“This business will get out of control. It will get out of control and we'll be lucky to live through it.”
On the one hand:
He says his son had about a six-inch screwdriver and was threatening to fight his mother, so they called police to calm him down.
Wilsey says everything was under control until a third officer arrived, and the situation took a dramatic turn.
“Murder. They murdered our son for no reason,” Wilsey said. “Everything was going good, then this fat cop from Southport walks in the room, walks around the corner, says, ‘We don’t have time for this. Tase that kid now. Let’s get him out of here.’”
Wilsey says like any teenage boy, his son tried to run when he heard the word tase.
“The tasers hit him, he fell back. Two officers were on top of him. You know, he’s got the little screwdriver. I mean, I would have went and got the screwdriver from him. I went to help, and I hear a shot,” Wilsey said.
Wilsey says he grabbed the officer so he could not shoot again.
“You should not expect a handout,” he tells me. “You should not even expect a safety net. When my house burns down, I should not go to the government to rebuild it. I should have the savings, and if I don’t, my neighbors should pitch in for me, because I would do that for them.”
So sayeth Frank Luntz, as neutral a political consultant as you’re ever likely to meet. —And you shake your head and wonder why it’s so damn hard for some people to understand that government’s just a means of making sure that help is pitched whenever it’s needed, to whomever needs it—and then you read it over again and see the work that word, “neighbors,” really does in this sentence: I don’t want to help just anyone, it says. Just the people I like. Just the people like me. —How ugly it becomes, in hands like these.
“I am grateful that Occupy Wall Street turned out to be a bunch of crazy, disgusting, rude, horrible people, because they were onto something,” he says. “Limbaugh made fun of me when I said that Occupy Wall Street scares me. Because he didn’t hear what I hear. He doesn’t see what I see.”
There were still a number of these little fragments of glass floating about in the air, and now you shall hear what happened with one of them.
I wasn’t going to see it. —The ads looked atrocious: more of the same grim bonhomie that’d soured me on Tangled, and do they even give a damn about how ugly this participial trend in titling comes off? Like they’re steering into what otherwise would’ve been an unavoidable Tony Awards skit, Neil Patrick Harris shouting Frozen! Tangled! Tattered! Feathered! Sorcelled! Fired!
I wasn’t gonna see it, and then I saw this:
So, yeah. Well.
This snow-flake grew larger and larger, till at last it became the figure of a woman, dressed in garments of white gauze, which looked like millions of starry snow-flakes linked together. She was fair and beautiful, but made of ice—shining and glittering ice. Still she was alive and her eyes sparkled like bright stars, but there was neither peace nor rest in their glance. She nodded towards the window and waved her hand.
“It was the best movie ever that I ever saw,” pronounced Taran as we left the theater. We’d talked beforehand, to let her know how it was going to be in a theater, and loud, and there would be scary bits, and she promised to be as brave as a bumblebee and not yell. She did yell: “I want to watch something else!” which is what she says at home, whenever a show gets too intense. —Not so much at the spills and thrills, the wolves or the roaring snow-beast; these she took in stride. But when actual stakes were on the line, however quietly: Anna, betrayed by clever Hans, left to die by the unlit fire. —You know this won’t be allowed to happen, and so do I; there are Rules. But Taran’s only five. She doesn’t know the Rules yet, and can’t bear what knowing the Rules makes bearable: the possibility of what might happen, if. What might be lost if not. —She wants to watch something else.
You know this, and I do, and for sure and certain they know the Rules: that Good, imperiled, will recover, restored with the help of True Love; that Evil will be vanquished, and if not plunged to its death will at least be roundly humiliated, kicked in the butt on the way to the brig. Way of the world. Well, a world. This world. —Oh, there’s some little flexibility to the Rules, changes that might be rung, and they are, most notably in the form and fashion True Love takes (though they telegraph their punch with constant emphasized references to it as an Act thereof). But: Good, triumphant; Evil, vanquished; swell to the chorus of the theme and: credits.
He told her he could do mental arithmetic, as far as fractions, and that he knew the number of square miles and the number of inhabitants in the country. And she always smiled so that he thought he did not know enough yet, and she looked round the vast expanse as she flew higher and higher with him upon a black cloud, while the storm blew and howled as if it were singing old songs.
