Reviews: Persepolis, 4 Weeks, The Longing

I've been meaning to write a review of Persepolis for a week now, so here are few thoughts about most of the films I've seen of late. Reading the archives of this site, I cannot believe how many movies I used to go to or watch in a given week, but then I used to write a lot more and read for pleasure as well....

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Two weeks ago, I saw Persepolis (2007, Vincent Paronnaud and Marjanie Satrapi, directors, based on the novels by Satrapi), the very faithful film adaptation of Marjane Satrapi's acclaimed graphic novels, Persepolis 1-4, which appeared from 2000 to 2003 in their original French, and then in translation as Persepolis: The Story of a Childhood (2003) and Persepolis 2: The Story of Return (2004), both from Pantheon. A good friend of mine, Phoebe M., originally recommended the first English translation, and I quickly fell in love with it, incorporating it into a literature course I taught a few years back. The books together narrate the unfolding of Satrapi's childhood and adolescence against the backdrop of political and social upheavals that occurred in her native Iran from the late 1977s, the last years of the Western-oriented and supported, authoritarian Shah, Mohammed Reza Pahlavi, through his fall and exile, which culminated in the Islamic Revolution of 1979-1980, and the subsequent, brutal 8-year Iran-Iraq War, launched by Saddam Hussein with the backing of then US-president Ronald Reagan and VP George H. W. Bush. (Reagan's administration later engaged in an illegal arms trade with Iran to fund the Nicaraguan contras, which exploded as the Iran Contra scandal, but none of this is part of Satrapi's interest or focus.)

In the film as in the book, Satrapi introduces us to her upper-bourgeois progressive, left-leaning family, including her liberated and often funny but deeply wise grandmother, widowed as a result of the Shah's machinations, her politically connected father, her mother, and other family members who initially embraced the Shah's overthrow only to find themselves in the crosshairs of the new regime, which grew increasingly severe, as the external threat (of war) combined with its internal, societal obsession with a puritanical understanding of faith and practice. Satrapi conveys the normalcy she as a upper-middle-class child is able to establish amidst this turmoil, which results in teenage rebellion and resistance fueled, in part, by Western culture in the form of punk rock music. (As a child of privilege (her mother is a descendent of the 19th century Shah, Satrapi naturalizes her own class and subject position, and one of the things I wanted to know about both in the book and the movie was how Iranian women and girls of other classes, especially the working-class and poor, experienced this period.) Eventually, her parents become so worried about her outspokenness that they send her off at age 14 to Vienna, Austria, where she develops tenuous friendships and hungers for the stability of home. She returns, marries, divorces, and then sets off again for Europe, this time wiser and surer of herself and her abilities, but also tempered by a deeper understanding and love of her troubled country. The genius of the graphic novels lies in Satrapi's imagery, which manages to be simultaneously pared down, both in color and formal terms, and richly evocative, in the the skillful narration of what is essentially a straightforward, moving memoir, and, in the seamless melding of the two.

The film, as I note above, almost directly mirrors the books, so the real novelty lies in the black-and-white animation, which removes the competitive and productive tension all graphic novels generate between the words as a conventional narrative text and the imagery, which often tells a parallel and sometimes different story, in favor of what is essentially a superbly rendered animated film for adults. Major French actors, including Catherine Deneuve (Mrs. Satrapi), Chiara Mastroianni (adult Marjane) and Simon Abkarian (Mr. Satrapi) provide the voices, and there's never a moment when the film flags or falters. A colleague who also saw the film mentioned that she wished there'd been something else, new, added, but for me, the transformation, which entailed considerable artistry in maintaining all that was best in the books while translating it into cinematic terms, succeeded tremendously. I'd read that the initial plans to dub the film with English-speaking actors has been dropped, but I hope that it occurs, not because I want to lose La Deneuve's dulcet tones, but because I think an English-language version may be more likely to reach many people in the US who know little to nothing about Iran and fail to see people like Satrapi's family (or Azar Nafisi's, whose Reading Lolita in Tehran offers a similarly personal though divergent take on the same era), whose humanity, whose very being, gets lost in fear-laden political abstractions.

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A few nights ago I saw 4 Weeks, 3 Months, 2 Days, the new and heralded film by Romanian director Cristian Mungiu. I'd been told that the film had moments of real horror, which I mistook for a "horror film," but after seeing it, I realized that the horror is ethical in nature, and definitely present, in both the theme and the plot. What's more, this is one of the most truthful and thought-provoking films I've ever seen in a while, and it treats the topic of abortion with the complexity it deserves, rather than the false choices and cop-outs (Juno, Knocked Up, etc.) that Hollywood is so fond of. I'd add that 4 Weeks could stand as one powerful though extremely disturbing response to anyone who wants to ban or severely limit abortions, birth control medications, or RU-486 and similar drugs but has not considered or refuses to consider the implications.

