I know your secret, but I still think you are brilliant

January 22nd, 2008

I just finished reading Sarah and I also bought The Heart is Deceitful Above All Things, even after reading the Rolling Stone article outing you as the true artist behind JTLeroy. Or maybe because of it. I was a writer once and it always intrigued me how an author could write in the voice of a different sex and pull it off honestly. I know of Henry James and those famous examples, but in reading them, they do lack the understanding of women’s minds and conflicts with the society they found themselves in, that the author’s porturature comes out affected and cliched.
In reading Sarah, I found that the voice of the main character is convincing and real. The world you invented in your novel is both surreal yet very real, without the pity the subject matter may lead one to fixate on when writing. I was a topless dancer at one point in my life and it is true that the girl (or boy) who can read a trick’s mind sexually is worth gold. I found the entire Lizard Lot world believable. It gave me quite a chuckle with your overall symbolism of Saint Sarah and the fall from grace. It’s an entire hero cycle in a compact novel. I wish it was longer, but the ending was perfect.
Enough raving, because you have heard it from far better people than me, I am just an aging woman diagnosed with schizophrenia working as a jeweler in Santa Fe. I know your story and it really isn’t your fault that JT became a famous author. Really, you approached a doctor on a hotline looking for help, not fame and fortune. JT is a part of you that was able to talk for you when on the phone to this hotline. That’s not a crime. When I heard about the lawsuit against you and you having to file bankruptcy I was horrified that this country would let the corporations win once more and take down an artist in their prime. I do hope you write again. You have a gift of characterization that not many have (I didn’t have good plots, myself). I wish I could say a magic word and have the people who feel cheated by the masquarade to see the brilliance in the artistry of the writing, and let that speak for itself. I think you are much more interesting an author now that the real story is out. You don’t need to write that one, though. Enough has been said about it. What will be interesting is if you can continue to write as yourself (or maybe another persona). You have a lot to say to the world if they haven’t all turned their backs on you. I think there are a lot of people who feel like I do. I will continue to support your work and you as an artist.
Fuck the posers and carry a banner for the misunderstood, the downtrodden and the hated. You are now their Patron Saint.

Much Love on ya,
Tracey Burtis-Chavez
(a plumber’s wife who was too scared to be a rock star)

Happy Holidays

January 3rd, 2008

from Laura

Howdy.
I wanted to wish you all a …. I like the idea of the HOLIDAYS. What it looks like outside. What I can imagine it is inside. Fireplaces, joy, snuggliness …. For some of you it might be that. For some of you… it might be the memory of an ideal.
For me it is the ideal….I remember it was Xmas eve and I was a teen, in a group home, we were locked out of the home – we weren’t allowed in without a houseparent being there, she was still at midnight mass. It was freezing, and I saw all these blinking lights up in windows in the buildings around me, just blinking their advert – we are part of the club that is part of Christmas. We are part of the club. And I just knew inside those homes – there were kids that had found out the secret of Santa way too young. They knew a lot of secrets and the lights strung up in their windows would not contain them long.

I wish you all a holiday were you can find a way to take problems of the soul and spirit and transform them into problems of craft.

The way Santa’s elves rewarded the good with crafted toys – we carry that metaphor – we can craft gifts for the world – but it aint got nuthin to do with being GOOD boys and girls. It is about the craft of the gift.

Voices of Truth in The Jungles of Amazon

January 2nd, 2008

“Which part of novel, ahem … fiction, don’t you understand….You seem to object to the artistic use of another persona as the predicate for her writing. May I remind you that there are many female authors who represent themselves as male, particularly in the 19th and 20th centuries, and many male authors who went the other way….You should think of why you are so offended. Is the writing good; is the novel — remember that word — touching you. If so, you need to look into yourself as to why you are so enraged, particularly when you have not even bothered to check out the truth of the errors you espouse.”
-D. David

The debate over amazon customer review:

amazon customer review
Deceived, January 11, 2006
By T. Burger
The artist is deceitful above all things.

It is unconscionable to pass yourself off as a person dying of AIDS. To those with HIV, AIDS, or those who love or are caregivers to them, it is a horrid, hideous assault. (S)he has insulted every single person who has ever died of AIDS such that it defies metaphor.

When I thought the traumas described in this book were part of an abuse pattern that eventually led to HIV infection (by that I mean having been beaten down so horrifyingly that your mindset is such that you are capable of infection…it’s complicated, but trust me on this), I was moved as powerfully as if I had been hit by a bus. Now I’m furious. The writing, good if written by a teenager, is rather pedestrian now that we know the source.

People have been commenting that I’m not reviewing the work – rather, I’m reviewing the artist. I would argue that in this case, it’s one and the same. This book, and the collection of short stories, The Artist (ahem…Heart) is Deceitful Above All Things, were very powerful when they were understood to be excerpts from the LeRoy’s life. Even though the book says “novel” on the front, it was always understood to be creative non-fiction. Indeed, LeRoy him/herself went to great lengths to make people believe that there was a J.T. LeRoy.

