Review: American Indian Mafia

I’m a big fan of hearing all sides of a story. Having absorbed books and documentaries that take a pro-AIM (American Indian Movement) slant on the takeover and 71-day siege at Wounded Knee in 1973 I happily delved into the 600+ pages that make up FBI Special Agent In Charge Joseph Trimbach’s American Indian Mafia. Be forewarned, it’s a book filled with detail and argument.

Trimbach takes aim at media coverage that overlooked the fact that the village was taken over, looted, and burned by militant activists:

The reporters who covered Wounded Knee probably thought they were doing the right thing by granting credibility to people who advocated violence as a means to effect social change. But, by coloring a story the way Wounded Knee was, the media created a major problem for themselves: they soon became a distinctly unreliable source of information. The media missed covering the most important stories of the occupation: those of the people victimized by the takeover, and those rumored to have entered the village never to be heard from again. Granted, much of the hidden tumult probably occurred in April, after much of the press had lost interest. Still, it is fair to ask the question: did the media, in its rush to give AIM favorable coverage, overlook the violence perpetrated against ousted villagers and victimized infiltrators, some of which may have occurred right under their noses?

The book came at an interesting time. I was heavily involved covering the raid on the YFZ ranch, where more than 450 children were removed from their polygamous families amidst a horde of media and little bits of controlled information released by the government. Trimbach examines the legacy of Wounded Knee:

The deficit of knowledge may be partly due to not properly recording the event. At the time government archivists should have been paying attention to what was really happening in the village, Watergate and the ever-changing Directorship drew the focus away to political considerations. Because Headquarters was not engaged in the day-to-day conflict, and chose to stay that way, they were unaware of how precarious the situation was becoming. My recent attempts to revive interest in telling the true story of Wounded Knee have not met with great enthusiasm. Despite several attempts to convince Bureau personnel of the need to include Wounded Knee history in the official record, the FBI’s recently updated Minneapolis Office web site (as of this writing) still reflects inexplicable amnesia with not one mention of what was the most historically significant operation in Bureau history. What Headquarters officials (still) do not understand is that the topic should not be left to ideologues and extremists. What bothers me the most about this conspicuous failure is that the Bureau has ignored a history worth remembering, namely, that of hundreds of their own Special Agents and support personnel in rare service to their country.

Throughout Trimbach’s book, he points out where he feels the focus should be in the history of the event: squarely on the crimes committed. Like militants firing on Marshals and FBI Agents. Like the looting and burning of the trading post. Like the desecration of the village’s Catholic Church. And finally the brutal execution of two FBI agents. Trimbach argues that no amount of government corruption or police brutality should justify murder.

Bob Taubert recalls the grisly scene, hours later: “The Agents had been dead for some time. Rigor mortis had set in, and both bodies were covered with flies in the hot sun. When I saw the makeshift bandage, I immediately surmised that Ron had tried to save his partner. The totality of it hit me hard. I was sitting on the hill with my head in my hands, unable to comprehend why someone would do this. By now, the press had started to swarm. A female reporter came rushing up to me and said, ‘What happened, what happened here?’ I looked up at her and motioned toward the bodies. ‘I don’t know, lady. Why don’t you ask them?’”

More on the murders, as he dissects Matthiessen’s “In the Spirit of Crazy Horse”:

When Agents Jack Coler and Ron Williams drove onto Pine Ridge, they were acting under the knowledge of an existing arrest warrant for Jimmy Eagle. Furthermore, there is no prohibition against FBI Agents’ presence on federal reservations. In fact, their sworn duty is to investigate serious crimes in Indian Country.

To make this tale sound even more sinister, Matthiessen takes it a step further. With a conspiratorial ear turned to his AIM friends, we learn the dark secret that the Agents drove onto the reservation that fateful day in June of 1975— with their long guns safely locked in the trunks of their cars— acting as an advance team for an all-out assault on the practically defenseless AIM members who were minding their own business. And that, “…paramilitary forced had been surrounding the Oglala region all that morning…” and “…within a remarkably short time, reinforcements arrived that can only be called massive, when set against of band of untrained men and boys armed mostly with .30-30 deer rifles and .22s.”

