104
" Another site of Leftist struggle [other than Detroit] that has parallels to New Orleans: Palestine. From the central role of displacement to the ways in which culture and community serve as tools of resistance, there are illuminating comparisons to be made between these two otherwise very different places.
In the New Orleans Black community, death is commemorated as a public ritual (it's often an occasion for a street party), and the deceased are often also memorialized on t-shirts featuring their photos embellished with designs that celebrate their lives. Worn by most of the deceased's friends and family, these t-shirts remind me of the martyr posters in Palestine, which also feature a photo and design to memorialize the person who has passed on. In Palestine, the poster's subjects are anyone who has been killed by the occupation, whether a sick child who died at a checkpoint or an armed fighter killed in combat. In New Orleans, anyone with family and friends can be memorialized on a t-shift. But a sad truth of life in poor communities is that too many of those celebrate on t-shirts lost their lives to violence. For both New Orleans and Palestine, outsiders often think that people have become so accustomed to death by violence that it has become trivialized by t-shirts and posters.
While it's true that these traditions wouldn't manifest in these particular ways if either population had more opportunities for long lives and death from natural causes, it's also far from trivial to find ways to celebrate a life. Outsiders tend to demonize those killed--especially the young men--in both cultures as thugs, killers, or terrorists whose lives shouldn't be memorialized in this way, or at all. But the people carrying on these traditions emphasize that every person is a son or daughter of someone, and every death should be mourned, every life celebrated. "
― Jordan Flaherty , Floodlines: Community and Resistance from Katrina to the Jena Six
105
" The feature that makes people look at her twice, sometimes with suspicious glances, is her eyes. They are too large, wide-set, slanted a bit. And they judge, those eyes do, they watch and they take note and they judge all that they see, and lots of folks do not like that much.
To the innocent, her eyes are arresting. To a person with something on his conscience, they seem too knowing. "
― Michael Grant , Front Lines (Front Lines, #1)
107
" It has been my face. It's got older still, or course, but less, comparatively, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine feature have done. It's kept the same contours, but its substance has been laid waste. I have a face laid waste. "
― Marguerite Duras , The Lover (The Lover, #1)
108
" What do we do if we come across trouble, sir?' Cahill asked, slapping at a fly. 'As much as I enjoy giving the rebel turds a walloping, it should be down to the Militia to keep the buggers in check.'
'They are doing their job,' Mullone said, glancing at a free-standing Celtic Cross that had once been a prominent feature beside the road, but was now strangled with weeds, besieged with dark moss and deeply pitted with age.
'If you call plundering, fighting and torture work, sir.'
'You don't have much faith in the peace talks then, Seán?'
'No, sir. There's more chance of me taking holy orders and becoming the Pope than there is of peace,' Cahill replied. 'The negotiations that spout from the politicians mouths are nothing but wet farts.'
-from Liberty or Death "
― David Cook , Liberty or Death (The Soldier Chronicles #1)
109
" What do we do if we come across trouble, sir?' Cahill asked, slapping at a fly. 'As much as I enjoy giving the rebel turds a walloping, it should be down to the Militia to keep the buggers in check.'
'They are doing their job,' Mullone said, glancing at a free-standing Celtic Cross that had once been a prominent feature beside the road, but was now strangled with weeds, besieged with dark moss and deeply pitted with age.
'If you call plundering, fighting and torture work, sir.'
'You don't have much faith in the peace talks then, Seán?'
'No, sir. There's more chance of me taking holy orders and becoming the Pope than there is of peace,' Cahill replied. 'The negotiations that spout from the politicians mouths are nothing but wet farts. "
― David Cook , Liberty or Death (The Soldier Chronicles #1)
114
" Some sleepers have intelligent faces even in sleep, while other faces, even intelligent ones, become very stupid in sleep and therefore ridiculous. I don't know what makes that happen; I only want to say that a laughing man, like a sleeping one, most often knows nothing about his face. A great many people don't know how to laugh at all. However, there's nothing to know here: it's a gift, and it can't be fabricated. It can only be fabricated by re-educating oneself, developing oneself for the better, and overcoming the bad instincts of one's character; then the laughter of such a person might quite possibly change for the better. A man can give himself away completely by his laughter, so that you suddenly learn all of his innermost secrets. Even indisputably intelligent laughter is sometimes repulsive. Laughter calls first of all for sincerity, and where does one find sincerity? Laughter calls for lack of spite, but people most often laugh spitefully. Sincere and unspiteful laughter is mirth. A man's mirth is a feature that gives away the whole man, from head to foot. Someone's character won't be cracked for a long time, then the man bursts out laughing somehow quite sincerely, and his whole character suddenly opens up as if on the flat of your hand. Only a man of the loftiest and happiest development knows how to be mirthful infectiously, that is, irresistibly and goodheartedly. I'm not speaking of his mental development, but of his character, of the whole man. And so, if you want to discern a man and know his soul, you must look, not at how he keeps silent, or how he speaks, or how he weeps, or even how he is stirred by the noblest ideas, but you had better look at him when he laughs. If a man has a good laugh, it means he's a good man. Note at the same time all the nuances: for instance, a man's laughter must in no case seem stupid to you, however merry and simplehearted it may be. The moment you notice the slightest trace of stupidity in someone's laughter, it undoubtedly means that the man is of limited intelligence, though he may do nothing but pour out ideas. Or if his laughter isn't stupid, but the man himself, when he laughs, for some reason suddenly seems ridiculous to you, even just slightly—know, then, that the man has no real sense of dignity, not fully in any case. Or finally, if his laughter is infectious, but for some reason still seems banal to you, know, then, that the man's nature is on the banal side as well, and all the noble and lofty that you noticed in him before is either deliberately affected or unconsciously borrowed, and later on the man is certain to change for the worse, to take up what's 'useful' and throw his noble ideas away without regret, as the errors and infatuations of youth. "
― Fyodor Dostoevsky , The Adolescent
118
" A common feature of many theories of trauma is the idea that the causative—the wounding—event is not remembered but relived, as it is in the flashbacks of combat veterans, experienced anew with a visceral immediacy that affords no critical distance. To remember something, you have to consign it to the past—put it behind you—but trauma remains in the present; it fills that present entirely. You are inside it. Your mouth is always filled with the taste of blood. The killers are always crashing through the brush behind you. Some researchers believe that trauma bypasses the normal mechanisms of memory and engraves itself directly on some portion of the brain, like a brand. Cattle are branded to signify that they are someone’s property, and so, too, were slaves. The brand of trauma signifies that henceforth you yourself are property, the property of that which has injured you. The psychoanalyst Sándor Ferenczi believed that trauma is characterized by the victim’s helpless identification with the perpetrator, and elsewhere in the literature one often comes across the word “possession.” The moment of trauma marks an event horizon after which memory ceases. Or else memory breaks down, so that the victim can reconstruct the event but not the feeling that accompanied it, or alternatively only the feeling. "