You know this, and so do I—but I’d seen that song, remember?
A mostly generic new-model Disney princess belts through a radio-friendly rip of “Defying Gravity” (it’s okay, they got Idina Menzel to sing it) and blows her way through a magical-girl transformation into something of a different genre, if not richer and more strange: something of an actual, maybe, antagonist? (—Not that the Snow Queen is all that much of an antagonist in her own story; not that her own story even has that much of an antagonist, aside from cosmopolitan sophistication, or maybe atheism; any given intellectualism, really, and also robbers.) —But: a Disney princess? An antagonist? —She sheds her cloak, her glove, her tiara, her (as the lyrics make painfully clear) past, but: look at the joy, as she finally lets it go, unleashes the magic that’s been leaking frightfully from her all along thus far, learns what she can do with it, and how far it can take her, and how (through that scrim of Disney CGI) beautiful it is—but also how cold, how inimical, inhuman, how—therefore—villainous? —And the transformation, the (yes) sexualization, through that same scrim—a sure sign of villainy, in Disney. —But the va-va-voom slink, the precisely flawless makeup under the artfully touseled hair, it’s all a bit too studiedly much, isn’t it? A Disney, a Barbie-doll idea of sophistication, a perfectly realized burst of adolescent excess, of someone trying something new, of trying the very act of trying something new, of succeeding wildly in that first wild flush, giddily heedless of the cost they know they don’t, can’t know.
I may have watched it a few times.
So I knew, but I was starting to think that maybe, this time, I didn’t, I wouldn’t know. A glimpse of a possible if, a might-maybe. The Rules were creaking, bending, those serried ranks of Good and Evil muddling, confused: would she be triumphant? Or vanquished? I didn’t know! Or thought maybe I didn’t, anyway.
As Anderson-Lopez recalls, “Let It Go” was the first song she and her husband wrote that ended up staying in the movie. Its composition also led the film’s team to rethink its entire approach to the character of Elsa, a.k.a. Frozen‘s take on Hans Christian Anderson’s Snow Queen. In previous drafts, Menzel’s character had a villainous bent. Once the couple penned “Let It Go,” though, they finally began to understand what really made Elsa tick: She’s a scared, repressed teenager, not a malicious ice queen. “As the movie got rewritten and rewritten around ‘Let It Go’ to earn that moment,” Lopez explains, “she became more and more the protagonist along with Anna” — Elsa’s younger sister, voiced by Bell.
If I’d read that before I’d gone to see the movie, I would’ve.
The very idea that a scared, repressed teen could ever become the most malicious of wintry metaphors. That a malicious ice queen could ever be identified with, could possibly be sympathetic, could be a protagonist. I mean really.
X’s first novel, title, was rejected by a publisher because its female protagonist didn’t “triumph over all adversity,” thereby providing the requisite happy ending. XX’s title sold to a German publisher for six figures, but American publishers refused to buy it unless she made her lead character “more remorseful” for having a passionate fling. An editor of XXX’s title said that although readers would be “haunted and moved” by her protagonists, she should turn them into characters that readers would regard with “genuine affection.”
The original soundtrack album for Frozen includes a number of demos, drafts of tracks that didn’t make it into the (currently) final version, that suggest directions and misdirections in the revising and rewriting Kristen Anderson-Lopez refers to, herrings kippered and otherwise. —One of these demos is for “Life’s Too Short,” and in its introduction, Robert Lopez tells us, “One of the songs we knew we had to write was, the song between Elsa and Anna, at the end of which, Elsa had to freeze Anna’s heart with a blast of magic.”
Anderson-Lopez chimes in: “This first attempt was more confrontational than what ultimately ended up in the movie, but we enjoyed going to that drama place.”
It’s an oddly sprightly track, for a confrontation—
—but there’s still a charge there, an anger, on the parts of both our protagonists: a drama: they sing at each other, to each other, and what they want—who they are—is set in direct conflict: Elsa, terrified she’s the prophesied unending winter, giving in to her frozen power anyway, hiding her fear with spite and rage; Anna, who in another cut song refers to herself as the spare to the heir, eager to save their little realm, even if it’s from her own beloved sister—until the song climaxes with that magical strike: “I’m not the prophesy!” cries Elsa, as she fulfills it.
