Now
Available from
CounterPunch for Only $11.50 (S/H Included)
Today's
Stories
December 20 / 21, 2003
Kurt Nimmo
Bush
Gets Serious About Killing Iraqis
December 19, 2003
Elaine Cassel
Courts
Rebuke Bush for Trampling the Constitution
Robert Fisk
Raid
on Fantasyville: Shooting Samarra's Schoolboys in the Back
Zoltan Grossman
The
Occupation Has Failed to "Capture" the Loyalty of Iraqis
Mike Whitney
Bush's
Afghan Highway to Nowhere
Harold Gould
Has the Radical Arab Strategy Really Worked?
Gary Leupp
The
Neocon's Dream Memo
December 18, 2003
Ann Harrison
A
Landmark Victory for Medical Pot
John L. Hess
Catfish
Blues: The SOB's from Out of Town
Karyn Strickler
Ebola
is Good for You!
Niranjan Ramakrishnan
Duryodhana
Dies
Harry Browne
Hail
Jim Hickey, the "Irish Hero" of the Colonial Occupation
of Iraq
Hammond Guthrie
Captured in Abasement
December 17, 2003
Robert Fisk
Saddam's
Cold Comforts
Gideon Levy
"Don't
Even Think About the Children"
Marjorie Cohn
The Fortuitous
Arrest of Saddam: a Pyrrhic Victory?
Andrew Cockburn
Saddam's
Last Act
December 16, 2003
Robert Fisk
Getting
Saddam...15 Years Too Late
Mahajan / Jensen
Saddam
in Irons: The Hard Truths Remain
John Halle
Matt
Gonzalez and Me
Josh Frank
The
Democrats and Saddam
Tariq Ali
Saddam
on Parade: the New Model of Imperialism
December 15, 2003
Robert Fisk
The Capture
of Saddam Won't Stop the Guerrilla War
Dave Lindorff
The
Saddam Dilemma
Abu Spinoza
Blowback on the Stand: The Trial of Saddam Hussein
Norman Solomon
For
Telling the Truth: the Strange Case of Katharine Gun
Patrick Cockburn
The
Capture of Saddam
Stew Albert
Joy to the World
December 13 / 14, 2003
Bill and Kathleen Christison
Chickenhearts
at Notre Dame: the Pervasive Fear of Talking About the Israeli
Connection
Stan Goff
Jessica Lynch, Plural
Tariq Ali
The Same Old Racket in Iraq
Jeffrey St. Clair
The Map is not the Territory
Marty Bender / Stan Cox
Dr. Atkins vs. the Planet
Christopher Brauchli
Mercury Rising: the EPA's Presents to Industry
Gary Leupp
On Marriage in "Recorded History", an Open Letter to
Gov. Mitt Romney
Sasan Fayazmanesh
The Saga of Iran's Alleged WMD
Larry Everest
Saddam, Oil and Empire: Supply v. Demand
William S. Lind
How to Fight a 4th Generation War
Fran Shor
From Vietnam to Iraq: Counterinsurgency and Insurgency
Ron Jacobs
Child Abuse as Public Policy
Omar Barghouti
Relative Humanity and a Just Peace in the Middle East
Adam Engel
Pretty Damn Evil: an Interview with Ed Herman
Kristin Van Tassel
Breastfeeding Compromised
Ben Tripp
On Getting Stabbed
Susan Davis
"The Secret Lives of Dentists", a Review
Dave Zirin
Does Dylan Still Matter? an Interview with Mike Marqusee
Norman Madarasz
Searching for the Barbarians
Poets' Basement
Guthrie and Albert
Website of the Weekend
Dean on Race
December 12, 2003
Josh Frank
Halliburton,
Timber and Dean
Chris Floyd
The
Inhuman Stain
Dave Lindorff
Infanticide
as Liberation: Hiding the Dead Babies
Benjamin Dangl
Another Two Worlds Are Possible?
Jean-Paul Barrois
Two States or One? an Interview with Sami Al-Deeb on the Geneva
Accords
David Vest
Bush
Drops the Mask: They Died for Halliburton
December 11, 2003
Siegfried Sassoon
A
Soldier's Declaration Against War
Douglas Valentine
Preemptive
Manhunting: the CIA's New Assassination Program
John Chuckman
The Parable of Samarra
Peter Phillips
US Hypocrisy on War Crimes: Corp Media Goes Along for the Ride
James M. Carter
The
Merchants of Blood: War Profiteering from Vietnam to Iraq
December 10, 2003
Kurt Nimmo
The
War According to Newt Gingrich
Pat Youngblood / Robert
Jensen
Workers
Rights are Human Rights
Jeff Guntzel
On Killing Children
CounterPunch Wire
Ashcroft Threatens to Subpoena Journalist's Notes in Stewart
Case
Dave Lindorff
Gore's
Judas Kiss
December 9, 2003
Michael Donnelly
A
Gentle Warrior Passes: Craig Beneville's Quiet Thunder
Chris White
A Glitch
in the Matrix: Where is East Timor Today?
