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Krewe D’Etat.

22-Feb-09

On Friday Krewe D’Etat and Hermes rolled uptown.  I met friends at Napoleon and St. Charles in the evening, where a huge crowd was gathered.  Krewe D’Etat was another satiric parade, aiming not only at the New Orleans targets but commenting on broader social phenomena as well, from oil companies to Amy Winehouse.  This made me see behind it another strange fact, a major component of the New Orleans identity and something which distinguishes it as a Catholic city: a sense of right and wrong.  A float painted with burning dollar bills and fat cats playing fiddles, with the Shell oil logo redubbed “Hell” is not the kind of commentary that makes any sense in an amoral universe.  The fact that the people of New Orleans have a means to make clear when their moral standards have been outraged is probably one of the reasons why they have maintained their character for so long.

But how wonderful it is that the two primary sins here, as seen through the eyes of the Krewes, are greed and hypocrisy.  And if we were to name two American sins, would not they be these?  And the two sins causing the most damage in the world as well?

On this point, let me note how astonished I am that the Carnival celebrations show no – no – taint of corporate America.  If Bloomberg were mayor after Katrina, he would have sold off every float in the city for corporate sponsorship, and it would be the “Miller Lite Mardi Gras of New Orleans.”  The more I think about it, the more dumbfounded I am that this has not happened.  Even the stores of New Orleans show a pronounced local flavor – real coffee shops as opposed to Starbucks.  It is part of a larger pattern where New Orleans has resisted the “New South” movement that has nearly obliterated anything human in Atlanta and Houston.

Since we are on this topic, let me also note down some of the oddities of Krewe D’Etat.  Their basic image is a jesting skull, a kind of undead Yorick, and their colors black, which give a ghoulish air to the whole.  They have not a king but a dictator, who is followed by a “banana boat,” and somewhat disturbingly they also had military vehicles, with unmasked military personnel (National Guard, Marines, Coast Guard) rolling down the streets as well, producing the whole coup flavor.

New Orleans Levee.

21-Feb-09

I’ve already mentioned the satirical paper The New Orleans Levee.  But the more you contemplate these things, the funnier they appear to be.  The paper, an Onion-style sendup of New Orleans, has the motto “We Don’t Hold Anything Back.”  And the website is N.O. Levee, which comes out to www.nolevee.com.

St. Jeremiah Altars.

21-Feb-09

Chaos and Muses.

20-Feb-09

The Krewe of Chaos were supposed to roll after Muses last night, but somehow they got in front of Muses and when turning the corner of Magazine and St. Charles, one of their floats broke its “wagon tongue” – the hitch between the tractor and the float (the float is carried on a 130-year-old wagon built to carry cotton bales).  The wheels of the float got all twisky-tee under the carriage, which according to onlookers nearly toppled the whole float, which would have been a major catastrophe, killing onlookers and riders.  As usual the New Orleans response to this kind of snafu was complete bewilderment.  It took nearly an hour and half to move the float, paralyzing the parades behind it (but by the special protection of the Saints the leading band of the Muses parade got halted right in front of a bar).

The result was an ample opportunity to observe.  The Chaos parade had marvellous satiric floats, about the major topics of New Orleans news.  Ray Nagin figured prominently, pictured with an assault rifle, from one of the more notorious photos of him where he leveled an M-16 at his police chief and grinned at him for the cameras.  One was of the Archbishop and all the churches he has put up for sale – one of those bitter pills that the people of New Orleans, God bless them, refuse to swallow.  (I refuse to accept that these solidly built tax-free properties really require hundreds of thousand of dollars apiece for yearly maintenance, but then again, Catholic Churches don’t disclose their finances, so who can tell?)  A personal favorite was called “Makin’ Groceries,” headed by an image of former U.S. Representative William Jefferson, the infamous man found with $90,000 in his freezer.  “There’s a perfectly honorable explanation,” he apparently said, and then did not offer it.  The float featured his grocery list, which involved making payments to family members.  (“Making groceries” is the local idiom for “buying groceries.”)  The sex life of Christianist David Vitter was another favored target.  And there was the “Gulag Gustav” attack on FEMA, along with the “Ray Nagin Special:” when Hurricane Gustav struck Galveston, Nagin told the people of Galveston they could come to New Orleans, and invited them to ask at the hotels for the “Ray Nagin Special,” which was precisely nothing: he had worked out no plan.