When I read the book, I thought I was reading something close to a memoir, and I was powerfully, deeply moved. Now that I know that this is entirely fiction, I am not similarly moved. For this reviewer, the greatest strength that the book possessed was that it was – supposedly – based on real events.

Laura Albert, the “real” J.T. LeRoy, has spent her life playing the role of different people, often with disastrous results. This is just another example of her pathological behavior. She also recently lost a court case where she was being sued by a film company who had optioned the rights for Sarah. They too understood that the strength of the book lied in its purported reality, and once the woman came out from behind the curtain, the work lost its appeal.

Mr. J. Moorhouse says:
This review is very biased. It does not actually review the title in question, but more a personal attack on the ‘author’. I own this novel and nowhere does it claim that the events described in the novel are true.

T. Burger says:
You’re right, it is very biased. The book makes no claims that the events described therein are true, but the author(s) did. And they did pass themselves off as being HIV+ to lend sympathy to their “plight” and to help increase sales and interest. That’s beyond unconscionable.

Normally I wouldn’t post something that didn’t address the work at hand. My other reviews should demonstrate that. This, however, is a special case. This “review”, such as it is, serves as a foil, of sorts. I have no problem posting it.

I did read the book, but wanted to spend no energy “reviewing” its literary merits. That would be a waste.

P. Neil Dryden says:
I gotta agree with J. Moorhouse. If the recent revelations changed your opinion of the book then you’re a bad critic. If the author’s fictional back story was responsible for your original evaluation then you’re a bad reader. I’d refer you to this take on the scandal in Slate magazine:
http://www.slate.com/id/2169125/

T. Burger says:
The author’s perfidy allows for, I believe, any take on the book, and I stand behind my review.

The article you noted doesn’t change my opinion. They are writing as if the book was supposed to be taken as entirely fiction. It was never understood by anyone to be purely fiction – not the publishers, not the celebrities that became so interested in the character of J.T. Everyone was interested in the story because there was an *explicit* understanding that the work was “creative non fiction”, regardless of the word “novel” that appeared on the front cover. The “author” herself/himself was very specific on that front and went to great lengths to make J.T. Leroy a real and sympathetic figure – emphasis on REAL. Which he is not.

If you go to Leroy’s website, you’ll see that the author, Laura Albert, has been a fraud her entire life. When she was 12, she spoke by phone to an attractive older boy she was interested in, sending him a photo of a beautiful young girl, claiming the picture was herself. After the boy became more and more interested in meeting her, Albert escaped by claiming the girl died of cancer. Imagine the poor boy’s crushed heart – and Laura’s stunned mother when the boy’s mother showed up wanting an explanation.

MG says:
First, her name isn’t Laura Ingalls. It’s Laura Albert.
Second, she certainly isn’t the first person to fictionalize a memoir. Look at Virginia Woolf’s Orlando or Gertrude Stein’s The Biography of Alice B. Toklas, both acting as a screen in which to present themselves. Check out Audre Lorde’s biomythography or Zora Neale Hurston’s autobio which was so fictionalized critics still can’t even determine how old she was. Making up one’s “memoir” is actually a part of literary tradition. Laura Albert just made hers a real life performance art piece. I love it.

T. Burger says:
I don’t think you can compare Virginia Woolf, Gertrude Stein, Alice B. Toklas, Audre Lorde or Zora Neale Hurston to Laura Albert, for obvious reasons, and others that would involve a lengthy discussion that I wouldn’t be interested in (also for what should be obvious reasons).

Thanks for the correction.

panopticon7 says:
it’s very telling that you needed to believe that the author’s having lived a pathetic and diseased adolescence was required for you to enjoy this surreal little book. now that you’ve had your self-righteous magnanimity all spoiled, wasted on a phantom that really didn’t need your anonymous pity at all, you throw a tantrum and blame the author for having catered to your own peculiar emotional needs. until she was outed, of course. of course, the review you’ve posted is entirely about you. of course, this review of yours belongs on your own personal blog–not on amazon. don’t let the helpful ratings of those like yourself fool you–what you’ve written here is of no value in determining the book’s literary merit and doesn’t belong here. but please, keep insisting that it does. it’s cute and shows just how effectively the author’s campaign was–a campaign that was targeted at people just like you.

D. David says:
Which part of novel, ahem … fiction, don’t you understand.

Let’s do this one step at a time. You appear to be upset that the artist represented herself as HIV positive. Excuse me, would you mind pointing out where she did that. The answer, which you may not want to hear, is never. While there may be reviewers who carelessly made that claim, the truth is that Laura never made such a representation.

