A program in Phoenix called Project ROSE arrests sex workers in massive raids and brings them to a church, where they are held extra-judicially and offered alternative sentences without lawyers, judges, or due process.
Molly Crabapple on Turning 30
When I was 24, a curator I hoped to work with told me: “When you’re 30, you’ll be really ugly, and your boyfriend will leave you. But I’d still fuck you.”
I turned 30 in September.
Despite feminism, or logic, I dreaded it—though none of the curator’s predications came true.
Age is a weapon society uses against women. Each year that you gain comfort in your own flesh, your flesh is seen as worth less. Thirty, like 40 or 50, is a demarcation line, but a particularly loaded one. Cross it, says the world, and you leave the trifling-but-addictive privileges of girlhood behind. Invisibility this way, ma’am.
I was still 24 when the same curator refused to put me in a show with female artists in their early 20s. They painted girls of a dewy frailty the curator imagined the artists themselves possessed. “You’re not a young artist,” he told me, when I asked to be included. “Not like them.”
As an American woman, you may be a girl-gone-wild, or a biologically-ticking-40. But except perhaps for six months after your 21st birthday, your age is like Goldilocks’s porridge. Too young, too old. Never just right.
A man’s age, on the other hand, is always right. In Letters to a Young Contrarian, a 52-year-old Christopher Hitchens wondered when he would no longer be called an angry young man. Men like Hitchens go from bad boy to elder statesman.
VICE: You grew up in New York. What do you think of how the city has changed?
Art Spiegelman: Don’t get me started. If there was another New York, I’d move to it.
Is New York still a place where a young artist can get started?
You can’t. Go to Germany kids. Maybe Budapest if you’re not Jewish. But this is something that I’m remembering from interviewing Al Hirschfeld. He had lived in Paris for a number of years when he was just out of college.
I asked “Did you know Picasso?” And he says, “Yeah. I’d see him at Gertrude’s House.”
So we were off and running and I said, “What was it in Paris? The graphic design was good, the painting was good, the writing was good, the architecture was good. Was there something in the water?” He goes, “Nah. Cheap real estate. I got that place I was living in for the equivalent of $300 a year.” At those rates, you can find out if you’re an artist or not.
That’s what’s gone from New York and that’s an irreconcilable loss. Though in New York one should always be grateful for the rapid degree of change. Maybe SoHo will become a slum. It’s possible.
It Don’t Gitmo Better than This – Molly Crabapple’s Account of Her Journey to the Dark Heart of Guantanamo Bay
A T-shirt emblazoned with the slogan IT DON’T GITMO BETTER THAN THIS is perhaps the definitive physical manifestation of globalization. Sewn in Honduras and sold by Jamaican contractors on land rented from Cuba, the shirt celebrates an American prison holding Muslims who’ve been declared enemies in the war on terror. It’s a popular item in the Gitmo gift shop (yes, Gitmo has a gift shop), displayed next to the stuffed banana rats and shot glasses engraved with GUANTÁNAMO BAY: DIVE IN.
Built in 1898, the Guantánamo Bay Naval Base looks like a US suburb. There’s a McDonald’s, a Subway, and even a Christmas parade. On Halloween, military members dressed as zombies complete a 5K run. Winners of the Mr. and Ms. Gitmo Figure and Fitness Competition arch their backs on the cover of the Wire,the base’s in-house magazine. The Team Gitmo outdoor movie theater screens all the big blockbusters (when I visited it was World War Z), and in the evenings, visitors can eat jerk chicken next to swaying banyan trees, get drunk at O’Kelly’s (“the only Irish pub on Communist soil”), or sing karaoke.
But since the Joint Task Force (JTF) arrived in 2002, Guantánamo Bay has been home to the world’s most notorious prison.
Gitmo’s prison camps were built, in principle, to hold and interrogate captives outside the reach of US law. Nearly 800 Muslim men have been imprisoned since it opened, and the vast majority of them have never been charged with any crime. Since he was inaugurated in 2008, President Obama has twice promised to close Gitmo, but 166 men still languish in indefinite detention. It is a place where information is contraband, force-feeding is considered humane care, staples are weapons, and the law is rewritten wantonly.
Nabil Hadjarab arrived at Gitmo 11 years ago, in an orange jumpsuit and a diaper, his head covered by a hood, eyes blinded by blackout goggles, mouth gagged, and with headphones blaring white noise into his ears.
Molly Crabapple Draws Guantanamo’s Camp X-Ray
Camp X-Ray is the first place that the US held detainees in Guantanamo. Captives lived there for four months in 2002 while the military built permanent prison camps.
Prisoners lived in open mesh cages under the brutal Cuban sun. Their cells had no running water. Guards gave them two buckets: one for water and one for shit.
The classic photos of GTMO, (dogs, marines, hooded captives in orange jumpsuits) were taken here. With its watchtowers, clapboard interrogation huts, and rings of barbed wire, X-Ray looks like nothing so much as a concentration camp in the Caribbean.
X-Ray has been empty for over a decade. Birds nest in the razor wire. Vines overtake former cells. Miles away, 104 prisoners are hunger-striking. Forty-four are being force-fed. Many of them first came here through X-Ray.