After Chaos came Muses, which really is one of the more beautiful parades.  It is, like Krewe du Vieux, also a celebration of sexuality, though this one is more a celebration of the Ewig-Weibliche (the Krewe is all female, with about 800 members).  The parade was led by the Big Easy Rollergirls, who must surely be one of America’s last surviving roller derby operations.  The general pattern was float, marching group, float.  The marching groups were memorable, including several groups that celebrated the membra feminilia and their possession thereof.  My personal favorite was the Rolling Elvi, a group of 75 Elvis impersonators tribute artists riding scooters, who were received everywhere with thunderous adulation.  There were also beautiful neon butterflies, with a curious grace of movement, carried through the air by men dressed as caterpillars.

The floats were variants on a James Bond theme, labelled overall “Muses 009: License to Swill.”  They represented a specifically female view of experience, however, with floats about weight problems (“For Your Size Only”), divorce (“Diamonds Are Not Forever”), marrying for money (“Golddigger”), and cosmetic surgery (“Her Majesty’s Secret Services”).  But there was also a lot of political commentary.  The “From China With Love” float tossed “poison Barbies” and lead-paint toys.  “Thunderball” commemorated the Catholic Church’s architectural self-immolation, the float painted with half-demolished churches and wrecking balls.  “Latino Royale” drew attention to the Hispanic colonization of New Orleans.  “Golden Guy” mocked the messianic cult of Obama, and “The Man With the Golden Card” reminded the crowd of another Nagin scandal, when it was revealed that he had put tens of thousands of dollars’ worth of expensive dinners with his wife and friends on the city’s credit card.  My personal favorite was “The World is Hot Enough,” about global warming, followed by a bayou band and people dressed as Louisiana wildlife, and another float “Fry Another Day” (this Krewe is known for its environmental activism).  The bathtub float (mentioned in another post) is a staple, as is a giant float of a high-heeled shoe.

The float riders tossed to the crowd an astonishing amount of materiel, from plush toys to footballs to light-up beads and earphones to beach sandals and tote bags.  It was hilarious to see the riders dumping their treasures on the insatiable crowd.  The combination of sexuality, size, personality (after all, there are also innumerable people dressed in costume everywhere) and satire make this a beloved parade, and you could feel the crowd’s delight in the whole.  Kids were dueling with their plush spears and laser pointers, while the adults were heaping necklaces on each other and dancing in the streets.  We spoke with plenty of people in the crowd, but the two most interesting were a woman who philosophized on the existence of all of this in the soul of every person (“it’s in all of us, whether we admit or not, it’s there”) – more or less my new Pauline philosophy of participation – and an artist who had been a primetime speaker at this year’s Democratic National Convention.

This after visiting the grave of Vera, burying Muffy the cat, and enjoying another gorgeous spring day here in New Orleans.  It just seems unendingly rich.

Mardi Gras Out of Context.

20-Feb-09

The parades roll in earnest now – every day there is something worth seeing.  But it’s good to take little snapshots out of context.  Last night, I was eating french fries at a bar on Magazine Street.  As my companion bit into a burger, I saw behind him through the window a giant bathtub, 50 feet long and 20 feet high, pull up to a stop at the street corner.  It was illuminated by flashing lights and riding on top of it were about twenty masked women who called themselves “the Bathing Muses,” throwing to adoring, screaming crowds beads, rings, plush pelicans, footballs, shoes, sunglasses, laser pointers, and tote bags.  By the time he had finished chewing and swallowing his mouthful, the bathtub was gone.

Death and life in New Orleans.

20-Feb-09

When I got back from my excursion to the shrine of St. Vera, I tried to settle myself down to an afternoon of laborious composition.  After a few minutes I heard some scuffling in the neighbor’s yard, and having no particular focus for my thoughts yet, I looked out my window.  I saw two dogs trotting through the yard, undoubtedly after some animal or other.  The cries of a cat a few minutes later indicated the prey.  And then a few minutes later, I heard a woman’s voice cry, “Oh my God, they got him.”

I got up and saw, in the yard of my neighbor on the other side, an older woman holding her heart and trembling.  I proceeded outside, and found that she was staring at the two dogs, now behind a bush.  Another older woman showed up, gave a whistle, and angrily shouted, “Come here!  Come here!” which successfully summoned the dogs.  The dogs seemed happy and contented, now perfectly ready to be obedient, thought it was obvious that these two ladies had been following them unsuccessfully for some time.  In the place they had vacated was a cat, on its back with intestines ripped open, and its body suffering the final spasms of death.