Abu Spinoza
The Occupation Concertina: Pentagon Punishes Iraqis Israeli Style
Laura Carlsen
The FTAA: a Broken Consensus
Richard Trainor
Process and Profits: the California Bullet Train, Then and Now
Josh Frank
Politicians as Usual: Gore Dean and the Greens
Ron Jacobs
Remembering
John Lennon
December 8, 2003
Newton Garver
Bolivia
at a Crossroads
John Borowski
The
Fall of a Forest Defender: the Exemplary Life of Craig Beneville
William Blum
Anti-Empire
Report: Revised Inspirations for War
Tess Harper
When Christians Kill
Thom Rutledge
My Next Step
Carol Wolman, MD
Nuclear
Terror and Psychic Numbing
Michael Neumann
Ignatieff:
Apostle of He-manitariansim
Website of the Day
Bust Bob Novak
December 6 / 7, 2003
Alexander Cockburn
The
UN: Should Be Late; Never Was Great
CounterPunch Special
Toronto Globe and Mail Kills Review of "The Politics of
Anti-Semitism"
Vicente Navarro
Salvador Dali, Fascist
Saul Landau
"Reality
Media": Michael Jackson, Bush and Iraq
Ben Tripp
How Bush Can Still Win
Gary Leupp
On Purchasing Syrian Beer
Ron Jacobs
Are We Doing Body Counts, Now?
Larry Everest
Oil, Power and Empire
Lee Sustar
Defying the Police State in Miami
Jacob Levich
When NGOs Attack: Implications for the Coup in Georgia
Toni Solo
Game Playing by Free Trade Rules: the Results from Indonesia
and Dominican Republic
Mark Scaramella
How to Fix the World Bank
Bruce Anderson
The San Francisco Mayor's Race
Brian Cloughley
Shredding the Owner's Manual: the Hollow Charter of the UN
Adam Engel
A Conversation with Tim Wise
Neve Gordon
Fuad and Ezra: an Update on Gays Under the Occupation
Kurt Nimmo
Bush Gives "Freedom" Medal to Robert Bartley
Tom Stephens
Justice Takes a Holiday
Susan Davis
Avast, Me Hearties! a Review of Disney's "Pirates of the
Caribbean"
Jeffrey St. Clair
A
Natural Eye: the Photography of Brett Weston
Mickey Z.
Press Box Red
Poets' Basement
Greeder, Orloski, Albert
T-shirt of the Weekend
Got Santorum?
December 5, 2003
Jeremy Scahill
Bremer
of the Tigris
Jeremy Brecher
Amistad
Revisited at Guantanamo?
Norman Solomon
Dean
and the Corp Media Machine
Norman Madarasz
France
Starts Facing Up to Anti-Muslim Discrimination
Pablo Mukherjee
Afghanistan:
the Road Back
December 4, 2003
M. Junaid Alam
Image
and Reality: an Interview with Norman Finkelstein
Adam Engel
Republican
Chris Floyd
Naked Gun: Sex, Blood and the FBI
Adam Federman
The US Footprint in Central Asia
Gary Leupp
The
Fall of Shevardnadze
Guthrie / Albert
RIP Clark Kerr
December 3, 2003
Stan Goff
Feeling
More Secure Yet?: Bush, Security, Energy & Money
Joanne Mariner
Profit Margins and Mortality Rates
George Bisharat
Who Caused the Palestinian Diaspora?
Mickey Z.
Tear Down That Wal-Mart
John Stanton
Bush Post-2004: a Nightmare Scenario
Harry Browne
Shannon
Warport: "No More Business as Usual"
December 2, 2003
Matt Vidal
Denial
and Deception: Before and Beyond Iraqi Freedom
Benjamin Dangl
An Interview with Evo Morales on the Colonization of the Americas
Sam Bahour
Can It Ever Really End?