But conflict is confrontational; people get hurt, and people do hurt, and when it’s over someone will have won, however provisionally, and someone will have lost, something. Unless it’s muddled, confused, someone will be triumphant, however muted; someone will be vanquished. The story will have chosen, because there are Rules, and the logic of them works backwards as well as forwards: someone will turn out to have been Good, and someone will have been Evil all along.
And so in the revising, and the rewriting, to soften, remove, erase her villainous bent, to make her more likeable, to earn that moment—of sympathy, of identification, of grace—the conflict is ducked, dodged, leashed, concealed, not revealed:
They sing past each other, now, in this final version: choruses and recitatives that interlock musically, but don’t respond to, don’t struggle with, don’t even acknowledge each other. When Elsa learns that in letting go she’s released enough power to freeze the realm, she doesn’t retort; she crumples into a muttering despair that Anna’s soaring refrain doesn’t even notice. And when Elsa lashes out, the blow that freezes Anna’s heart, it’s unconscious, accidental; she doesn’t even notice. —No intentional villany, here—just misunderstanding: regrettable, yes, but once explained, easily enough forgiven. Swell, and: credits.
(It’s not just our Snow Queen’s possible-maybe villainy that’s softened, of course. In that unused demo, Anna’s insisting Elsa put her gloves back on, to stop eternal winter—the gloves she’d let go. And this is a demand more specific, more actionable than her vague if plaintive cries of don’t shut me out, don’t live in fear, just unfreeze it, you can do it ’cause I know you can! —A stifling, smothering, repressive demand, a frightening demand that directly opposes what Elsa wants, what we’ve been told Elsa needs, and thus a hurtful demand—and while a protagonist, a hero, can deliberately hurt a proper villain, a malicious ice queen, with no mark or stain or blemish to her character, hurting a fellow protagonist is, well. Tricky. Not likeable. So soften; so leash; conceal, don’t feel, don’t reveal. Rewrite. Revise.)
One day, when he was in a merry mood, he made a looking-glass which had the power of making everything good or beautiful that was reflected in it almost shrink to nothing, while everything that was worthless and bad looked increased in size and worse than ever. The most lovely landscapes appeared like boiled spinach, and the people became hideous, and looked as if they stood on their heads and had no bodies. Their countenances were so distorted that no one could recognize them, and even one freckle on the face appeared to spread over the whole of the nose and mouth. The demon said this was very amusing. When a good or pious thought passed through the mind of any one it was misrepresented in the glass; and then how the demon laughed at his cunning invention. All who went to the demon’s school—for he kept a school—talked everywhere of the wonders they had seen, and declared that people could now, for the first time, see what the world and mankind were really like. They carried the glass about everywhere, till at last there was not a land nor a people who had not been looked at through this distorted mirror. They wanted even to fly with it up to heaven to see the angels, but the higher they flew the more slippery the glass became, and they could scarcely hold it, till at last it slipped from their hands, fell to the earth, and was broken into millions of pieces.
Protagonist, antagonist, villainy, Good, Evil, Rules—I hope the soaring refrain hasn’t misled you as to whatever point it is I think I’m making with these muttered divagations. —I’m not, mind, arguing that Elsa should more properly have been a villain, any more than I’m pleased with Anna as a plucky, fiesty-pants protagonist. I mean, Good, Evil, anti and pro—what are we really on about, here?
Frozen is a fantasy, which means (broadly, crudely) it’s about restoration and return: of proper summer, undone and overwhelmed by the unnatural winter that Elsa embodies, had been holding back by force of will and gritted teeth and gloves, and closed doors now thrown open, now relaxed, now, at last, herself—and there, right there, that’s the kernel: in threatening what’s seen as natural, usual, expected, Elsa’s turned against what’s Good; in trying to restore and return, Anna’s doing the story’s work, fixed against Evil, as ineluctably as the tide. The efforts the movie must go to, to face them both in the same direction, as jointly likeable protagonists, according to the calculus of these Rules; the Evil the story requires, thus unmoored, has only clever Hans to bear its weight, and while his heel-turn’s admirably, literally chilling, he’s far too slight for the existential threat of eternal winter, of summer forever forgone. —No, that’s resolved almost as an afterthought, an accident: “Of course!” cries Elsa. “Love!” —And just like that the power she’d let go, the existential threat, is leashed; can now be let out, on holidays, and state occasions, as lovely sheets of skating ice and charming flurries, rather than snow-beasts and threatening, phallic spikes.
