Various interpretations ensue, all fairly severe. The cynical reaction is fairly widespread, at least in conversation: natural selection, if they were stupid enough to mess with a bear, they got what they deserved; even when I was five, I had enough sense not to jump into a bear tank. Social interpretation: areas of poverty, insufficient education, alas, the subproletariat has a tendency to act on impulse, without thinking. But, I ask you, what's all this talk about insufficient education? Even the poorest child watches TV, or has read a schoolbook in which bears devour humans and hunters therefore kill bears.
At this point I began to wonder if the boys didn't venture into the pool precisely because they do watch TV and go to school. These children were probably victims of our guilty conscience, as reflected in the schools and the mass media.
Human beings have always been merciless with animals, but when humans became aware of their own cruelty, they began, if not to love all animals (because, with only sporadic hesitation, they continue eating them), at least to speak well of them. As the media, the schools, public institutions in general, have to explain away so many acts performed against humans by humans, it seems finally a good idea, psychologically and ethically, to insist on the goodness of animals. We allow children of the Third World to die, but we urge children of the First to respect not only butterflies and bunny rabbits but also whales, crocodiles, snakes.
Mind you, this educational approach is per se correct. What is excessive is the persuasive technique chosen: to render animals worthy of rescue they are humanized, toyified. No one says they are entitled to survive even if, as a rule, they are savage and carnivorous. No, they are made respectable by becoming cuddly, comic, good-natured, benevolent, wise, and prudent.
No one is more thoughtless than a lemming, more deceitful than a cat, more slobbering than a dog in August, more smelly than a piglet, more hysterical than a horse, more idiotic than a moth, more slimy than a snail, more poisonous than a viper, less imaginative than an ant, and less musically creative than a nightingale. Simply put, we must love—or, if that is downright impossible, at least respect—these and other animals for what they are. The tales of earlier times overdid the wicked wolf, the tales of today exaggerate the good wolves. We must save the whales, not because they are good, but because they are a part of nature's inventory and they contribute to the ecological equilibrium. Instead, our children are raised with whales that talk, wolves that join the Third Order of St. Francis, and, above all, an endless array of teddy bears.
Advertising, cartoons, illustrated books are full of bears with hearts of gold, law-abiding, cozy, and protective—although in fact it's insulting for a bear to be told he has a right to live because he's only a dumb but inoffensive brute. So I suspect that the poor children in Central Park died not through lack of education but through too much of it. They are the victims of our unhappy conscience.
To make them forget how bad human beings are, they were taught too insistently that bears are good. Instead of being told honestly what humans are and what bears are.
1987
How to Play Indians
Since the future of Native American culture at present seems dire, the sole possibility for the young brave bent on improving his social position is to appear in a Western movie. To assist him in this endeavor, we offer some essential guidelines, tips on correct behavior in both war and peace situations, to help him qualify as "movie Indian," thus providing as well a solution to the problem of underemployment among members of this beleaguered minority.
Before Attacking
1. Never attack immediately: make yourself visible at a distance a few days ahead of time, producing easily observed smoke signals, thus giving the stagecoach or the fort ample time to send word to the Seventh Cavalry.
2. If possible, appear prominently in small groups on the surrounding hills. Set up sentinels on totally isolated peaks.
3. Leave clear traces of your progress: hoofprints, smoldering campfires, feathers, and amulets allowing identification of tribe.
Attacking the Stagecoach
4. In any attack on a stagecoach, always follow the vehicle at a short distance or, better still, ride alongside it, to facilitate your being shot.
5. Restrain your mustangs, notoriously faster than coach horses, so you won't outstrip the vehicle.
6. Try to stop the coach single-handed, flinging yourself on the harness, so you can be whipped by the driver and then run over by the vehicle.
7. Never block the coach's advance in a large body. The driver would stop at once.
Attacking an Isolated Farm or a Circle of Covered Wagons
8. Never attack at night when the settlers might not be expecting you. Respect the tradition that Indians attack only in daytime.
9. Insist on making your presence known by giving the coyote cry, thus revealing your position.
10. If a white man gives the coyote cry, raise your head immediately to offer him an easy target.
11. Attack by circling the wagons, but never narrow your circle, so that you and your companions can be picked off one by one.
12. Never employ all your men in a circle, but progressively replace those that fall.
13. As you lack stirrups, manage somehow to entangle your feet in the reins, so that, when you are shot, you are dragged after your mount.
14. Use rifles, bought illegally, whose operation is unfamiliar to you. Take a considerable amount of time loading them.
15. Don't stop circling the wagons when the good guys arrive. Wait for the cavalry without riding out to confront it, then scatter at the first impact in total disorder to allow individual pursuit.
16. In preparing to attack an isolated farm, send only one man to spy on it at night. Approaching a lighted window, he must observe at length a white woman inside, until she has become aware of the Indian face pressed against the pane. Await the woman's cry and the exit of the men before attempting to escape.