Norman Solomon
That
Pew Poll on "Trade" Doesn't Pass the Sniff Test
Josh Frank
Trade
War Fears
Andrew Cockburn
Tired,
Terrified, Trigger-Happy
December 1, 2003
Fawzia Afzal-Khan
Unholy
Alliances: Zionism, US Imperialism and Islamic Fundamentalism
Dave Lindorff
Bush's
Baghdad Pitstop: Memories of LBJ in Vietnam
Harry Browne
Democracy Delayed in Northern Ireland
Wayne Madsen
Wagging the Media
Herman Benson
The New Unity Partnership for Labor: Bureaucratizing to Organize?
Gilad Atzmon
About
"World Peace"
Bill Christison
US
Foreign Policy and Intelligence: Monstrous Messes
November 29 / 30, 2003
Peter Linebaugh
On
the Anniversary of the Death of Wolfe Tone
Gary Leupp
Politicizing War on Fox News: a Tale of Two Memos
Saul Landau
Lying and Cheating:
Bush's New Political Math
Michael Adler
Inside a Miami Jail: One Activist's Narrative
Anthony Arnove
"They Put the Lie to Their Own Propaganda": an Interview
with John Pilger
Greg Weiher
Why Bush Needs Osama and Saddam
Stephen Banko, III
A Soldier's Dream
Forrest Hylton
Empire and Revolution in Bolivia
Toni Solo
The "Free Trade" History Eraser
Ben Terrall
Don't Think Twice: Bush Does Bali
Standard Schaefer
Unions
are the Answer to Supermarkets Woes
Richard Trainor
The Political Economy of Earthquakes: a Journey Across the Bay
Bridge
Mark Gaffney
US Congress Does Israel's Bidding, Again
Adam Engel
The System Really Works
Dave Lindorff
They, the Jury: How the System Rigs the Jury Pool
Susan Davis
Framing the Friedmans
Neve Gordon
Arundhati Roy's Complaint for Peace
Mitchel Cohen
Thomas Jefferson and Slavery
Ben Tripp
Capture Me, Daddy
Poets' Basement
Kearney, Albert, Guthrie and Smith
November 28, 2003
William S. Lind
Worse Than Crimes
David Vest
Turkey
Potemkin
Robert Jensen / Sam Husseini
New Bush Tape Raises Fears of Attacks
Wayne Madsen
Wag
the Turkey
Harold Gould
Suicide as WMD? Emile Durkheim Revisited
Gabriel Kolko
Vietnam
and Iraq: Has the US Learned Anything?
South Asia Tribune
The Story
of the Most Important Pakistan Army General in His Own Words
Website of the Day
Bush Draft
November 27, 2003
Mitchel Cohen
Why
I Hate Thanksgiving
Jack Wilson
An
Account of One Soldier's War
Stefan Wray
In the Shadows of the School of the Americas
Al Krebs
Food as Corporate WMD
Jim Scharplaz
Going Up Against Big Food: Weeding Out the Small Farmer
Neve Gordon
Gays
Under Occupation: Help Save the Life of Fuad Moussa
November 26, 2003
Paul de Rooij
Amnesty
International: the Case of a Rape Foretold
Bruce Jackson
Media
and War: Bringing It All Back Home
Stew Albert
Perle's
Confession: That's Entertainment
Alexander Cockburn
Miami and London: Cops in Two Cities
David Orr
Miami Heat
Tom Crumpacker
Anarchists
on the Beach
Mokhiber / Weissman
Militarization in Miami
Derek Seidman
Naming the System: an Interview with Michael Yates
Kathy Kelly
Hogtied
and Abused at Ft. Benning
Website of the Day
Iraq Procurement
November 25, 2003
Linda S. Heard
We,
the Besieged: Western Powers Redefine Democracy
Diane Christian
Hocus
Pocus in the White House: Of Warriors and Liberators
Mark Engler
Miami's
Trade Troubles
David Lindorff
Ashcroft's
Cointelpro
Website of the Day
Young McCarthyites of Texas
November 24, 2003
Jeremy Scahill
The
Miami Model
Elaine Cassel
Gulag
Americana: You Can't Come Home Again
Ron Jacobs
Iraq
Now: Oh Good, Then the War's Over?
Alexander Cockburn
Rupert Murdoch: Global Tyrant
Hot Stories
Alexander Cockburn
Behold,
the Head of a Neo-Con!
Subcomandante Marcos
The
Death Train of the WTO
Norman Finkelstein
Hitchens
as Model Apostate
Steve Niva
Israel's
Assassination Policy: the Trigger for Suicide Bombings?