My press escort hates when the media uses images of X-Ray to sum up GTMO. X-Ray, she says, was very long ago.
Filthy Lucre – by Molly Crabapple
When you fly Virgin Upper Class out of Heathrow, you go through a separate set of airport security.
With a ticket that costs $4,000 round-trip, you swipe your boarding pass, go up a sleek private elevator, and pass through security and passport control that is delighted to see you. “Lovely suitcase,” they coo. You’re whisked away to the Virgin Clubhouse, with its free facials and single-malt scotch. Except briefly, you never interact with the airport’s general population.
Some months ago, I got to fly first-class from London. Until then, I’d never realized it wasn’t just a recliner in the plane and some cheap bubbly, but rather a separate sphere of being. In first-class, you weren’t groped or barked at or treated like a combination of a terrorist and a cow. Instead, paid servants pretended your presence was a gift.
After years of work trips crammed in coach, being forced to show my underwear to the TSA, I felt like a guttersnipe in a palace. I loved it, but it was also deeply strange. “These people don’t really like me,” I thought, no matter how skillfully they acted like they did.
Until you see it, you never realize how separate the sphere of the rich is from that of everyone else.
I came from a middle-class, divorced home. As is typical, the upper-middle-class end of the split went to my dad, and the lower-middle-class to my mom. Like most people trying to make it in an impractical profession, I spent years living in rat-infested tenements with roommates who threatened to kill me in my sleep.
Unlike most artists, I started to make money. Not 1 percent money, but more than my mom ever dreamed of. Once I did, I started to realize how broken the idea of American meritocracy was.
Meritocracy is America’s foundational myth. If you work hard, society tells us, you’ll earn your place in the middle class. But any strawberry picker knows hard work alone is a fast road to nowhere. Similarly, we place our faith in education. Study, and the upper-middle class will be yours. Except the average student graduates $35,000 in debt.
Why Draw Pictures?
Only two people have ever gotten angry when I drew their pictures: a Moroccan religious fundamentalist and a New York City cop.
I was 19 when I sat sketching in Fez’s Old City. I came to Morocco with a hallucinogen-chomping writer and an orientalist streak as deep as Fez’s open sewers. I abandoned both by the end of the trip. Besides motorbikes and street harassment, Fez’s main sounds were those of tour groups clomping toward their guide’s carpet shop. I didn’t want to be like them.
Tour groups took photos. They’d jam cameras into someone’s face. Before their subject could respond, they’d run off, happy to have proof that they’d stood somewhere quaint.
I’d curl up on filthy steps with my sketch pad. Street kids watched. Drawing was a monkey dance to prove that despite my dopey American face, there was still a skill I could rock. I’d draw the street kids. They’d scamper away with my sketches.
The man who didn’t like my drawings had the long gray beard of the religiously devout. One morning he ripped my drawing from my hands and shredded it with a satisfied grunt. Dopey-American-style, I burst into tears.
A decade later, I sat next to journalist Matt Taibbi in a New York misdemeanor court, watching a judge pressure brown men into plea bargains for walking their bikes on the sidewalk. I drew the cop who was guarding the courtroom. He looked as pink and shiny as a boil. The cop stormed over. “What are you doing?” he hissed.
"Drawing. It’s allowed."
About My Abortion
Manifesto of the 343 was published in France in 1971, when abortion was still illegal. It was a confession of having had an abortion, something that made you liable for arrest, signed by 343 famous women. Among them were Catherine Deneuve and Marguerite Duras, Francoise Sagan, Simone de Beauvoir, and Jeanne Moreau. Nearly every cigarette-sucking French sex symbol admitted she had had the procedure. The newspapers called them “the 343 Sluts.” Leave it to the French to make abortion glamorous.
In 1974, abortion was legalized in France. The 343 sluts changed everything.
In America today, abortion is legal. But few famous women would add themselves to a similar list.
When some defenders of choice talk about abortion, they often focus on edge cases: rape victims, life-threatening pregnancies, or teens who don’t know how babies are made. That kind of dialogue sometimes makes it seem like abortion is reserved for “other” women. Women who aren’t like them. Which, despite all delusions of enlightenment, is exactly what I thought when at 20, I realized I had an embryo growing inside of me.
Then, just like that, the other was me.
There are so many reasons why women need abortions. Those reasons are often wedded intractably to money. Some women have to abort longed-for pregnancies because of illness. Abortion is sometimes a trauma, sometimes an anticlimax, sometimes a relief. There are a million abortion stories just like there are a million stories of fucking and giving birth and going to war. None are representative. This is mine.
For me, whether or not I would have an abortion was never a question. It was just a question of how soon I could get one. I have never had maternal instincts. I was also broke. I was proud to have clawed my way to that elite station in life represented by having a room that no one walks through to on the way to the bathroom. I slept on a mattress on the floor, and worked as a naked model for amateur photographers—a job that, at the best of times, I often suspected would get me murdered. I was in school training to be an artist.
A baby meant the destruction of everything I might become. Being pregnant made me understand how and why women, pre-Roe v. Wade, stabbed knitting needles into their cervixes. Abstract debate meant nothing while I was throwing up every hour, just wanting to be how I had been before.