newcomers, I decided to sit in. My presence seemed to spur an instant, politically motivated enthusiasm in the other players. This newfound interest was confirmed by Amer and Alaa’s two brothers who entered the room minutes later. “Where are you from?” one asked me. I pointed to the west coast of North America on the game board. “We are four Iraqis,” he laughed, and the rest of the room laughed with him.

    Veterans of Risk understand that the game is won and lost by ephemeral alliances that form between players. Essentially, you can’t win without the help of other players, so you try to persuade them it’s in their interest to attack someone else instead of you. Tarek and I were friends outside of class, so we formed a non-aggression pact out of mutual self-preservation: I wouldn’t attack him in Europe if he left me alone in Africa. But the common enemy of the four brothers from Baghdad is obvious, so I decided to find out if Noor could be persuaded to do my military bidding. I gestured for her to overwhelm Alaa in Asia from North America. “Come on, Noor,” I said. “If he holds onto Asia until next turn, he gets an additional seven armies. You can’t allow that.” But Noor, who is Syrian, required no convincing from the Iraqi brothers to join their anti-American alliance.

    I plotted my next move. Apparently inspired by the sight of my unintentionally serious countenance bent over the board, Noor lobbed an insult in my direction: “You look like George Bush!” My mouth dropped open. “I was joking,” she assured me a moment later, and all was forgotten except for the job at hand: to gang up and attack me in successive turns. Amer in particular was clearly delighting in watching his American teacher erased from the board. As we fought over South America and Africa, denying each other armies by pushing into each other’s territory, his brothers plotted my eventual destruction from behind the scenes. Whenever Amer won a roll against me, he gleefully exclaimed, “See you!” before removing my plastic pieces from the board.

    Tarek, languishing in Europe, was the first to be eliminated. Just before he was attacked by Amer’s brother Alaa sweeping in from the territory labeled “le Moyen-Orient” (the Middle East), I intervened ineffectually on his behalf. When Alaa eventually decided to attack me in Egypt, I responded with mock incredulity: “Come on! Mubarek wants peace! Can’t we all just get along?”

    Other students came in and gathered around to watch. Amer’s brothers continued to whisper strategy to Noor, making sweeping motions with their hands—like a conductor motioning for a crescendo from the tympani section—over my weakly held territories in Africa. It was Amer who was rewarded with the task of finally finishing me off—a moment of sweet justice denied his country in the real world. I began to wonder how the game would end. Noor would be the next to go, I reasoned. But would Alaa and Amer eventually have the fortitude to attack each other? Amer, however, had a more benevolent plan up his sleeve—a harmonious alliance of Christian and Muslim brothers controlling the world with no unilaterally aggressive American army in sight to foul it up. As soon as I was off the board, he proclaimed triumphantly, “Now we can have peace!”—Joel Hanson

    Joel Hanson

  • Manderlay

    The most insightful films about the Holocaust certainly haven’t been made by Germans, so why shouldn’t a Dane director investigate the legacy of slavery in the United States? Of course, that leaves redemption and uplifting escapes out of the script, but the story Lars von Trier tells is filled with assumptions, speculations, and unexpected turns that make Manderlay less a history lesson than an allegory. The second film in his “America Trilogy” finds Grace (played by Bryce Dallas Howard; Nicole Kidman declined this itchy sequel to Dogville) and her gangster father discovering a plantation where slavery was apparently never abolished. Appalled, Grace confronts the dying master and takes over, intending to run the place as a free community and make right a situation that has simmered to a point of psychological perversion. That hardly makes it an uplifting film, though. Von Trier shifts the victim role around with casual and even insulting ease, and his script takes enough dark and uncomfortable turns that many African-American actors were turned off (though Danny Glover takes a leading role, most of the other black characters are played by British actors). Ultimately, Manderlay is a sort of bizarre fairy tale–one made by a man who, because of his fear of flying, has never even come here.

  • Antonya Nelson

    All the would-be writers out there claiming that having kids makes it impossible to start a novel should take a tip from Antonya Nelson. When the kids are young and demanding, write short stories during Sesame Street. When they get older and head to grade school, expand with a novel or two. When adolescence hits, go back to short stories, but be careful not to touch on anything too overtly autobiographical. That formula may sound simplistic, but with insight, empathy, and wily craftsmanship, Nelson has made it work. Now, with her kids in phase three, she’s produced a new collection of short works. Many of these stories dwell on the miasma of miscommunication, the cruelty, and the loneliness that falls upon both adults and sub-adults during those delightful teen years.

  • Colson Whitehead

    Here’s a guy whose novels always start with really good ideas. In fact, Whitehead’s jacket copy often is more interesting than other authors’ entire novels. That’s an impressive gift, indeed. Nor does he disappoint over the long haul, spinning those ideas–hooks, really–into clever, entertaining, and deceptively weighty stories. For instance, his first novel, The Intuitionist, which focuses on a group of elevator inspectors, addresses questions of racial equality and upward mobility. Whitehead’s latest zeitgeist comedy of manners and errors involves a former whiz-bang “nomenclature consultant” who is summoned to help the citizens of a community choose a new name for their town. Given WhiteheadÕs track record, that should be good raw material for his imagination to work with.