The first woman was quivering and looked like she might faint.  “Oh my God, my cat, they got my cat,” she was saying.  After a few moments of discussion of the situation, she looked at the cat again, and said, “No it’s Florence’s cat they got, my God, that’s Florence’s cat.”  Later she looked again and determined it was not Florence’s cat, but a cat she didn’t know.  “Thank God for that,” she said.  “Florence just lost her mother last week, and this would be just terrible.”

It turns out this woman was asked to watch the dogs for awhile, but had not latched the door properly, and the dogs pushed the door open and escaped.  They had found an interesting pursuit, and she had been calling them and tracking them in vain.  Their owner had joined in, but both of them were too late.  The dogs had done what they wanted to do.  Curiously, they showed no interest in the cat as food; to kill was enough.

The cat was a fluffy, pretty Maine Coon cat, well fed and groomed and obviously a pet.  It did not have a collar, though.  And now it was sitting in a neighbor’s yard.  In fact, it might be this same neighbor’s cat.  It was the ladies’ responsibility, but on the other hand, that was not exactly a fact they wanted to bandy about.  So…

“I think we should bury him,” the first one said.

This was covering the tracks, but this did, indeed, seem like the right thing to do.  The body would only stink more as time went on, and we weren’t going to put it on a dolly and walk around the neighborhood “Is this your cat Muffy?  Yeah, my dogs just ripped his guts apart.  Sorry!  Just thought you’d want the body!”  So I volunteered a resting-place for Muffy in my yard, and one of the women went off to get a shovel.  The massive oak in the yard’s root-system proved a problem, however, so instead we dug the hole in the yard where Muffy had met black death.

I hardly expected to spend the afternoon digging a shallow grave with a couple of strangers in the backyard of a person none of us knew.  But we dug the grave, about two feet deep and a bit broader (which sounds shallow, but nothing is harder than digging a deep hole), and I put on gloves, grabbed the cat by the scruff of the neck, and thanked God the intestines did not come pouring out the bottom.  I laid him in the hole, and we shoveled in a great deal of the heavy clay I had in my own backyard, a dense, terrible stuff which would help encase the body.  We heaped up an ample barrow for Muffy, trodding it dense and hard, and then coated the whole site with oak-leaves, a fitting dressing for the dead and something which completely concealed the disturbance of the ground.

“Thank God you were there!” one woman said.  “I would not have been able to grab hold of that cat.”

“Do you want a glass of wine?” the other asked.

“Sure,” I replied.  The first woman got her husband, and we went to the dog owner’s house, and shared a bottle of wine and discussed Muffy’s life and untimely demise, and the present continuance of our own.  The women were both teachers.  And they told me all about the local judge, and the woman down the block, and this, and that, and we gossiped away until the bottle was drained, and I headed back home, maybe to get a word or two closer to the goal.  But as I sat down I got a call from a friend saying that he was wrapping things up at work and wanted to see the parades tonight.  “I can be there in ten minutes,” he said.  “It’s Knights of Babylon, Muses, and Chaos tonight.”  Babylon is the krewe that inspired the great 1940s headline in the Times-Picayune (I would purchase an image of this newspaper if I could), “JOYOUS THRONGS HAIL KING OF BABYLON,” perhaps the greatest full-mast headline in American newspaper history, and one that could only occur in New Orleans.  And Muses is one of the most highly esteemed parades… so I just had to go…  Ten minutes later I was in his car, riding to Magazine Street.  More on the parades later, which were excellent.

The power of the sanctified dead.

20-Feb-09

I had three good writing days in a row, but the city snared me again today.  I served as chauffeur as my roommate, who is a bit hard up now, ran some of his errands – getting a W-2 from a former employer, then a trip to H&R Block to get his tax refund as soon as possible (he was recently fired from his last job and is about broke now).  That took a bit longer than I thought, and I came back home a bit scattered in mind, as the slight frustrations of traffic had built up a bit.  But it was not a profitless excursion, either for him or me.