Second, you seem to object to the artistic use of another persona as the predicate for her writing. May I remind you that there are many female authors who represent themselves as male, particularly in the 19th and 20th centuries, and many male authors who went the other way. If you have seen the recent film based upon Bob Dylan’s life (I believe his real name was actually Robert Zimmerman), you will note that they used 6 different characters to play him, mainly because he had “misrepresented” his past. What about Borat? At the time the movie was shot, the public figures thought they were talking to a foreign journalist. Did that deception inflame your passions in the same way?

Third, as to the lawsuit, the final chapter has yet to be written. That matter is on appeal and Ms. Albert has supplemented her team with a nationally known firm that will give her the representation that is appropriate to the important literary issues involved in this matter.

Finally, you should think of why you are so offended. Is the writing good; is the novel — remember that word — touching you. If so, you need to look into yourself as to why you are so enraged, particularly when you have not even bothered to check out the truth of the errors you espouse.

T. Burger says:
I’m not changing my opinion on this. And fine, let’s do this one step at a time.

We both know that I understand the word fiction, so, cute reply aside, we’ll leave that alone.

First, the artist did represent herself – I mean, himself, J.T. LeRoy – as being HIV positive, and used that “poor me” to sell books and to gain sympathy from any number of celebrities, all (or 99%) of whom have fled her “cause” in droves. As a human being, I find her use of HIV infection objectionable. As a person who has lost more friends than I care to count to AIDS, I find it unconscionable. It’s one thing to pretend that you’re someone who has a degree in, say, astrophysics. Or that you’re a gang member, infiltrating a gang to write a book about what that’s like. It’s another to do what she did. And what she did was ONLY interesting to me because I thought I was reading the real life experiences of someone. They were reasonably well written when I was led to believe that they were composed at the direction of “his” psychiatrist to help “him” deal with the trauma and pain of “his” early life, and that “he” was still in “his” teens when he did so. I mean, really – a *kid* wrote this stuff? Wow. Impressive. It blew me away. However, knowing that an adult wrote this – well, something that’s “reasonably well written” for a teenager becomes “not very well written at all” when it’s from a much older woman. And when what she wrote about became known as fiction, even the topics were less interesting.

If she had done this as a literary exercise, it could be viewed differently. But she didn’t. She couldn’t sell her writing as herself, so she went with what she did best – she knowingly misrepresented herself as a horrifically abused boy whose abuse later led to HIV infection.

Second, I don’t care that a female represented herself as a male. See above. The rest of what you say regarding that is irrelevant to this.

Third, Albert won’t win. She crossed that “unconscionable” threshold when she pretended to have HIV/AIDS. Aside from that, she doesn’t have a leg to stand on. That should be clear to anyone following the case.

Finally. I’m perfectly fine with my assessment, as I’ve noted before. No further self examination is necessary. Obviously, many people disagree with me. That’s fine – and it’s what makes Amazon a fun place. We can all disagree with each other. If I was worried about writing unpopular reviews, I wouldn’t have given “Rocky Balboa” two stars, or Eldest one star. As you can imagine, those weren’t very popular reviews.

Neither is this. Fewer than half of the people who voted on this agree with me. I’m OK with that.

D. David says:
You are correct, I chose to post my response to you as a comment. I do not understand the rest of your comments.

You once again claim that Laura claimed JT was HIV+ and this appears to be a big part of your rage. Again, I challenge you to point out one place where that occurred. If you can’t or won’t do that, then everything you say is baseless. And, you will not be able to do so, because it does not exist.

If I am correct, and you then continue with your position based upon that assertion, you are dishonest. Therefore, I will make it clear, I challenge you to provide one place where Laura alleged JT was HIV +. It is your choice whether you choose to accept such a challenged.

T. Burger says:
If you don’t understand the rest of my comments…well…I think I was very clear, and my comments were germane to the topic at hand.

At BEST, here is the situation, quoted from an exhaustive salon.com article: “Although Albert didn’t initially publicize LeRoy as being HIV-positive, at some point in the media swirl, the young prostitute was mentioned as having the virus, and Albert never discouraged the rumor, which continued to disseminate through articles and blogs.”

That’s at BEST. If you’re a writer, and someone says that you have HIV, and this information is being disseminated through articles and blogs, and you’re NOT HIV positive, then at best you are allowing people to believe that you have HIV, which we know only increased the trauma of poor JT Leroy, and would likely lead to an increase sales. This is painting this in the best light possible, and it still clearly marks Albert as dishonest. To allow others to think you have ANY disease to encourage sympathy for you (or a creation of yours) is heinous and breaks several implied social contracts regarding decency and honesty. Lies by omission are still lies.