  • Allegra Goodman

    Allegra Goodman is one of those ridiculous prodigies who managed to sustain and build on her early buzz. Her first collection of stories, Total Immersion, was written while she was an undergraduate at Harvard, and she’s since published another collection and a couple of novels, including the remarkable Kaaterskill Falls (a National Book Award finalist). Intuition initially seems like a bit of a departure, but on closer inspection, the book explores many of the writer’s signature preoccupations. Goodman is particularly adept at zeroing in on individuals within closed communities and intensely collaborative situations. In this case, that means a cash-strapped research lab where a group of scientists believes it has stumbled onto a cure for cancer. When the discovery is scrutinized and deemed fraudulent, Goodman’s novel becomes a mystery that addresses such complex and timely subjects as medical ethics and unchecked human ambition.

  • Kiki Smith: A Gathering

    While some artists can explore one theme or medium for years, Kiki Smith is notable for how far and wide she has ranged in her work. Despite its variety, you can see it shifting, in a sense, from the micro to the macro. In the eighties, Smith was sculpting individual body parts and organs, moving from there to life-size human forms, with an emphasis on the female body. Then she began looking at the larger cultural world, incorporating elements from folklore, myths, and religion, often by using animals that have symbolic roles in those stories. While this retrospective brings together 125 pieces, Smith herself has curated one gallery as an intimate “cabinet of wonders,” showcasing some of her oldest and most recent works. 612-0375-7600; www.walkerart.org

  • Chris Felver

    Working in portraiture must be a little unnerving at times. Imagine all those eyes staring back at you in the darkroom. Perhaps that’s why Chris Felver, who is best known for his portraits of “creative revolutionaries” (writers, poets, filmmakers, actors, musicians, and protesters) turned his back on all those eyes and wandered outside. The latest work from this San Franciscan seeks out and amplifies patterns and structures in stone walls, walkways, windows, and other structures–starkly beautiful abstractions based in the concrete, man-made world. 611 Grand Ave., St. Paul; 651-312-1122; www.thegrandhand.com

  • Mala Ke Manke: Indian Drawings from the Collection of Subhash Kapoor

    When your dad knows so much about antiques and fine art that people like Jackie Kennedy come to him seeking help in building their personal collections, you either watch closely and soak it all up, or rebel and become a stockbroker. Subhash Kapoor chose wisely, taking up where his father left off and cultivating an astonishing knowledge of Asian art while also running a New York gallery and building his own collection. The latter includes material dating back several centuries and spanning a variety of regions, styles, and subject matter. The selection on view at the Weisman focuses on drawings: complete works as well as fascinating sketches used to plan murals. 333 East River Rd., Minneapolis; 612-625-9494; www.weisman.umn.edu

  • Jon Langford

    The Mekons, who came roaring out of Leeds in the wake of British punk’s late-seventies explosion, remain shining exemplars of a band as a committed, progressive community. Jon Langford, a Mekons ringleader, is now rolling through his fourth decade of creating provocative and politically charged music and art. The man remains ridiculously busy, with various working bands (the Waco Brothers and the Pine Valley Cosmonauts, among others) and other musical collaborations, plus art: prints and paintings that incorporate influences ranging from Jose Guadelupe Posada to some of the great poster artists of the twentieth century. His artwork also shares a political sensibility–not to mention a keen understanding for the dark back alleys of American popular culture–with his music. 2402 E. Hennepin Ave., Minneapolis; 612-331-3889; www.roguebuddha.com

  • Going Back, Going Home

     

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    From somewhere he heard a few hesitant notes from a piano. Perhaps it was coming from the back room, but it sounded even further away than that. It was the sound of a piano stretched to the point where it could possibly not even be a piano you were hearing. It could have been an audio hallucination, or just some of the loose and jangling noise of the world. There was no pattern, just a random pinging at the high end of the keyboard. Silence, then a burst of four or five notes.

    He went through the front room and into a hallway heavy with shadows. The place was sealed up tight, and only an occasional angle of light snuck in from outside, crepuscular and loaded with slow cruising dust. There was blood on the kitchen floor, a substantial patch of it, cooled to the black edge of maroon, and become almost chalk, or tempera powder. It had splashed up onto the cupboards and across the refrigerator door.

    From the kitchen window he could see out into the backyard, where there was an empty doghouse, and there he found his piano: a clunky set of windchimes swaying slowly from a clothesline pole.

    At the end of town there were ruins of an ancient fort, perched right at the edge of the ocean on a hill. The ramparts and parapet were all more or less in place, thrown up around a cluster of terraces, each of them situated at a different height and connected by a series of damp tunnels and stone steps and the occasional wooden ladder. Above it all at the southermost end overlooking the water was a large terrace, completely exposed to the stars and sky.

    He made his way through the tight lanes of the town to this fort, and through the labyrinths of the fort to the terrace above the ocean. It was a wonderful place for silence; whatever sound made the journey up there was oddly transformed and amplified. The voices from the little tavern at the bottom of the hill sounded as if they were rising from a great well.

    The whine of an unseen boat in the darkness lulled him almost to sleep. He saw blazing cruiseships creeping along the distant horizon, and, exhausted and splayed on his back, watched stars crashing again and again into the ocean.

     

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