Dardagan,
Slobodo and Williams
CounterPunch Exclusive:
20,000 Wounded Iraqi Civilians
Steve
J.B.
Prison Bitch
Sheldon
Rampton and John Stauber
True Lies: the Use of Propaganda
in the Iraq War
Wendell
Berry
Small Destructions Add Up
CounterPunch
Wire
WMD: Who Said What When
Cindy
Corrie
A Mother's Day Talk: the Daughter
I Can't Hear From
Gore Vidal
The
Erosion of the American Dream
Francis Boyle
Impeach
Bush: A Draft Resolution
Click Here
for More Stories.
|
Weekend
Edition
December 20 / 21, 2003
Black is Indeed Beautiful
An
Interview with Ernest Crichlow
By ADAM ENGEL
Ernest Crichlow was born June 19, 1914, in Brooklyn,
New York. He has been associated with many other artist, during
his long, distinguished career including Charles Alston, Romare
Beardon, Elizabeth Catlett, Jacob Lawrence, and Charles White.
He has taught and exhibited in many institutions, but has spent
much of his life painting
and teaching in Brooklyn, where he is considered a regional
treasure. Also, he's one of the great American painters of the
20th Century.
ENGEL: What was it like to be in the
WPA especially as a black artist?
CRICHLOW: Looking back, it seems that
was a special time, the way we spoke of people, the kind of comradeship
that people had. The respect that was given to the artists. We
had a place.
The WPA really had a place for artists
If you are speaking in reference to a time I think the spirit
of earlier black artists they were just as separate as we are
now. I guess anybody who went through that time [WPA], would
find it difficult to come to a conclusion regarding the comradeship,
the influences we had on each other. It's hard to talk about
a specific time or place, in retrospect, because, we can say
"20th century," but that is a big space and it encompasses
so many artists so many different people ...
ENGEL: Did you feel that you were working
with a group that had a common purpose the especially when at
a time when black artists weren't taken all that seriously.
CRICHLOW: I'm thinking, you just knew
you were black, you weren't going to get certain things, you
weren't going to go to certain schools, and while you resented
it, it didn't knock you out. You somehow had something, a belief
or faith. I guess we believed in a better world, a better time.
These were enjoyable times to me, when I think back. I was happiest
especially in the WPA, the idea that being an artist was  worthwhile. It's unbelievable
that there was a government that took an artist as someone of
worth. Someone might look at a piece of paper and say "I
am going to devote my time to just doing that" or another
artist who might take a scene from the City and say "that
is my contribution."
ENGEL: Did you meet artists, like Romare
Beardon, you were later to be associated with...
CRICHLOW: Oh, no the black artists did
not know how they got there. They would ...
ENGEL: That's what I mean, since you
were all on the " defensive" in a certain sense, did
you meet other black artists who felt that though you were doing
different things you were all really together because people
outside categorized you as "black artists." Did you
feel camaraderie in that sense?
CRICHLOW: When you saw another black
artist, you were excited and happy to see another brother there
because you didn't see them very often. You saw that things were
changing, the doors were opening. That would happen occasionally.
But somehow there was something always that would stop it and
then all of a sudden the artists began to see that's not enough...or
if it is enough, why is it spreading for white artists, and not
spreading for us? And it's a funny situation, here we're recognizing
that there's something other than the "Holy Ghost"
that was settling these issues for us. The creation of the WPA
allowed various organizations to know what we were doing. Certain
artists who had "weight" would come out and see what
we were doing. They were observing, but not telling us what to
do, and that was sort of an unheard of situation at that time.
ENGEL: Okay, later on, the Beats, even
though they were white, were outside society because of their
lifestyles and ideas, so they were creating their own kind of
art. Was that happening among black artists? You know, they are
not going to be accepted in general by society so they are going
to have to create organizations of their own?
CRICHLOW: What's really very interesting
was that at that time I don't think the majority of black artists
had thought about it in that way. We just were black or white
and society said to us there was all these individual hopes,
individual existences and there was time to recognize an artist
only on an individual basis. That's why it took so long or maybe
why it was so hard for black artists, because I could be very
friendly with you but then when we went outside, we had to have
a different relationship.
ENGEL: Black writers were "in"
before painters, why do you think that was?
CRICHLOW: Oh, that's easy to figure out
if you think about what a writer is and what a painter is. A
writer has to go around and find his sources while a painter
does the same thing in a totally different way. It's easier to
make a thousand copies of a book than a painting. A painting
has to get into a show or museum.