At worst, from Wikipedia (and read the entire thing): “A New York Times article by Warren St. John, published on January 9, 2006, gave evidence that the person appearing in public as JT LeRoy was Savannah Knoop, half-sister of Geoffrey Knoop [11]. This article is also the source of the claim that LeRoy presented himself as being HIV-positive: St. John and Silverberg both made the accusation, although neither offered any substantiation. No evidence for it has been produced since; nothing in LeRoy’s many interviews and articles, or in his voluminous email correspondence, provides any documentation of JT claiming to be “infected with HIV” or “dying of AIDS.” All of the early writers, publishers, and editors were aware of JT’s HIV status because he brought it up consistently as an excuse as to why he couldn’t enter the public (e.g., “I am covered with Kaposi sarcoma.”) The idea of having a ‘death sentence’ was just one of the early abuse narratives that JT claimed, but no longer needed when Savannah Knoop took on a more polished public role.”

I remember this, vividly, from web searches when I first read Sarah.

Then there are how this affects people. Armistead Maupin has said: “A lot of people argue that such frauds cause no harm and are a great joke played on the literary establishment… But in fact there’s something very callous about using AIDS and an abusive childhood as a way of getting sympathy and support… I’m surprised that people were bamboozled as long as they were.”

I agree with Maupin’s assessment.

I began this comment by saying that most people that knew the LeRoy story believed that he was HIV+. That Albert never corrected it is bad enough in my book.

D. David says:
Please note, as you yourself recognize, “neither offered any substantiation” of the claim that JT had claimed to be HIV+. Further, as you state, “nothing in LeRoy’s many interviews and articles, or in his voluminous email correspondence provides any documentation of JT claiming to be ‘infected with HIV’ or ‘dying of aids’.” While I applaud you for your honesty in at least half-way admiting that JT never made such a claim, you nonetheless persist, now arguing that it was JT’s obligation to specifically reject the statements of others as to his health.

The change in argument would indicate that your mind was made up and that a change in the facts will do nothing to change your conclusion. If someone had asked, “Are you HIV+?” and JT had danced around the question, I might consider your point further, but I see no way to even understand that you are angry now because JT did not respond to others’ speculation. Tell me, how is that dishonest, how is it wrong to not respond to such speculation about yourself? Are you now telling me that every person is obliged, upon hearing speculation that he/she has HIV to state the true condition of their health? If so, I repudiate you and your position. That issue is a matter of privacy, and no one need respond merely because of public speculation and curiosity.

T. Burger says:
This is just silly.

A lie by omission is still a lie. If you don’t think so, then what do you think about a sex partner who has, say, HIV, doesn’t tell you about it, and you become infected? That person bears no culpability? If that’s what you believe, fine – then we agree to disagree. Otherwise, JT is as guilty as sin.

Because: if “JT” knew that people claimed that “he” had “HIV” and “he” did nothing to discourage anyone (knowing that such an affliction would only increase talk about “him” and thereby, potentially, sales) then “he” is every bit as guilty if “he” said so “himself”.

AND “HE” DID.

The part you conveniently decided not to quote was that “JT” gave, as a reason that “he” couldn’t make public appearances when “he” first hit it big, was that “he” had AIDS. Kaposi’s Sarcoma. Big, purple lesions that make people become recluses. “He” just didn’t say it to newspaper reporters: but he did say it to editors. They count, don’t they?

“His” actions are unconscionable. Disgusting. Why do I think so? Because I’ve seen REAL people DIE of AIDS. People that I’ve loved, people that are friends. I’ve seen people ill with Kaposi’s. Again – people that I’ve loved, friends. It’s not pleasant, and it’s not something to be faked. I could go on explaining why faking this is so awful, but it really should be painfully obvious.

By chance, are you Laura? I know that she’s trolled the Amazon boards, writing fake reviews, and repudiating those who found her work less than good or honest. She delights in this sort of thing. Pretending to be someone else… Lots of jollies.

I don’t have anything further to contribute to this discussion. My review, as it is, and all of my comments support my belief as best they can. I won’t say, or write, another word.

D. David says:
Ah, once again your fundamental dishonesty, or at least lack of logic shows — on second thought, it is actually both.

First, again I challenge you to cite a single place where JT ever claimed that he didn’t want to be in public because he has karposi’s. He has said that he doesn’t wish to be in public because he doesn’t want to be touched. He has said he doesn’t want to be in public because he is shy — but I challenge you to point out one place where he laid the reason for that aversion on Karposi’s or HIV. You can’t.

You previously indicated that you just “know” that you read that JT made a claim somewhere, that you certainly remember it in the “vast research” you did on the web. Again, I challenge you. Most web sites have archives. If you are anything other than a hypocrite, find the source for your statement. Otherwise, you are little more than Joe McCarthy claiming to be holding a blank sheet of paper which “shows” communists in the State Department.

As to your claim of trying to equate JT’s failure to speak to a similar failure to speak in a situation of personal intimacy, you are truly deluded. Of course one has an obligation to speak before putting another at risk. But if you cannot understand the difference between remaining silent and putting another at risk of a potentially life threatening disease versus an author not answering a reporter’s speculation about the author’s own backstory, your values need serious readjustment.