That’s all it took; that’s all the conflict required: the restoration, the mere expression of a love that was never really in jeopardy. Elsa’s rejection, her letting go, her moment, her song, the one I saw, up there, is all undone; was undone, when she crumpled at the first sign of opposition, the first indication of hardship. In an older version of the story, in an earlier draft of this story, she’d’ve been a proper villain, and fought for what she wanted. It would’ve meant something, to her, to the story, to us. It would’ve been earned. —But in that story she would have to lose, would have to have been vanquished, would have hurt someone, would not have been likeable, could not have been a protagonist, or a Disney princess.
Good, this Good, according to these Rules, because there can be no real dissent among its partisans, is necessarily univocal: we all of us good people want the same thing, right? Essentially? The restoration of the natural order, the return, undisturbed, of the safety of our realm. And so there is no contest. There can be no contest. Not if you want to be triumphant.
And the buttercups sparkled gayly, and looked again at Gerda. What song could the buttercups sing? It was not about Kay.
But that’s according to those Rules. —What I’d seen? That moment, above, the one they wanted to earn? What I’d hoped that maybe this time I wouldn’t know? That maybe this time the Rules themselves were being questioned? The kernel, cracked? That more than one vision of Good was in play, on the surface, explicitly, rather than desperately read into the cracks and fissures, the what-ifs and the mightabeens? And none of them wrenched into the role of villain, of antagonist, of Evil, despite their differences? That—instead—forged somehow between them some actual forgiveness, however fleeting? One that meant something because of what it cost, to give, and to receive? That this might be the 102 minutes’ traffic of our screen?
I mean, I guess what I’d been hoping for was a post-Brave princess movie, and what I got instead was post-Wicked. —And this, this wandering argument, this glib anti-climax, none of this is meant to take away from what Frozen manages to accomplish, and even do well; there’s good stuff in there for you. Go, see it, if you haven’t.
But still. —I wanted to watch something else.
I know they can do the job, but can they get the job?
I know they can get the job, but can they get paid for the job?
—I’m not arguing that with you, I’m not arguing that with you, I’m not arguing that with you, mic drop.
Let’s see. The graphic novel got dropped, but might get picked up again by somebody else, and at least I got paid; the first book of the serial’s almost done, though it’s taking longer than was expected; the twitter, the twitter’s been fun, I guess? And I sold a story I wrote almost ten years ago? —At least there’s the blog, right? Right?
So we’re at the New Year’s Eve party last night. So the five-year-old suddenly says she has to go to the bathroom. The downstairs bathroom is occupied, so we make our way to the upstairs bathroom, past the mound of coats on the bed, and you should understand the five-year-old’s wearing her classy black party frock and silver-and-grey cowboy boots.
So the five-year-old says, I need some space, when we get there. So I let her go into the bathroom by herself, and close the door. —I’ll be right outside, I tell her.
So I hear an alarming clatter in the bathroom. So I knock and I say Taran? and I throw open the door and she’s standing there, one of her boots in her hand, tipped over.
What? she says. I had ice in my boot.
(Confidential to our hosts: I got what I could into the sink.)
David Auerbach’s review of Pynchon’s Bleeding Edge introduces (to me, at least) three structural motifs in reading this book, and Pynchon: the dynamo; the idyll; the decoherence event. —Each is a response to the irreality of the real, the fundamental meaninglessness of it all, call it what you will: our paranoia positing (and fomenting) actual and imagined dynamos, frantically striving for some sort of order; the idylls our dreams, those high-water marks we can see with the right kind of eyes, both the aims of and threatened by the dynamos; the decoherence event lying necessarily in wait, to tumble whatever houses of cards either might toss up, almost by accident. (Go, read; I’m seeing it with veiled eyes, and he says it better, and anyway there’s diagrams. Go.)