ENGEL: Okay, now with musicians, Duke
Ellington couldn't get the kind of publicity that Benny Goodman
had. The same with singers. Sinatra and others learned from and
admired Bessie Smith yet Bessie Smith would never get that kind
of publicity.
CRICHLOW: That's how it's always been
in our culture.
ENGEL: But there was a point in the late
sixties and seventies where it was "cool" to be black.
An offshoot of "Radical Chic" and all that. I grew
up in white suburbia. You were viewed like a rebel if you were
black, just because you were black. What was going on in that
period?
CRICHLOW: I think one of the tough things
about being black at certain stages was the way others defined
you. You are here one minute, then you are way over there and
the next minute you are back here. You are almost swinging like
a clock.
ENGEL: When I was a kid I wanted to be
"black" like Mohammed Ali or Jimi Hendrix. Again, to
a bunch of middle-class white suburban kids, it was "cool."
I was fifteen when Reagan took office and something happened.
By the mid-eighties something changed...did you see anything
there?
CRICHLOW: Oh, sure, who didn't. (laughing)
ENGEL: What? What was it? Commercialism?
Either you're Michael Jackson playing for Sony or you're doing
your own thing, scraping to get by. This is not too long after
Jazz, Blues and their step-child, Rock 'N Roll.
CRICHLOW: That's a ticklish question
because it's like...the whole thing was a plastic plan...plastic
swings. You get up so far and you swing back and get up so far
and you swing back and get up so far and you swing back and every
time you think you've got it made because you see one or two
force their way in just by shear... you don't want to call it
luck because there is too much skill involved in these things.
But you don't know why this kind of thing happens. Because it
has happened so many times but you don't want to face it...because
if you know why and you don't do anything about it...
ENGEL: Okay, so we agree that, among
some white people, especially kids, there was that time after
the late sixties, when just to be black you were considered a
rebel...
CRICHLOW: You're not supposed to know
some of these things!
ENGEL: So then there came this myth that
everyone's equal there's no more racism --
CRICHLOW: You've got to be crazy if you
think that...
ENGEL: But they will point to Colin Powell
and say "oh look, a black man is Secretary of State, everything
is okay now..."
CRICHLOW: What has he done, what is he
allowed to do?
ENGEL: Yet at the same time, life for
most black people has gotten worse...
CRICHLOW: You sure can't say it's gotten
better.
ENGEL: Well, you're either a "good
black" and you're working in a corporation somewhere, or
you're a "bad black" and end up in jail. There are
more blacks in jail right now than there has ever been.
CRICHLOW: Than there has EVER been. I'd
say it's pretty true. All you have to do is walk down the street
with a white person and watch the way the average person who
drives by looks at you, and watch how blacks they are treated
or watch how a white person in a black area will stand by the
police officer.
ENGEL: When I lived in the East Village
it was mixed...
CRICHLOW: Yeah, I lived down there...
ENGEL: And then I moved up to the upper
West Side, a little less mixed but it was still not as obvious
as the time my wife and I took a "hometown vacation"
on the East Side. I noticed there were no black people except
cashiers, security guards, waiters and waitresses and - not joke
-- elevator operators. It seems like right now New York is as
segregated as Boston where all the black people live in Roxbury.
Do you see this?
CRICHLOW: How can I help but see it?
ENGEL: Veering off that subject a bit,
who influenced you as an artist?
CRICHLOW: Current?
ENGEL: Past and then among your peers.
CRICHLOW: I would say, of course, Titian,
Rembrandt, the great portrait artists. My colleagues and I influence
each other in so many ways, it's difficult to name a particular
person in that regard.
ENGEL: We've been talking about the past
a lot, I want to ask you about the future. It seems to me that
all art whether it's drama, literature, painting or music has
given way to commercial entertainment. You've taught for many
years, you dealt with young people who were coming up. What would
you say to a young person committed to creating art that might
not have "commercial" value?
CRICHLOW: I never say "art,"
I say "life" because that's what my art is. It's everybody's
art whether they realize it or not. That's what art is, it belongs
to everyone. But one thing I do think that is really important
is that your art reflects what is important in your life. Whether
you are a writer or a musician or a painter, where are you getting
your creativity from? What I mean to say is that I don't think
[modern students] see it as part of their life. They have a tendency
to separate. Like "this is what I do for a living,"
as opposed to "this is my life."