As for your meally-mouthed attempt to claim the high ground, by claiming that you know people who have died of AIDS, you reek of the hypocrisy of those who claim that some of their “”best friends” are ______ (fillin the blank with a group of your choice), and therefore they have a special insight that entitles them to extra credibility.

I also have watched friends die of AIDS, fortunately a much less common situation in the United States in recent years. That gives me neither greater nor lesser right to attack this author, who let me remind you again was writing a novel.

As to your question, I am not Laura. But, let me turn it about, are you a shill for Antidote, the parasitic company that tried to steal her life rights and then sued her?

That being said, once again I simply note that it is obvious that your McCarthyite unfounded assertions cannot substitute for honest reportage. Of course your opinion will not change, they were never based in fact and, therefore, pointing out your factual errors will not change them. Thank goodness, there are others that see past your feigned indignation and who will evaluate this work of fiction, for better or worse, on its own merits.

D. David says:
Well, at least you have seen fit, in part, to comment on the core issue — was the writing good or bad. As to that, you are certainly entitled to your opinion, although a little more analysis would have been helpful. If you think the writing is poor, as you obviously do, why? Do you have problems with the characters, is there something about the plot development? What is it that leads you to your conclusion.

When my daughter was younger, she developed a two point rating system for wines, yum and yuck. Although it was certainly helpful in knowing which wines she liked, it did little in explaining why she felt that way or in predicting how she might react to other wines. She grew out of the monochromatic view of the world of wines, and hopefully you will similarly enlighten us with a fuller understanding of your view of the merits of this novel.

That being said, you seem to fall into the same flaw as your mentor. You make conclusory statements without support. Why don’t you tell us where, before the revelation that Laura was writing as JT, that she made such a statement, oral or written?

It would certain help to respond in a meaningful way to your points, rather than simply having to accept your interpretation of what was said.

Review of the show “Identity Theft” as it relates to Laura Albert

December 12th, 2007

Eleanor Antin, Lynn Hershman, Suzy Lake, 1972-1978 at the Santa Monica Museum of Art
by Gil Blank

This past June, a Manhattan jury decided that the elaborately constructed fictional persona by which a forty-one-year-old former punk musician and child ward of the state—for the most part previously unknown but for the originating circumstances of her current prosecution—had during some half a dozen years managed to publish three books, option two films, and sustain an ongoing campaign of wide media attention, as well as the cultish adoration of fans internationally, to say little of conniving dozens of other authors, musicians, and assorted celebrities into shilling on behalf of a phantom child prostitute-cum-literary star, was not merely the manifestation of a possibly clinical personality but, indeed, felonious. The popular phenomenon of “JT LeRoy” had found its apogee, attaining the dimensions of social comedy, albeit one that featured a protagonist emblematic of a more troubling human condition, as all great comedies must. “If you take JT,” Laura Albert was quoted as telling the jury, “you take my other, and I die,” indicating perhaps that her conviction for fraud was to her mind not so much a binding legal sanction as a yet contestable territory, an aleatory distinction among data otherwise less inclined toward bureaucratic preferences for fixity.

Opening almost simultaneously with the release of the LeRoy verdict, this exhibition concentrated on a tight handful of ’70s-era projects by three artists, each of whom relates the assumption of false identities to wider social imbalances, symbolically sited on the female body. It relies heavily on photography, or more delicately, on that aspect of photography that curator Jori Finkel ambiguously calls its “truth-telling power,” now understood as a means of un-truth-telling that is due, in part—by Finkel’s inference—to the seminal deconstructions of identity politics on display. The works exploit the practice of image making, or as it was referred to in the language of the time, the “pictorial regime,” as a means for its own undoing.

Eleanor Antin, in her relatively well-known series of photographs “The King of Solana Beach,” goes grocery shopping at Vons ridiculously kitted out like an extra from a period romance film, complete with cape and conspicuously fake beard. Lynn Hershman is unique among the three in building a singular avatar; her extended project on “becoming” Roberta Breitmore edges toward fulfilled mania, though ironically only when she ends it by staging Roberta’s exorcism at the crypt of Lucrezia Borgia. Suzy Lake’s especially stunning video A Natural Way To Draw shows her carefully creating a classical chiarascuro rendering of a face directly on top of her own, now obliterated beneath layers of pancake makeup and marker.

But if the foreseeable point of reference for the show is the work of Cindy Sherman (which Finkel openly acknowledges, framing the artists involved as Sherman’s forebears, then the comparison to the case of Laura Albert is more instructive. The incidental artistry of Albert’s convoluted sham—by far her singular achievement, and certainly greater than any of the stories she wrote pseudonymously—manages by means of sheer obsession to totally bypass the gray polemics and didacticism in which “Identity Theft” inevitably gets bogged down.