I’m seeing it with veiled eyes because I couldn’t help but sketch out another map on onionskin, lay it over this, and hold them both up to the light: Clute’s triskelion, his three modes of organizing fantastika as responses to the all-swallowing world storm:
- Science Fiction begins with the novum, the new thing, proceeds through cognitive estrangement on its way to a conceptual breakthrough, and ends up in some topia somewhere, in the eye of the storm perhaps, or somewhere through it, past it, beyond;
- Fantasy, as noted, begins in wrongness, proceeds through thinning, has a moment of recognition, and then returns by turning away from the world storm;
- and Horror, which begins with a sighting, then thickens about our protagonists until it can revel in the moment when we cannot look away, and leaves us shivering in its aftermath.
Or: the dynamo; the idyll; the decoherence effect.
Anyway. —There’s all manner of means whereby this conjoint model goes wrong (distinctions between ends and means but the first of them); still. The hairs stood up, on the back of my neck.
With all due apologies to D’Invilliers,
except the ones set aside for Kyle Baker,
and of course for you, Dear Reader:
Then wear the Google Glass, if that will move her;
if you can slurp the brogurt disaffectedly, slurp for her too.
Till she cry “Lover, Google-Glassed, brogurt-slurping lover, I must have you!”
inscribes the superfluity of dads (or /dads/, or «dads»): in the absence of a dad, a mother remains a mother; in the absence of a mother, a father must take on the job of mothering. Whenever it’s bandied about how important it is, that a child must have two parents, it is the absence of dad that’s really being spoken around, that must be obliterated: precisely because dad (or /dad/, or «dad») is utterly superfluous.
In fact it will be amazing (only to us imagining it now) how quiet a world it will be. A woman awakes in her house in Sitka, Alaska, to make tea, wake her family, and walk the beach (it runs differently from where it runs today). After meditation she enters into communication with the other syndics of a worldwide revolving presidium, awake early or up late in city communes or new desert oases. Nightlong the avatars have clustered, the informations have been threshed: the continuous town meeting of the global village. There is much to do.
—John Crowley, “The Next Future”
So many little countries, all mindful of death, each disinclined to long journeys. I want to go to there.
Being unable to pass a law against something that the state can’t turn against you doesn’t make that thing not wrong.
In 1964, Nikolai Kardashev, an astrophysicist involved with the Soviet SETI effort, devised the Kardashev scale: a method of measuring, on a cosmic scale, a civilization’s technological advancement based on the amount of usable energy that civilization has at its disposal.
A Kardashev Type I civilization has at its disposal all of the energy that impinges on its home planet. Using an equation suggested by Carl Sagan, humanity could be rated as a Type .7, as of the 1970s.
Not much has changed in forty years. On a cosmic scale.
A Type II civilization is any civilization capable of harnessing the total energy output of its home star. If we were to unravel the clouds of Jupiter, for instance, we could spin a globular shell one astronomical unit in radius that would be five meters thick, and trap every erg the sun beamed forth thereafter.
A rigid sphere that large would require materials far stronger than any currently known, of course. We might, instead, use swarms of orbiting solar panels to sop it up.
A Type III civilization is any civilization in possession of energy on the scale of its home galaxy. —Those civilizations which originate in dwarf galaxies or irregular clusters are at a significant advantage, here.
Type IV civilizations arbitrage speculative crises in what are to them immaterial commodities, selling short whole Local Groups. They can be detected by sudden changes in the redshift values of various economic indices.
Type V civilizations subsist entirely on the notional energy of Type I civilizations, scheming to become Type IIs. (Civilizations of Type II or better have mastered the art of radiating notional energies at frequencies too low to be heard.)
Type VI civilizations are indistinguishable from nature, and spend their time dreaming of butterflies, or are themselves butterfly-dreams—or the nearest local equivalent, of course.
(Nothing is known of Type VII civilizations. It is best not to consider them.)
When you finally come to understand dark matter, you will have the merest glimpse of the capabilities of a Type VIII civilization.
