Keys that Unlock -- The Power Paradox, by Dacher Keltner

5 October, 2017, Knox Book Beat, The Berkeley Times
“empathy, giving, gratitude” and “telling stories that unite.”

 At the UC Berkeley Greater Good Science Center (isn’t it exciting that we have one right here?), Dr. Keltner has been researching not only power, which “shapes our every interaction,” (the “personal is the political,” don’t cha know) but compassion, awe, love, beauty and “how our emotions shape our moral intuition.” Wow!

 Dacher Keltner’s book, The Power Paradox: How We Gain and Lose Influence, describes not only behaviors that truly increase one’s “enduring” power, which comes from “empowering others in social networks” by increasing “the greater good;” but how the powerful (and, in America, particularly the wealthy) often lose real power through abusing it (inner corruption resulting in bullying others).He then ends up with a deeply moving section on “the price of powerlessness,” which I would have put earlier in the book because it is so familiarly depressing in its depiction of “physical and emotional distress.”

When I moved into my housing complex, part of our contract included a clause that we could be disciplined or evicted if we bullied other tenants, including, but not limited to, “comments or conduct intended to intimidate, humiliate or isolate people in a way that causes physical or emotional distress.” I had never seen a definition of this “demoralizing and counter-productive” behavior; but I had certainly observed, felt, and on some occasions enacted it.

In this season of declining light and apparent Machiavellian “force, fraud, ruthlessness and strategic violence;” Keltner gives us the antidotes of “empathy, giving, gratitude” and “telling stories that unite.” Read chapters One, Four and Five first; then “Power is Given, not Grabbed,” “Enduring Power Comes from a Focus on Others” and “A Fivefold Path to Power.”

Unless, of course, you’d rather not “learn in your own particular way how to transcend the power paradox and to find delight in making a difference in the world,” improving all your interpersonal interactions and genuine self-esteem at the same time.

;-) (smiley-face wink emoticon)

RADICAL BOOKSELLING: A LIFE OF MOE MOSKOWITZ

Knox Book Beat, The Berkeley Times, October, 2016

“I think about him all the time,” Doris Moskowitz says about her Dad, Moe, the Radical Bookseller in the title of this collection of charming, outrageous and humorous history, photos and reminiscences.

A former independent bookseller myself, I agree with Lissa Tyler Renaud that we had and have, like Moe, the potential to create “a bookstore that became and remains a significant force in the intellectual life of the country through (our) patrons.”

That is, IF we are “playful and smart,” “put up with no bullshit” (except our own), work “hard and honestly,” even if we are – or maybe because we are – “eccentric,” “narcissistic and inconsistent and impossible to manage.” Moe came to Berkeley in 1959 and also came up against the City Council and their ordinances for his sidewalk paperback kiosk, sales of (“pornographic” and “obscene”) Zap and Snatch comics (R Crumb) and smoking his cigar; but also threw in with the Print Mint, Shambhala Booksellers and nourished the Free Speech Movement, People’s Park, Vietnam War protestors; Logos, Black Oak and Shakespeare & Co Books; Amoeba and Rasputin’s as well as “an endless stream of writers and scholars.”

Moes-Feb-1975 Photo-by-Richard-Friedman, Quirky Berkeley

Not all of us are as “brilliant” as Moe, but “passion” about “irreverence and artistic, personal and political freedom” sure help. He was also good at hiring, respecting and trusting workers, friends and family members with “unbelievable expertise” to help him do it. Conventional bookstores DO NOT want employees to be “autonomous” or make “bold choices,” and ONLY independent owner-managers have the savvy and liberty to “let them tell him how it should be within the store.”

Doris Moskowitz, Berkeley Bookseller

This may be the only way someone can be so curmudgeonly and successful at the same time. Support your local independent bookstore! And if you can’t find it anyplace else, “Try Moe’s.”

Moskowitz, Doris Jo, Radical Bookselling: A Life of Moe Moskowitz, Moe’s Books, 2476 Telegraph Av., Berkeley, CA, 94704, 2016.

Pot-boiler Pulitzer? UPTOWN THIEF is “Way Bad”- AND "Way Good"

Knox Book Beat, The Berkeley Times, September 2016

“Don’t touch, just f**k me,” Marisol commands her pickup on page 61, as imperiously objectifying as Clint Eastwood’s Silent Stranger in Fistful of Dollars and his Dirty Harry character saying, “make my day” as he blows The Scorpio Killer away. With her I’m supposed to empathize? Reverse sexism? Commodification of fellow humans? Return to the reptile brain? Yuk. I feel bullied, and I don’t like it, by her approach and her early prose. Bullied, seduced and abandoned. The intentional fallacy. Fed a line, a rip-off or a spiked drink cause she thinks I’m a trick or a mark or a hoe. Guess if this is not entirely appealing to me.