As varied as the approaches and media used by Antin, Hershman, and Lake are, the single link between them is a self-conscious air of theatricality. This is understandable as a deliberate pose of resistance but is at odds with the act of creating either a cogent persona or an autonomous work of art. To say that “JT LeRoy” demonstrated a superior degree of absorption in her mise-en-scène is not only to elide the fact of how deeply sucked into her delusion an ever-widening spiral of other people got as well, but to underplay the catastrophic—and thus uniquely enlightening—extent to which a semantic and psychological device became wholly fused to the separate construction that the rest of us now refer to in comparatively less flamboyant terms as “Laura Albert.”

By contrast, when Antin went shopping in 1974, she wasn’t provoking cognitive dissonance so much as just being a ham—and this in Southern California, no less. The frequent shortfall of artists attempting a genuinely profound disruption of social relations is that their ultimate intentionality rarely transcends consideration within an artistic context as such. They toe a strictly rhetorical line that keeps them from ever veering off into pathology, which, as performers, means they never risk losing themselves entirely, for worse or darkly better.
http://www.artonpaper.com/bi/v12n01/review-identity-theft.php

NYC; The City’s New Motto: ‘See You in Court’

November 22nd, 2007

June 19, 2007

 Manufacturing is all but gone from New York. The information technology industry, while on a roll, does not quite have the Silicon Alley ’90s buzz. This city is in danger of falling behind London as a financial capital.

Thank goodness, we still have lawsuits. We are unsurpassed when it comes to them, although even on that score other cities are trying to steal our thunder. It is hard to top the administrative law judge in Washington who is demanding $54 million from his dry cleaner for misplacing a pair of his pants. This guy actually wept in court while telling of his loss. So sad.

Still, for lawsuits, New York is the place.

We have people of unparalleled dedication, like a lawyer who said he had worked 30 to 40 hours — worth nearly $10,000 in billable time — to fight a $65 parking ticket. Last week he won. Where else would you find someone willing to spend so much on so little, all in the name of justice?

Who else is so blessed as to have Robert H. Bork — he who didn’t make it to the Supreme Court, he who has inveighed against accident victims for driving up business costs with lawsuits — file a slip-and-fall suit of his own? Mr. Bork wants $1 million from the Yale Club in Manhattan as compensation for the ”excruciating pain” he endured after he took a tumble trying to reach the dais for a speech at the club.

Perhaps Mr. Bork could offer advice to Mamadou Soumare, the unfortunate immigrant from Mali whose wife and 4 children were among 10 people who died in a terrible fire in the Bronx three months ago. Last week, a New York Post reporter came across a notice of claim that Mr. Soumare had filed with the city comptroller’s office. The notice was a required first step in a possible $100 million lawsuit — repeat, $100 million — against the city.

Among those named by Mr. Soumare was the Fire Department, which he said had ”failed to respond in a timely manner.” Never mind that firefighters arrived 3 minutes and 23 seconds after 911 was called. Never mind that the call had come disastrously late because people in the burning house had wasted precious time trying to put out the flames themselves.

The notice of claim does not mean that Mr. Soumare, who is in this country illegally, will definitely follow through with a lawsuit. But it means that he might. If he does, he will show that he truly understands American ways.

As does a company called Antidote International Films, which is suing a writer for fraud in federal court in Manhattan.

The company paid $45,000 for the rights to ”Sarah,” a novel that made a splash in 2000, in part because it was supposedly written by one JT LeRoy, said to be an H.I.V.-positive, teenage male prostitute out of West Virginia. Only there was no JT LeRoy. He was the invention of the actual writer, Laura Albert, 42, a mother with Brooklyn roots.

Antidote, which was entranced by the autobiographical back story of the nonexistent author, was not happy. It was so unhappy that it had six lawyers — enough people to form a hockey team — in court yesterday trying to get its money back.

Is Ms. Albert a malevolent fake? Or is she, as described by her lawyer, Eric Weinstein, a ”complicated person” who created the JT LeRoy persona because ”this is how she communicated with the world.”

In case anyone may have forgotten, we are talking about a novel, by definition a work of fiction. What difference, some might ask, does it make if it was written by a young male hustler or a middle-aged mom?

It’s not as if Ms. Albert is the first writer, female or male, to create a false identity. Mary Ann Evans wrote ”Silas Marner” as George Eliot. Isak Dinesen, of ”Out of Africa” fame, was not a man, but a Danish noblewoman, Karen Blixen. George Sand was the French Baroness Dudevant, Amandine Aurore Lucie Dupin.

The list of assumed identities goes on and on. It includes Joyce Carol Oates, who 20 years ago wrote a pseudonymous novel, ”Lives of the Twins.” She hadn’t intended to play ”a trick,” Ms. Oates said at the time. She simply ”wanted to escape from my own identity.”

In a 1987 essay, she said that with a pseudonym ”there is the possibility, however quixotic, of making a fresh start” and ”not being held to severe account for it.”