A Type IX civilization is any civilization that can successfully conceive of a Type X.
So Taran is, of course, named for a certain Assistant Pig-Keeper, from the Lloyd Alexander books that were important to both me and Jenn growing up. —It’s not the only reason she’s named Taran, but it’s the first and foremost.
You should also realize that she’s a huge fan of Batman, mostly because of the Brave and the Bold cartoons she’s seen. —She knows from Spider-Man and Wonder Woman and the Tiny Titans are a perennial fave (“Aw, yeah,” she says feistily, and one’s heart swells), and she’s already mastered certain arcana of these proprietary, persistent large-scale popular fictions that I never knew, but it’s Batman that’s captured her heart more than anyone else; go figure. (Her two imaginary friends currently—entirely imaginary, as opposed to the complex society of ponies and fairies and stuffed animals she oversees from the throne of her bed—the two imaginary friends most likely to show up these days are Batman and Moomintroll, which makes sometimes for interesting arguments in the car.) —Being such a fan of Batman, and dealing as she is with certain intimidating big-person tasks as potty-training and such, she’s come up with an alternate persona: Batmangirl (as distinctly opposed, you must understand, to Batgirl)—whenever she feels called upon to dig deep and do the right thing, she’ll puff up and proclaim: I’m not a little girl! I’m not Taran Jack! I’m Batmangirl!
It is solemnly agreed amongst all of us that Batmangirl would never pee her pants. As a for instance.
Now, Taran is aware of the books from which she got her name; once or twice I’ve read the first chapter to her, but that was back before she was tracking much of anything that didn’t have many or any pictures. But ever since the Moomin books went over as well as they did, she’s been more adventuresome about longish chapter books as read-aloud material at bedtime. (The Very Persistent Gappers of Fripp is another of her favorites.)
So the other night she pulls the Book of Three off the shelf and looks at the cover—
—and says, this is about me.
And I (solemnly) agreed: yes, it is. This is the book about Taran.
That’s not Taran, she said, suddenly, pointing at Taran in the ragged tunic, the Prince Valiant bob, brandishing a dagger so bravely against the Horned King. —That’s Batmangirl, she said. She thrust the book at me. —Read it, she said. Read to me about Batmangirl.
So I did.
Batmangirl wanted to make a sword; but Coll, charged with the practical side of her education, decided on horseshoes. And so it had been horseshoes all morning long. Batmangirl’s arms ached, soot blackened her face. At last she dropped the hammer and turned to Coll, who was watching her critically…
(I’ve genderflopped books before, like Yolen’s and Teague’s dinosaur picturebooks, where the fact the dinosaur’s always a boy gets slightly in the way of reader-identification for those not so much; this still felt—different. Further bulletins etc.)
But I can tell you anyhow
I used to drive back and forth to Seattle a lot more than I do now. And every now and then, I’d see one: a white, late-model sedan, riding low in the back like something’s heavy in the trunk, driven by an elderly couple, both of them wearing those bulky black protective sunglasses that wrap around half your face. Sometimes there’d be another elderly couple in the back seat. The men were always wearing Kangol caps.
One trip, I saw three. Different cars, I remember that. And anyway they’re always driving under the speed limit. I was always passing them.
This was all some time ago. I don’t drive up to Seattle and back nearly so often anymore.
Thinking about it, they were always headed south.
I saw another one today, is the point, between Portland and Salem: white, late-model, riding low in the back. Headed south. I was passing on the right, a couple lanes over, headed for an exit; a semi drifted between us before whoever was in the passenger seat could look over in my direction. So I don’t know if they were wearing the glasses, or the hat.
I’d rather see than be one
First, from the Rolling Stone article everyone is reading:
We have five times as much oil and coal and gas on the books as climate scientists think is safe to burn. We’d have to keep 80 percent of those reserves locked away underground to avoid that fate. Before we knew those numbers, our fate had been likely. Now, barring some massive intervention, it seems certain.