ENGEL: Okay. This kind of goes to what
we were saying before. You know, how it was "cool,"
among some white people, mostly naive kids like myself, to be
black. It seems that the artist who goes for the money is but
the artists who goes for the truth...the artist who makes art
his life as opposed to his livelihood would not be considered
a "success."
CRICHLOW: You know you get a part of
yourself looking at art and how it's used. I guess it comes down
to this: how I express my art is either is going to make me very
proud of myself or sick of myself. That's what it all comes down
to.
ENGEL: Okay. Going back to the pendulum
idea. Ralph Ellison wrote "The Invisible Man" fifty
years ago. Blacks were "invisible," then they became
very visible, now it seems that many if not most white peoples
experience of black people is like they're not really there.
CRICHLOW: I don't know if it's that.
This is an unusual time to be alive. I guess we could say that
about every time, but what I'm saying is that this kind of racism
where you have a few black celebrities and the rest are invisible
has always been there, but we've never had the experience to
recognize it...that's what I think is. Things that may not have
been apparent are very apparent now. And it didn't last very
long, maybe ten years, that black people were supposedly gaining
equality and it's not there...it's not happening at all. You
have a few like Michael Jordan, Michael Jackson, trying to be
white, Colin Powell, but in general you look at a magazine and
you see that model you see white people. This vision of equality
might have been there all along, but now it's just an idea. I
think instead of fighting for the real thing we're settling for
a picture of it.
What we're trying to do is be white select
a new whiteness. Say you get 70% seventy percent of this "whiteness,"
you can take that 70% and make it appear like you're on their
level and this is the point to get to and it will satisfy you
for quite a while...I think that we are doing something like
that...
There was a point in the 60's or 70's
where, we thought we were getting there. Take Miles Davis, who
was respected, because he said, "This is the way I am...I'm
black."
But now I can walk down the streets and
hear the music of black men, but very rarely do I hear it where
it can be felt. You used to go to these places and hear music
and you'd say "that's Miles" and you'd say "that's
jazz, that's blues." You don't hear that now. You just hear
loud sounds.
ENGEL: Okay, you were always your own
man.
CRICHLOW: Pretty much.
ENGEL: What if you were coming up today...what
if you were 30 years old right now? Would there be a lot of pressure
to conform?
CRICHLOW: I think so, because growing
up involved so much of fighting against it that gave me a lot
of strength. It also gave me a love of certain things that I
still have now, and its so very important. It was the fight to
be you and part of your culture as opposed to now.
ENGEL: What about museums now? Are they
accepting of black masters because they are masters or because
...
CRICHLOW: No. They throw money at them.
It's about ...if we can make money, then we'll do it.
ENGEL: Right. How can those who see art
as life instead of livelihood survive? Do you think there will
be art in the future?
CRICHLOW: Oh, yeah. Even if it's only
a group of friends making art for themselves and each other.
They'll be there.
Adam Engel
can be reached at bartleby.samsa@verizon.net
Weekend
Edition Features for Dec. 13 / 14, 2003
Bill and Kathleen Christison
Chickenhearts
at Notre Dame: the Pervasive Fear of Talking About the Israeli
Connection
Stan Goff
Jessica Lynch, Plural
Tariq Ali
The Same Old Racket in Iraq
Jeffrey St. Clair
The Map is not the Territory
Marty Bender / Stan Cox
Dr. Atkins vs. the Planet
Christopher Brauchli
Mercury Rising: the EPA's Presents to Industry
Gary Leupp
On Marriage in "Recorded History", an Open Letter to
Gov. Mitt Romney
Sasan Fayazmanesh
The Saga of Iran's Alleged WMD
Larry Everest
Saddam, Oil and Empire: Supply v. Demand
William S. Lind
How to Fight a 4th Generation War
Fran Shor
From Vietnam to Iraq: Counterinsurgency and Insurgency
Ron Jacobs
Child Abuse as Public Policy
Omar Barghouti
Relative Humanity and a Just Peace in the Middle East
Adam Engel
Pretty Damn Evil: an Interview with Ed Herman
Kristin Van Tassel
Breastfeeding Compromised
Ben Tripp
On Getting Stabbed
Susan Davis
"The Secret Lives of Dentists", a Review
Dave Zirin
Does Dylan Still Matter? an Interview with Mike Marqusee
Norman Madarasz
Searching for the Barbarians
Poets' Basement
Guthrie and Albert
Website of the Weekend
Dean on Race
Keep CounterPunch Alive:
Make
a Tax-Deductible Donation Today Online!
home / subscribe
/ about us / books
/ archives / search
/ links /
|