But then, unlike Ms. Albert, Ms. Oates didn’t get caught up in the thriving New York world of lawsuits, where it is all about being held to severe account.

http://query.nytimes.com/gst/fullpage.html?res=9E02E0DA1731F93AA25755C0A9619C8B63&sec=&spon=&pagewanted=1

A chat with … Laura Albert (formerly JT LeRoy)

November 22nd, 2007

good

clipped from blogs.usatoday.com

You may not recognize Laura Albert’s name (No. 54 on my list), though you’ve probably seen some of her work … as JT LeRoy.
Parisreview_1Earlier this year, it was revealed that LeRoy, a young and mysterious literary phenomenon, was really the creation of Albert, a 40-year-old woman living in San Francisco. In an interview with the Paris Review earlier this year, Albert discussed her reasons for creating LeRoy, whom she does not consider a “hoax” but a mechanism for coping with childhood abuse — not unlike the abuse described in LeRoy’s novels.

 

Laura and Savanah at VOOM portraits of Robert Wilson, New York

November 22nd, 2007

laura and savanah at Robert Wilsons Party

Photographt Michael Simon and Adan E Mendelsohn

January 16th 2007

The Importance Of Being JT LeRoy

August 20th, 2007

by Nicole V. Gagné

In 1889 Oscar Wilde offered a compelling defense for the then-controversial Medieval texts that had actually been written by the 18th-century poet Thomas Chatterton:

I insisted that his so-called forgeries were merely the result of an artistic desire for perfect representation; that we had no right to quarrel with an artist for the conditions under which he chooses to present his work; and that all Art being to a certain degree a mode of acting, an attempt to realize one’s own personality on some imaginative plane out of reach of the trammeling accidents and limitations of real life, to censure an artist for a forgery was to confuse an ethical with an aesthetical problem.

It may seem disconcerting for a defense of Laura Albert to begin by invoking Oscar Wilde: a writer of genius, abandoned by most of his admirers, whose career and life were annihilated by the press and the courts. But the man plainly understood the value of art, and the vital importance of protecting our artists and affording them the widest possible latitude in the creation of their work.

Today one of America’s greatest living writers is under siege. The JT LeRoy books written by Laura Albert are being dismissed as a “hoax,” even though her fiction had always sought to prepare readers to accept the facts behind the myth of JT LeRoy. The central trauma in these books is the exposure of the narrator as an imposter: Saint Sarah is really a boy in Sarah; that sweet little kid is really a shoplifter in The Heart Is Deceitful Above All Things. You get to empathize with the narrator when his sufferings impell him to take a protective covering, and share in his desperation and anguish at being exposed; you also experience with him how it feels to be abandoned — and punished, always far in excess of the crime. Readers of these books are permitted to understand some dimension of that trauma, and yet the revelation that JT LeRoy is a persona created by Laura Albert has elicited from too many former enthusiasts something ugly, cruel, and self-righteous. These attacks only reinforce the truthfulness and accuracy of her books: When assured of their superiority — moral, social, or merely physical — plenty of people are ready to swing a belt at you.

Written in the first person and the present tense, the JT LeRoy books take on the extremity and immediacy of war correspondence — they’re dispatches, reports from the front, detailing exploitation, abuse, abandonment, poverty, homelessness. Readers are given an explicit understanding of what it means to live in the world with nothing, as nothing. Yet the narrator sees his chaotic, predatory environment as a true innocent would see it, without judgment or expectation. The books and the persona of JT LeRoy express an archetype of suffering innocence, and they emerged when they did and in the way that they did in response to a desperate need. By 2001, the year The Heart Is Deceitful Above All Things was published, there were over 1.3 million homeless kids in the U.S., with 13 of them, on average, dying each day. The JT LeRoy books were a creative attempt to bring healing to an intolerable situation, as though this strain of human misery had reached a critical mass and took voice and form in JT. The books’ relentless, uncompromising attention to the experience of this pain generates a cumulative effect of compassion in its purest form, and so they also describe an epic gesture of forgiveness, without excuses or explanations. The narrator never averts his eyes, yet there is no hatred. No one is judged, no one is condemned.

How then to comprehend the spectacle of Laura Albert as the object of hate and judgment and condemnation, by the very people who read and praised her books? Granted, their numbers had to have always included those who long to ignore the awful truths about American life exposed in these books, and who were therefore quick to denounce the messenger so they could disregard the message. Granted too, we live in a consumer society where packaging is not simply confused with content, but consumed as content — that’s how JT LeRoy could have so many fans who’d never read anything by JT LeRoy. These conditions, however, still don’t explain seemingly intelligent people having learned nothing and understood nothing from the work that had so moved and impressed them. All of which is not very encouraging for the prospective author — no matter what you produce, its commodification will turn it into entertainment and sentimentality; your writing won’t be appreciated and can’t be expected to free up the way anyone thinks or behaves. And if people won’t pay attention to a work of art and aren’t open to being changed by it, then what value does art have?