Attacking the Fort
17. First of all, turn the horses loose at night. Do not steal them. Encourage them to disperse over the prairie.
18. In using a ladder during the assault, climb up it one man at a time. First allow your weapon to appear, then your head, slowly, and emerge only after the white woman has indicated your presence to a marksman. Never fall forward, inside the fort, but always backward, toward the exterior.
19. In shooting from a distance, assume a clearly visible position on the top of a peak, so that you can fall forward, to be shattered on the rocks below.
20. In the event of a face-to-face confrontation, wait before taking aim.
21. In the same situation, never use a pistol, which would resolve the confrontation at once. Only naked steel.
22. In the case of a sortie on the part of the whites, never steal the weapons of the slain enemy, only his watch. Wait in wonderment, listening to its tick, until another enemy arrives.
23. On capturing an enemy, do not kill him immediately. Tie him to a stake or confine him to a tent, awaiting the new moon, by which time others will come to free him.
24. In any event, you can be certain that the enemy bugler will be killed the moment the signal of the Seventh Cavalry is heard from afar. At this point the bugler inside the fort always stands up and returns the signal from the highest turret of the fort.
Further Instructions
25. In the event that the Indian village is attacked, rush from the tents in total confusion. Run around every which way, trying to collect weapons previously left in places of difficult access.
26. Check the quality of the firewater being sold by the peddlers: the sulfuric acid-to-whisky ratio must be three to one.
27. In the event of a train's passing, make sure there is an Indian hunter on board and ride alongside the train brandishing rifles and emitting cries of greeting.
28. In leaping from a roof to seize a white man from behind, always hold your knife in such a way that he is not immediately wounded but is allowed to engage in hand-to-hand strug
gle. Wait until the white man turns around.
1975
How to Recognize a Porn Movie
I don't know if you've ever happened to see a pornographic movie. I don't mean movies with some erotic content, a movie like Last Tango in Paris, for example, though even that, I realize, for many people might be offensive. No, what I mean is genuine por-noflicks, whose true and sole aim is to stimulate the spectator's desire, from beginning to end, and in such a way that, while this desire is stimulated by scenes of various and varied copulations, the rest of the story counts for less than nothing.
Magistrates are often required to decide whether a film is purely pornographic or whether it has artistic value. I am not one of those who insist that artistic value excuses everything; sometimes true works of art have been more dangerous, to faith, to behavior, to current opinion, than works of lesser value. But I believe that consenting adults have the right to consume pornographic material, at least for want of anything better. I recognize, however, that on occasion a court must decide whether a film has been produced for the purpose of expressing certain concepts or esthetic ideals (even through scenes that offend the accepted moral view), or whether it was made for the sole purpose of arousing the spectator's instincts.
Well, there is a criterion for deciding whether a film is pornographic or not, and it is based on the calculation of wasted time. A great, universal film masterpiece, Stagecoach, takes place solely and entirely (except for the beginning, a few brief intervals, and the finale) on a stagecoach. But without this journey the film would have no meaning. Antonioni's L'avventura is made up solely of wasted time: people come and go, talk, get lost and are found, without anything happening. This wasted time may or may not be enjoyable, but it is exactly what the film is about.
A pornographic movie, in contrast, to justify the price of the ticket or the purchase of the cassette, tells us that certain people couple sexually, men with women, men with men, women with women, women with dogs or stallions (I might point out that there are no pornographic films in which men couple with mares and bitches: why not?). And this would still be all right: but it is full of wasted time.
If Gilbert, in order to rape Gilbertina, has to go from Lincoln Center to Sheridan Square, the film shows you Gilbert, in his car, throughout the whole journey, stoplight by stoplight.
Pornographic movies are full of people who climb into cars and drive for miles and miles, couples who waste incredible amounts of time signing in at hotel desks, gentlemen who spend many minutes in elevators before reaching their rooms, girls who sip various drinks and who fiddle interminably with laces and blouses before confessing to each other that they prefer Sappho to Don Juan. To put it simply, crudely, in porn movies, before you can see a healthy screw you have to put up with a documentary that could be sponsored by the Traffic Bureau.
There are obvious reasons. A movie in which Gilbert did nothing but rape Gilbertina, front, back, and sideways, would be intolerable. Physically, for the actors, and economically, for the producer. And it would also be, psychologically, intolerable for the spectator: for the transgression to work, it must be played out against a background of normality. To depict normality is one of the most difficult things for any artist—whereas portraying deviation, crime, rape, torture, is very easy.
Therefore the pornographic movie must present normality—essential if the transgression is to have interest—in the way that every spectator conceives it. Therefore, if Gilbert has to take the bus and go from A to B, we will see Gilbert taking the bus and then the bus proceeding from A to B.
This often irritates the spectators, because they think they would like the unspeakable scenes to be continuous. But this is an illusion on their part. They couldn't bear a full hour and a half of unspeakable scenes. So the passages of wasted time are essential.
I repeat. Go into a movie theater. If, to go from A to B, the characters take longer than you would like, then the film you are seeing is pornographic.