What’s not explained in this fantastic story is why a large force of BIA police, FBI Agents, and law enforcement officers, supposedly standing by with massive firepower, arrived too late to save the Agents from being murdered. Or, for that matter, how “deer rifles and .22s” were able to hold off “massive reinforcements” at all. In another twist, depending on which one you prefer, the Agents unknowingly served as sacrificial lambs, used as bait to draw out the peace-loving Indians for one big shootout, a massacre the white law enforcement men had been wanting for a long time. (Matthiessen’s looniest ideas are often the most vicious.)

Trimbach pulls from recent events in the hunt for the killers of Anna Mae Pictou Aquash, including this chilling testimony from the 2004 trial of Arlo Looking Cloud:

McMahon: Tell the Court as best you remember exactly what he (Leonard Peltier) said.
Ka-Mook: Exactly what he said?
McMahon: Exactly what he said.
Ka-Mook (extremely upset): He said the motherf*cker was begging for his life, but I shot him anyway.

According to Trimbach, the historic version of the takeover of Wounded Knee by the American Indian Movement (AIM), has been dominated by pro-AIM voices. Reading his book has reminded me how important it is to listen to all sides of the story when forming an opinion.

Review: Breaking News

Breaking News: A Stunning and Memorable Account of Reporting from Some of the Most Dangerous Places in the World, by Martin Fletcher. [rating: 4/5]

Martin Fletcher, the NBC News Bureau Chief in Tel Aviv with a penchant for posing on top of destroyed tanks, provides a great look back at his life covering conflict.

War reporters face moral dilemmas all day: Is it reasonable to film a crying woman two feet from the lens? How about a lost child screaming for its parent? Should one film him or take him by the hand? If a man is to be executed and the soundman’s gear suddenly doesn’t work, what do you do? Delay the execution? That’s what the BBC’s David Tyndall did in Biafra in 1970, when he yelled, “Hold it, we haven’t got sound,” and the quivering man about to be killed had to suffer that much longer while the soundman sorted out his gear. Later, Tyndall was mortified by his instinctive response to the dilemma, as was the BBC, which severely reprimanded him. But every move in this job poses a different dilemma, and nobody can be right all the time. In fact, the most critical question is usually not moral in nature but practical: How far down this road can I drive and stay safe?

Fletcher takes us through his experiences beginning with the Yom Kippur War in Israel and then on throughout Africa (Somalia, Rwanda, Rhodesia (now Zimbabwe), South Africa), Cyprus, Afghanistan, etc. This from Albania, covering the Kosovo war:

Then there was the small matter of the bandits who preyed on travelers, especially foreign journalists flush with cash. One BBC television team hired a small truck and driver. Just as they were approaching the final leg of the journey into the country’s wild and poor northeast, they ran into a group of armed men who stopped their vehicle at gunpoint and demanded money. The producer handed over his shoulder bag with envelopes of cash, and they were allowed to proceed unharmed. The team was shocked, but the producer chuckled and said, “Don’t worry, I’m not dumb, that was just a token in case we got robbed. The real money is in my boot.” The team laughed with relief, whereupon their Albanian driver stopped the car, put a gun to the producer’s head, and stole the rest of the money. Then the driver forced everybody out and drove off with their gear. And he was one of the good guys.

Breaking News: A Stunning and Memorable Account of Reporting from Some of the Most Dangerous Places in the World, by Martin Fletcher. [rating: 4/5]

Review: Locas


Locas: The Maggie and Hopey Stories (Love & Rockets), by Jaime Hernandez
[rating:5/5]

This mammoth book is a collection of Hernandez’s Love & Rockets comics, which tell the story of Maggie and Hopey, two SoCal latin punk rock girls in the 80′s-90′s. It’s got mexican pro-wrestling and a bunch of Nardcore (Oxnard hardcore) symbols all over the backgrounds that my eye kept discovering. The highlight was the panel that had a flier for an AFU show.

The stories are wonderful, the artwork is wonderfully stark black and white, and when I was finished I was so involved with the characters that it was terribly disappointing to be at the end of the book.