One more dangerous question posed by the writings of Laura Albert — an especially dangerous question in this consumer society, where the work of a genuine artist is processed in four distinct phases. Phase One is Fascination: The new girl on the street always attracts the johns. Phase Two is Vilification, best defined by the immortal lyric of John Lennon: “Man, you should have seen them kicking Edgar Allan Poe.” Phase Three is Vindication: The work endures. Phase Four is Veneration: People previously reviled as has-beens or hacks or lunatics or fakes have their faces celebrated on postage stamps, get streets and university buildings named after them, and have their birthplaces and workspaces converted into museums — in some cases, into shrines. Attendant upon this fourth and final phase is one of life’s not-so-little ironies: These artists are venerated for precisely those activities for which they were vilified during Phase Two. Thus, Oscar Wilde is today revered as an icon of queer liberation, and people are now grateful that Truman Capote betrayed the confidences of the rich and wrote a masterpiece such as “La Cote Basque.”

Laura Albert is one of the most truthful writers this country has ever produced, and so the JT LeRoy books will endure. And for deconstructing identity and gender in American literature, and short-circuiting the corporate machinery of huckstering personalities, which defines itself as the publishing industry, she will be venerated, just as much as for the poetry and honesty and compassion of her writing. The catch is, Phase Two can go on for years, and not every artist survives the firestorm. Look at the names I’ve dropped: Lennon, Poe, Wilde, Capote. Quite the martyrology, isn’t it? Real and poisonous venom has been directed against Laura Albert, from people who are now blind to the value they’d previously seen, like children saying that their Christmas gifts stink because Santa Claus was actually Mommy. Does it matter that the JT LeRoy books were clearly designated “Fiction”? Not at all. Does it matter that the books cast much needed light upon the abuse and exploitation of women and children, or that they explore the ways in which those horrors are systemic to American society? Uh-uh. Does it matter that everything that was good in these books yesterday is also good today? Nope. What then does matter? The fear that one has been played.

Within a corporate-based consumer-driven society, such a fear is completely legitimate. After all, the government lies to you each day and deliberately seeks to manipulate you with its every utterance; also lying to you 24/7 are the manufacturers and marketers of all the products you consume, from toothpaste to novel; and then there are the organized religions… In a population that’s continuously being played from all sides, some people will turn mean if they think they’re suddenly standing out as having been played. Of course, they seldom risk their comforts by turning their rage against the Big Liars; but in the realm of art and culture, this fear of being played becomes primal. How could it be otherwise? When artwork and artist are both commodities for purchase, buyers must consider their investments with care — their commodities are recognizable to them only through the prism of commerce, and so there are readers of JT LeRoy who now fear that they’ve been had. But if you regard art not as a thing you obtain but as an opportunity to change the way you think, then you cannot be conned — or to quote Gertrude Stein (another great Jewish woman writer who was accused of being a con artist), “If you liked it that means you understood it.”

Never forget: A con artist is someone who takes things away from people. In the first years of the 21st century, when the myth of JT LeRoy walked among us, all it did was bring out good things in people: furthered compassion and empathy, inspired creativity, encouraged queer pride, raised awareness of homelessness and the abuse and exploitation of children and women, and offered a deeper understanding of ourselves as human beings. Now that journalists have dismantled the myth, all I keep seeing is cynicism, arrogance, mistrust, and malice.

JT LeRoy is lost to us, like the spent jets of a rocket which have crashed back to Earth. Their payload, however, is now beyond the crush of our gravity and the trammeling accidents and limitations of real life, and has found its home in the stars. If you want to see JT for yourself, look up.


 

 

Judgment Day

August 18th, 2007
clipped from beyondthegreendoor.blogspot.com
It’s fitting that the trial of Antidote Films vs. Laura Albert ended with a fraud conviction accompanied by Bible-quoting closing statements in which Albert was portrayed as evil, for what has this media feeding frenzy been if not a witch hunt? This case was not about Laura Albert masquerading as a teenage, truck stop prostitute, but about getting revenge for the shame caused when one feels they’ve been suckered. Not too long ago this same level of intense mob hatred was directed at author James Frey after his supposed memoir was revealed to be fiction. But James Frey is not another one of Laura Albert’s alter egos. Mr. Frey published fantasy as hard fact. Laura Albert published JT Leroy’s “memoir” as fiction.

  blog it

More Hoaxes and Fraud

August 18th, 2007
clipped from beyondthegreendoor.blogspot.com
It’s amazing how nice and civilized the security guards are down at the Federal Court building on Pearl Street (pleasantly correcting me when I asked if this was 500 “Worth Street”), probably due to the fact that they don’t have to actually sit in a courtroom listening to the bullshit legalese spewing from the mouths of guys making four times their salaries. Which is what I was subjected to at the hearing for “Antidote Films vs. Laura Albert” and her alter ego JT Leroy, who I’m sure would have been dragged into court as well had he existed.

  blog it