A lot of good movies start badly like this, and I have to say that this is a good book and pretty well written otherwise, but hand-held cameras bouncing along behind the hero like in Suffragette make me seasick, not “engaged.” I fought back when I got beaten up as a kid, Vietnamese gonorrhea from a one-night stand, had more lovers than I can count on all my fingers and toes, and my fourth-grader greeted me with “Wuzzup me homie M-thug?” after school 20 years ago, so it’s not like I’m from outer space on these things; but turning it around by ignoring or stereotyping White women donors, (lesbians White Jody and Asian Kim to some extent) and clinic volunteers; White, Latino and Black men and the token older Jewish counselor Holocaust survivor left me cool.

I put a cover with a picture of Rep. Barbara Lee over the lurid “rip my dress off” front and a Berkeley Times schoolgirl-of-color saying “never give up trying to save the world” on the back of Uptown Thief by Aya de León so I could stand to carry it around. Even as an old, White, suburban-raised, Civil Rights-marching hippie “Sexual Revolution” survivor with a book called Warring and Whoring to my name; I couldn’t wrap my head around why a smart, socially-aware, Cal-employed creative writing teacher of color would write a titillating “high-voltage action” and generally improbable tale glorifying the “heist-fiction genre.”

 By putting adrenaline, obsessive greed, spontaneous violence, condoms, vengeance, tech and deadly weapons into women’s hands; do she, her publisher and potential readers assume it’s “feminist” by some wave of an “invincible” stiletto heel? “Equal rights for women?” Am I the “target market” for Uptown Thief?

  Yes, I get it: we get that way defending ourselves against the “culture,” but buying and reading books that “feel bad” “because (somebody else thinks) they’re good for me” is the same (masochistic?) game, sabé? It’s very good pulp action-erotic fiction, but I’m  not convinced it’s feminist just because it’s grittily set between a sex workers’ women’s health clinic, her “escort service” she’s using to fund it and corrupt, disgusting male cops, pimps, drunks, rappers, thugs and CEOs.

Aya de Leon from her website.

Things went past fast-and-furious, crisis-to-crisis, half X-(wo)men and half Jametta Bond, until page 161-5 where we get a tiny peek into Marisol’s psyche after a flashback or two. The cast of characters opens up by her hero’s trip to Cuba towards the end, where we get some alternatives to The American Lifestyle of Color she’s supposedly living in New York, but I can’t believe she won’t let us in on, for example, what Marisol and the sister she gave up everything for she hasn’t seen for 10 years have to say when they’re alone together well past the 300^th page. They have an honest argument 30 pages later; but when there’s no attorney at the NYPD interrogation, interpersonal “choreography” takes a couple of readings to visualize, characters’ personalities and actions contradict themselves abruptly to no clear purpose here and there; I’m looking for a “continuity” editor and drift off from “the flow.”

I wanted to step in in a bigger-than-Sandberg way. Meet complex real people. Like the sex finally “takes hold” with Marisol by p. 269 or so: go from fakey-mean excited and over stimulated to real-mammal moved. Call me a romantic; but I want a Dickens, Colette, Lessing or Dostoyevsky pulling me with a picture, a woven experience of how (internally?) military-industrial patriarchy can be changed, not some quickie commercial product that’ll keep me drugged, plugged or anesthetized in a shadow play full of shouts and flashing figures that looks tawdry in the light of the next day.

Will I get my tires slashed for writing this review? I don’t know. I doubt it. That’s an assumption about what Gen X Black Latinas and their publishers might do. Am I racist, sexist and ageist? Of course I am. Just look at the election: we all are in the good ol’ USA. But I have to tell my real story, and I think de León will too, very soon, if she isn’t already in some other genre or venue. Brava!
Gets better as it goes along. Maybe this is just a “way bad” pot-boiler so she can write other stuff down the road. I back her in doing so, all the way to Our New World.  
P.S. Her dialogue is excellent. “Adjectivally deprived,” (the f-words get boring in parts), but very, very cadenced and realistic in almost all cases once they get out of heist-planning mode and into more nuanced scenes. Same for the sex/erotica.  I wasn’t put off by the Spanish at all, although I kept a list to look up later like the nautical terms in O’Brian’s Aubrey and Maturin tales. 

The Sequel!

 

De León, Aya, Uptown Thief, Dafina Books, Kensington Publishing Corp., New York, NY, 2016.

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[Addenda on intentional fallacy] …“External (or private) evidence

What is not literally contained in the work itself is external to that work, including all private or public statements that the artist has made about the work of art, whether in conversations, letters, journals, or other sources. Evidence of this type is directly concerned with what the artist may have intended to do even or especially when it is not apparent from the work itself. Analyzing a work of art based on external evidence will likely result in the intentional fallacy (my italics wc).

Thus, a text's internal evidence — the words themselves and their meanings — is open for literary analysis. External evidence — anything not contained within the text itself, such as statements made by the poet about the poem that is being interpreted — does not belong to literary criticism. Preoccupation with the authorial intent "leads away from the poem." According to Wimsatt and Beardsley, a poem does not belong to its author but rather "is detached from the author at birth and goes about the world beyond his power to intend about it or control it. The poem belongs to the public."

Wikipedia, the Free Encyclopedia (last mod 24 June 2016) “Authorial Intent” https://en.wikipedia.org/wiki/Authorial_intent   (18 August 2016)