Locas: The Maggie and Hopey Stories (Love & Rockets), by Jaime Hernandez
[rating:5/5]

Review: Worldview

Leonard Freed: Worldview, by Leonard Freed.
[rating:5/5]

Photographer Leonard Freed is quoted in the introduction (by William A. Ewing), saying, “I think there are informational photographs and emotional photographs. I don’t make informational photographs. I am not a journalist. I am an author. I am not interested in facts.” Ewing goes on to explain, “this seems an astonishing admission- until we realize that Freed was speaking in a figurative sense: that he was searching for unederlying realities which are obscured by the cloud of facts.” Back to Freed: “The more ambiguous the photograph is, the better it is. Otherwise it would be propaganda.”

Chew on that.

Freed’s work is top-class black and white, organized into several groupings and mostly chronologically. You can easily see the progression of his style. My favorite photo (and it’s not done justice here on the web) is this, Sicily, 1974:

Leonard Freed: Worldview, by Leonard Freed.
[rating:5/5]

Review: My Jihad

My Jihad: One American’s Journey Through the World of Usama Bin Laden–as a Covert Operative for the American Government, by Aukai Collins. [rating:4/5]

Aukai Collins makes for a very interesting character in recent world events. An American citizen, he signs up for jihad in Chechnya, trains in Afghanistan, and eventually gets caught up with the FBI in some (from his point of view) ridiculous efforts to infiltrate the world of Islamic terrorism.

There we met three Arabs who would also be going to Chechnya. Two were from Saudi Arabia and one was from Yemen. Abu Jaffar, the Yemeni, was a little guy, probably not more than five foot seven and not even 150 pounds. He was someone I was to become familiar with in Chechnya; he would eventually become a principal officer under Ibn-ul Khattab, the legendary Arab field commander. The other two guys were from the holy city of Mecca. Of the four of us who made the trip into Chechnya that day, I am the only one left alive.

Collins’ tales of guerilla combat in Chechnya are chilling. Descriptions of ambushes and executions and the ferocity of the Chechen people are vivid. Later in the book, he details the efforts of the FBI and CIA to send him into Chechnya to spy on the Islamists. This is where things get confusing, because Collins never really gets anywhere doing this. Nowhere in the book does he actually do any undercover work, despite the subtitle of the book. Instead, his efforts are hampered by the government’s bureaucratic fumbling.

The Agency, in its infinite wisdom,  had decided that in order for me to proceed to the next phase of the operation – entering Chechnya- as a diplomatic nicety they would first have to declare me to their Russian counterparts at the FSB. If you’ve read this book from page 1, it should be apparent to you that the FSB was thoroughly compromised, with everyone from rogue agents to operatives working for the highest bidder. I’d planned to use the fact that they were compromised in order to get into Chechnya in the first place; if the Agency declared me as an asset I would surely be killed before reaching Khattab.

My Jihad: One American’s Journey Through the World of Usama Bin Laden–as a Covert Operative for the American Government, by Aukai Collins. [rating:4/5]

Review: Self-Portrait With Cows Going Home


Self Portrait With Cows Going Home, by Sylvia Plachy.
[rating:5/5]

What I love about Sylvia Plachy’s work is not only her personal approach but her absolute love of photography. This book, which is filled with photographs “taken over the past forty years during several trips back to Eastern Europe” showcases Plachy as a pure photographer. As you turn the pages, you find photographs taken on 35mm film medium format, and even a bunch of Widelux panoramas, all mixed together and all used to great effect. Mostly black and white, but a few color images.

And one thing I would encourage all photographers to notice about Plachy’s work is that she’s after a greater meaning in her photographs. They are like poetry. And by that I mean she’s not afraid to have a photograph that’s slightly soft or out of focus, or blurred by a hand-held slow shutter speed, or slightly off-kilter as long as it leads you to a greater image. It’s never a gimmick with Plachy, and to me it never distracts.

 

Thanks to PhotoEye for the book as well as these BookTease pix.

Self Portrait With Cows Going Home, by Sylvia Plachy.
[rating:5/5]

Review: The Fun Never Stops!

The Fun Never Stops!: An Anthology of Comic Art 1991-2006, an anthology of comic art 1991-2006, by Drew Friedman.
[rating:5/5]

Longtime Drew Friedman fan. I can’t imagine how to review this book, except to say I miss Spy Magazine and to show this stand-alone panel from the book:

This is my worldview.

The Fun Never Stops!: An Anthology of Comic Art 1991-2006, an anthology of comic art 1991-2006, by Drew Friedman.
[rating:5/5]