Houelle Done

Houelle Done

In Brendan Bernhard’s article about Michel Houellebecq [“L’Étranger in a Strange Land,” June 24–30], I am quoted as follows: “ ‘What do you think of us Californians?’ Nehring cried plaintively,” and portrayed as an interloping, “leggy,” writer-rustling essayist. While I am leggy, I am neither Californian, plaintive, nor disposed to cry. As far as monopolizing Houellebecq’s evening in preparation for an article of my own, please note that my article on Houellebecq appeared in Harper’sover 18 months ago. Perhaps if Bernhard had spent more time learning French and less examining Houllebecq’s closet and computer, he’d have produced an article that tastes more of vintage wine and less of sour grapes.

—Cristina Nehring
Rue du Temple, Paris

Bernhard replies: Cristina Nehring begins with a misstatement — I quoted her as saying, “What do you think of us?,” not “What do you think of us Californians?” as she claims. In any case, I had no desire to include her in the article; unfortunately, she had parked herself in the middle of the action and there was no avoiding noting and, to a very small extent, characterizing her presence.


Rise Above

I enjoyed reading your piece on David Lachapelle’s Rize[“Dancing on Live Grenades,” June 17–23], a reaction to injustice and turmoil on our own ground, in the heart of our own cities. Beauty of expression, emotion, and creation simulate the lotus blossoming in the grime of the L.A. River.

Education is the only answer to the great divide. Only then will America be strong and free. If we teach children now to be tolerant, intelligent, conscious and environmentally aware, is it not conceivable that they will avoid making the mistakes our leaders force us into on a daily basis?

It’s time for newleadership!

—Ben Gramann
Santa Monica

I was bewildered by Ernest Hardy’s insistence on referring to the subjects of the film Rizeas “Negroes.” His subjects do not see themselves as Negroes, and Miss Prissy specifically identifies herself as being “black” and “African-American.” Not only does Hardy refer to the dancers as Negroes, he also refers to “Negro ingenuity,” “Negro politicians” and “Negro creations.” I am not sure what prompted his use of this language, but it was gratuitous.

I was also confused at why David LaChapelle’s film was so celebrated in this review. This film is just another example of the one-dimensional view the entertainment industry allows of African-Americans: We are only tolerated while singing or dancing. The more pressing issues of blacks in America are almost always ignored. Hardy only briefly touches on the shallowness of the film. David LaChapelle is not trying to do anything more than make money selling this black subculture to white audiences. His photographs are exploitative and so is this film.

—Martine Syms
Pasadena

“Dancing on Grenades” was a great escape from the typical political backwash that I often read in the Weekly.Unfortunately, Mr. Hardy couldn’t leave well enough alone. David LaChapelle doesn’t need to dig into the politics of his lens’ focal point. It has always been his vision that makes people ask why. The fact that the dance performance “Rize” is performing on Leno should make it clear enough that LaChapelle has done his job.

—Daniel Keenan
Echo Park

Bubba-licious

In “Truths and Consequences” [June 24–30], Doug Ireland can’t resist taking potshots at Bill Clinton’s policy decisions regarding sex-related and gay issues (i.e., the Defense of Marriage Act, abstinence, immigration laws for HIV-ers, etc.) in a feeble attempt to show a correlation between them and his private conduct. What about unprecedented prosperity, a skyrocketing Wall Street, low unemployment, reduced crime, a budget surplus and no Iraq war, Doug? Can we correlate that to his private sexual matters? Look what you’ve got now, Doug. Happy? At the very least, if you’re tired of squawking about the present regime, let Bill Clinton rest in peace, but as innocent Iraqis and American soldiers are dying every day, and with the U.S. on the verge of social and economic collapse, don’t waste valuable writing space pissing and moaning about Clinton’s policy on clean needles!

—Fred Stratton
Los Angeles

Still Rockin’ in the Tree World

In reading “Sleater-Kinney at the Henry Fonda Theater, June 8” by Scott Thill [June 17–23], I am offended that this writer assumes only some of the audience “came to rock” that night, while “the greater part of the throng just sat back and waited for ‘You’re No Rock ’N Roll Fun.’ ” As one of the throng, I personally sat back and waited for a cover of “Mo’ Money, Mo’ Problems,” so there.