Yes, this coal and gas and oil is still technically in the soil. But it’s already economically aboveground—it’s figured into share prices, companies are borrowing money against it, nations are basing their budgets on the presumed returns from their patrimony. It explains why the big fossil-fuel companies have fought so hard to prevent the regulation of carbon dioxide—those reserves are their primary asset, the holding that gives their companies their value. It’s why they’ve worked so hard these past years to figure out how to unlock the oil in Canada’s tar sands, or how to drill miles beneath the sea, or how to frack the Appalachians.
If you told Exxon or Lukoil that, in order to avoid wrecking the climate, they couldn’t pump out their reserves, the value of their companies would plummet. John Fullerton, a former managing director at JP Morgan who now runs the Capital Institute, calculates that at today’s market value, those 2,795 gigatons of carbon emissions are worth about $27 trillion. Which is to say, if you paid attention to the scientists and kept 80 percent of it underground, you’d be writing off $20 trillion in assets. The numbers aren’t exact, of course, but that carbon bubble makes the housing bubble look small by comparison. It won’t necessarily burst—we might well burn all that carbon, in which case investors will do fine. But if we do, the planet will crater. You can have a healthy fossil-fuel balance sheet, or a relatively healthy planet—but now that we know the numbers, it looks like you can’t have both. Do the math: 2,795 is five times 565. That’s how the story ends.
Despite the professed determination of the G20 group of leading economies to tackle tax secrecy, investors in scores of countries—including the US and the UK—are still able to hide some or all of their assets from the taxman.
“This offshore economy is large enough to have a major impact on estimates of inequality of wealth and income; on estimates of national income and debt ratios; and—most importantly—to have very significant negative impacts on the domestic tax bases of ‘source’ countries,” Henry says.
Using the BIS’s measure of “offshore deposits”—cash held outside the depositor’s home country—and scaling it up according to the proportion of their portfolio large investors usually hold in cash, he estimates that between $21tn (£13tn) and $32tn (£20tn) in financial assets has been hidden from the world’s tax authorities.
The math is ineluctable, isn’t it. —Desperate times call for those most basic of government functions.
(Hell, considering how many of the super-rich doubtless depend on the value of the carbon on the books, it’s not even redistribution, per se: penalize Peter to pay Peter to keep Peter from roasting, drowning, starving Paul…)
All electoral polls in the United States should now begin tracking three sets of numbers: all respondents; likely voters; those likely to be allowed to vote by Republicans.
All mysteries need them; all conspiracies shed them; all intrusions follow them, down and in to the heart of the labyrinth:
Lavie Tidhar’s notes toward a working definition of steampunk, most notably his point that “the underlying theme of all fiction within the Steampunk sphere resorts to that moment whereby technology transcends understanding and becomes, for all intents and purposes, magical.”
urban fantasy’s greatest pride is rendering the unusual-magic, etc-into ordinary, comfortable majority terms— Requires Hate (@requireshate) May 7, 2012
The time my mother slapped me.
And the time—roughly contemporary? Let’s say it was—in physics class, when we were doing these basic (very basic) labs on probability, and I had a little handheld pachinko machine? With a bunch of balls, and evenly spaced rods, and stalls at the bottom? And you tilt it down, and all the balls roll to the top, and you tilt it back, and they come cascading down, and hit the rods, and either bounce left or right, and in the end you’ve got this lovely little bell curve of balls at the bottom, because law of averages and such most balls bounce left, then right, then left, or some combination thereof, and end up in the middle? And only a few go left-left-left-left, or right-right-right-right, and end up on either end? —Anyway, it’s my turn, so I tilt it down, then back again, and click-clack-click-clack-click, and wouldn’t you know it, I’ve got an almost perfect reverse bell curve. Towering stacks of balls to the left and right, and almost nothing at all in the middle.
So I go to the teacher running the show and hold it out to him and say, okay, now what, smart guy? (“If it fails to agree, under novel experiments or with refined measuring techniques, it is not said that one should not be happy.”)
And the teacher looks at the little handheld pachinko machine, cocks an eyebrow, tilts it down, tilts it back, clack-click-clack-click-clack. Perfect bell curve.
“There,” he says. “Fixed it for you.”
—And I can’t for the life of me tell you which of those gestures is the argument with the universe, and which the sermon on the way things ought to be, dammit. —And that might just be my problem.