1989
How to Avoid Contagious Diseases
Many years ago a TV actor, who made no secret of his homosexuality, said to a youth whom he was frankly trying to seduce, "You go with women? Don't you know that can cause cancer?" The remark is still quoted around the Milan television studios, but now the time for such joking has passed. I read recently that according to the revelations of Professor Matré, heterosexual contact is carcinogenic. High time somebody came out and said it. I would go even farther: heterosexual contact causes death, period. Even a fool knows that it ends in procreation, and the more people are born, the more people die.
With scant regard for democratic principles, the AIDS psychosis threatened to constrict the activity only of homosexuals. Now we will limit heterosexual activity as well, and all of us will once again be on the same footing. But (while I would not want to foster excessive alarmism) I would still like to point out some other high-risk categories.
Drama Critics, Intellectuals, Aspiring Politicians
Do not attend Off-Off-Broadway theaters in New York. It is a known fact that, for phonetic reasons, English-speaking actors spit a great deal. You have only to see them in profile, against the light, to notice this; and experimental theaters seat the spectator directly in the line of the actor's spray. If you are an elected official, have no dealings with mafiosi, or you will have to kiss the godfather's hand. Connections with the camorra are also not advised, in view of the blood rituals. Anyone embarking on a political career through Catholic Action membership must somehow avoid Holy Communion, as germs can be transmitted from mouth to mouth via the fingertips of the celebrant, and the risks of auricular confession are self-evident.
Ordinary Citizens
Swimming in an oil-polluted sea increases the risk of contagion, because the oil droplets transport particles of saliva from other swimmers, who have previously swallowed the polluted liquid and spat it out. Anyone who smokes more than eighty Gauloises a day touches—with fingers that have touched other things—the upper part of all those cigarettes, and the germs enter the respiratory channels. Avoid being fired from your job, because you then spend the day chewing your fingernails. Take care not to be kidnapped by Sardinian shepherds or by terrorists: the kidnappers as a rule use the same hood for many kidnapped victims. Never travel by train between Florence and Bologna, as terrorist explosions in the confined area of the tunnels spread organic detritus very quickly, and in such moments of confusion it is difficult to protect oneself. Avoid areas subject to bombardment by nuclear warheads: faced with the sight of a mushroom cloud, the spectator has an instinctive tendency to put his (unwashed) hands to his mouth, as he murmurs, "My God!"
Further risk is caused by the dying who kiss crucifixes, those sentenced to death (the blade of the guillotine is seldom properly disinfected before reuse); and orphans in institutions, where the wicked nuns make each little malefactor lick the floor, after tying his leg to his cot.
Ethnic Minorities and Inhabitants of the Third World
Native Americans are severely threatened: passing the calumet from mouth to mouth has caused, as everyone knows, the near-extinction of the Indian nation. Citizens of the Middle East and of Afghanistan are exposed to the licking of camels, hence the high mortality rate in Iran and Iraq. A desaparecido runs great risk when his merciless torturers spit in his face. Cambodians and the inhabitants of Lebanese camps should avoid the (blood) bath, discouraged by nine physicians out of ten (the tenth, more open-minded, is Dr. Mengele).
South African blacks are exposed to infection of various kinds when the white man considers them with contempt, grimaces, and ejects saliva. Political prisoners of every color must take great care to elude the backhand slap of the police, striking their teeth after similarly touching the gums of other persons held for questioning. Members of populations subject to endemic famine must try not to swallow frequently in an attempt to allay the pangs of hunger, as their saliva, which has come into contact with the foul air of their surroundings, can contaminate their in
testines.
The authorities and the press, instead of printing scandalous headlines about other problems whose solution could reasonably be postponed to some future date, should devote their energies to a vigorous campaign of hygienic instruction of the sort indicated here.
1985
How to Choose a Remunerative Profession
There are certain jobs that are much in demand and that pay very well, but they require careful preparation.
For example, the job of setting up around the city those signs that indicate the way to the superhighways. Their purpose is to clear traffic from the downtown area—and also from the superhighways, as we promptly realize once we have followed them and ended up, exhausted, on the most dangerous dead-end street in the industrial suburbs. But it is not easy to put the signs in exactly the right places. A simpleton might consider placing them at a spot where the driver is confronted with a complicated choice among several streets, and where there is thus a good chance he will get lost if left unassisted. But, on the contrary, the sign must be affixed only where, since the proper route is obvious and the driver would instinctively choose it, he must be sent off in another direction. To do the job really well the applicant should have some notion of urban planning, psychology, and the theory of games.
Another very desirable job is that of writing the instructions included in, or printed on, the packaging of domestic appliances and electronic instruments. Above all, these instructions must prevent installation. The ideal model is not that of the thick manuals supplied with computers; these also achieve this aim, but at great cost to the manufacturer. The proper model is rather the folded slip of paper accompanying pharmaceuticals, products with the extra feature of having names that, while apparently scientific, have actually been devised to make obvious the nature of the product as if to ensure that its purchase embarrasses the purchaser (Prostatan, Menopausin, Cra-bex). The instructions enclosed in the box, in contrast, succeed with a minimum of words in making incomprehensible the warnings on which our lives depend: "No counterindication, except in cases of unforeseen lethal reaction to product."