I stepped into the yard of a self-described “junk shop,” where I was looking at some animal pelts hanging outside (pelts are a particular interest of mine).  Among the skunks and coyotes there was one I did not recognize, and I exclaimed with delight at discovering its name (nutria! a foul little beast, always in season around here).  My exclamation caused a bit of stir which made me aware that just a few paces from me was a woman painting a brightly colored sign.  I then heard a tinkling sound, and saw that a man was removing Heineken caps from a huge fishbowl, whacking them with a hammer and nail, and putting them aside.  Besides the sign the woman was painting there were several others drying in the powerful winter sunlight.  They said things like, “Laissez le bon temps rouler,” “Who died and made you Elvis?” (which I considered getting for Johnny, though I thought it might be taken the wrong way), and the ever-offensive “Oh No! Not you again!”  I had stumbled onto the workshop of the famous Simon of New Orleans.  The signs were not overly complex, but they were undeniably lively and lovely, and I found myself wanting one.  The fact that there priceless, though, indicated that they were not cheap.  My favorite was a photo of one of his older pieces, with what appeared to be an Orthodox priest holding one that said “Dieu voit tout.”  I later met Simon himself, who significantly was not painting.  So much of his work comes rather from the “scuola di Simon,” rather than the man himself.  He himself was French, with a thick accent and the jovial presence of a man who has made a fine life for himself by doing nothing that complicated but pleasing everybody with it.

Attached was an antique shop run by his wife, filled with the most bizarre and lovely objects.  My favorite was a hollow alabaster globe (which could be lit up) etched with Grecian drawings as if it were a white-figure kylix, four in all, such as Thetis’ supplication to Zeus, and Heracles and Deianira.  It was lovely (but it was also $1600).  There was also a lovely print of an artist’s sketch of the “Pallas de Velletri,” which was quite beautiful and also out of my pricerange.

But I spoke quite a bit with the proprietress, who like so many people around here was filled was absolute zest for the city.  “I’ve lived all over, but I always come back.”  She loved the fact that I knew Latin and was Catholic, and told me all about the St. Joseph Altars of the city (“they’re in people’s homes; just check the paper, they’ll tell you who has opened up their home.  And they’re so beautiful.”) and the “Irish Channel,” the area immediately surrounding her shop.  The vacant corner lot adjacent to the shop became notorious in New Orleans lore as the final resting place of Vera Smith, the “iconic victim of hurricane Katrina.”  She had laid in the corner lot for several days before neighbors buried her with the simple epitaph “Here Lies Vera.  God help us.”  “There was a little monument out there for her, but the owner of the lot was trying to sell it, and he couldn’t, and he thought it was because it had some kind of voodoo power – because they think the dead have power – and so he had the monument destroyed.  I tell you there were people coming by all the time, kneeling down in front of it, crossing themselves as they went by, taking pictures, leaving things, you name it.  And I can’t tell you how many stories I’ve heard about that woman – she was killed by the roof of that building collapsing over there, but now I hear that she was run over by people fleeing the city, or she was shot by looters, or her body just floated there, or all kinds of things.”

I have had this feeling before, that before my eyes was unfolding the same human force that created the shrines of the martyrs.  In another age, there would have been no way to find out the details of Vera’s life, and anyway the Church would have realized that the details were not as important as the fact that this spot had power. She would have been enrolled as a martyr, the story concerning her life which would have been most emblematic of the city’s whole Katrina trauma would have become her biography, and that way the people’s experience would be focused in a single place, served by a single shrine, and been vindicated and sanctified by the God who had heard their cries.  The Church would have bought the property (or at least protected the monument) and let the cult grow.

Pig Smiling, Bacon Frying.

19-Feb-09

Sometimes you just see something on the street that seems to stand in symbolic relation to the whole city.  Even the name ‘squeal’ speaks of the pleasure of horror and horror of pleasure.

Paul Barnes, Liszt, Music, and God.

19-Feb-09

It’s curious and wonderful how certain doors open into further corridors.  Paul Barnes, the transcriber of Philip Glass’s Orphee, turns out to be a kindred soul in his own right.  One of his passions is the religious music of Franz Liszt, which has been sadly neglected (especially by the Church, which stands in desperate need of musical inspiration).  Here are some of the quotations he places on his website theoretically in connection with Liszt, but indicative of a larger philosophy:

“We see that it is not the task of Christianity to provide easy answers to every question, but to make us progressively aware of a mystery.   God is not so much the object of our knowledge as the cause of our wonder.”    – Kallistos Ware

And ipse dicit:

“It is my fervent belief that recovering the ancient understanding of the penetration of the spiritual into the physical would at least be one step in overcoming a desacralized and compartmentalized world-view so prevalent in today’s world.”

His website is http://www.paulbarnes.net.

Quote of the day.

16-Feb-09

      “New Orleans is the only city where my brother and I were mistaken for boyfriend and girlfriend – when he was 18 and I was 11.”          (In conversation today, from a friend of mine.)