The scenario in brief is this: during the latter days of the Ceaucescu Communist dictatorship in Romania, a female college student, Gabita Dragut (Laura Vasiliu), with the aid of her much more outgoing and self-assured roommate friend, Otilia (Annamaria Marinca, above, RevisionCinema.com) seeks an abortion, which is criminalized. Ceaucescu fetishized childbearing and punished both the pregnant woman and the abortionist, as well as anyone assisting them, if they were caught. The pregnant young woman is no icon or heroine, but a passive-aggressive, manipulative, dissembling mess, which becomes quite important when we learn the awful ramifications of her approach to acquiring and then trying to deal with an unspeakably sleazy male abortionist, Viorel "Bebe," aka Mr. Bebe (Vlad Ivanov). Mungiu first presents Bebe as reasonable, almost sympathetic (he takes time to look after his mother, though the scene shows his harsh edges which, to my viewing, only augured trouble) and, given the circumstances, almost professional. But then he makes a shocking demand that only underlines the extreme vulnerability of the young women, and cruelty of the system they're living in and under. Yet from this point forward we witness in Otilia a fierce determination that sits beside an almost unvoiceable disgust and horror, a disgust at what she has been forced to submit to, at what she's allowed to occur, at what her boyfriend, whose snobbish urbane family casually treats her like a country bumpkin, cannot even begin to fathom, despite his obvious love for her. There's also disgust, verging on rage, that merges not with sympathy for, but with empathy--which it can only be, as she is as deeply implicated and involved in what transpires--with Gabita, and the ensuing portion of the film, whose details I cannot reveal, shows Otilia operating almost by sheer force of will, and pushes the notions of ethics and empathy to a near breaking-point. The acting by the leads is excellent, but Marinca especially burns a hole in the screen with her ferocity and determination, while Vasiliu's pusillanimous neediness raises your hackles as it's meant to. This is acting.

At least twice during the latter portion of the film, which pivots on several moments of rising suspense, I sat in uneasy, sometimes stunned silence. There is a moment where Otilia is wandering through the barely-lit streets of Bucharest, on a mission in the most literal sense, and the screen grows so dark it's almost unclear what's going on, and worse, what might happen, which induces a feeling of dread--pending horror--that's almost visceral. The film's conclusion includes a little joke, like a steam gauge quickly opened, that barely relieves all that has come before it, but it and the plate of food that embodying it serve as objective correlatives to what you eventually surmise: people, in this case women, may get by, may get on with their lives, may even still be able to live and hope and love, with a little or, in this case, a lot of help from their friends, after suffering, even under the harshest circumstances.

In this sense, the film was a provocative thematic companion to Persepolis, and I'm glad I saw them. Both films deserved Oscars tonight, but as of this entry, the first lost in its category, and the second was not nominated at all. I'll say it: typical!

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Though only 2 years old at most, my DVD player finally gave out, so I've been watching rented films on my computer, whose screen its on its last flicker. One film I rented recently, daring my computer not to fail, was Jürgen Brüning's 2003 film, The Longing (Saudade-Sehnsucht). I got it because of the Brazilian them, but I would not recommend this horribly acted, poorly plotted, melodramatic and maudlin wreck to anyone, except that it contains one scene that nearly makes up for the entire rest--waste--of the film. But you have to sit through the rest to get to it, and if you're not interested in depictions of Afrobrazilian gay people, then skip the film completely.

To summarize the plot, three 30-ish German guys are staying at an estate in Paraty (the picturesque historical town southwest of Rio de Janeiro, on the way to São Paulo state and city) belonging to the father of one of them, the spoiled and sulking Cyrus (Tarik Qazi), who is seeking his mother. The other two are a former hiphop (!) musician, Tim (Daniel Bätscher) who also mopes about when not blaring his awful raps, and the tragic blond Erik (Hendrik Schneider), who has lost money on the stock market and complains about being broke. To make money, the trio tape themselves having frolicking and broadcast it on the Net. (I'm not making this up.) They collectively treat the Afrobrazilian maid, Maria (naturally, played by Maria Lucia da Silva Ludwig), an adherent of the syncretic spiritualist faith Macumba (naturally), like she's an idiot, though you quickly learn she and a friend, also Afrobrazilian, hold a mutually dim view of these three. And rightly so. Things unravel from here, at least for Erik, who's involved in a deadly accident on the beach after a near rape (!), then, while in his own fit of guilt and pining, falls in love with an Afrobrazilian telenovela actor, Miguel (Aldri d'Anunciação) who just happens to hanging around a park in downtown Paraty, and, implausibilities of implausibilities, is also the brother of the man that dies in the encounter with Erik. At the funeral, Miguel's mother, played by the (very) famous and ageless Afrobrazilian actress Zezé Motta (star of Xica da Silva and other notable films--she was a replacement for Sonia Braga, who had the great sense to stay far away from this debacle), thinks Erik was her late son's friend and...well, it's just not worth going into. Suffice it say that somehow Maria, after taking Cyrus and Tim to a Macumba ceremony, with they both praise and mock, links up the hiphopper manqué links up with a real local hiphop group (his longing), and aids Cyrus in seeking his vanished mother (his longing). She isn't able to do much for Erik, who traipses after Miguel to Rio, where the telenovela is filmed, out of love.

There are more implausibilities, including a plane crash and so forth, but it's in Rio that the truly interesting scene occurs. Somehow or other, Miguel, who blurts out interesting comments about the plight of Afrobrazilians, decides to attend a meeting of a Black gay group. At this meeting, which is, I remember correctly, male and trans, a fiery young group leader, Fabio (Sérgio Menezes), holds forth on the social, political and cultural marginalization of Black Brazilians, gay Brazilians, and then gay Afrobrazilians. His disquisition is transfixing, and immediately made me wonder whether this was a documentary scene in an otherwise fiction film, or a fictional rendering of a real event. I also wondered whether the director, Brüning, had written his words, whether they were extemporaneous, or improvised, and whether such a speech, and moment, had ever been rendered in a Brazilian film. Of course I wanted to see more about this, which could have been its own documentary, short or feature, and which had the only decent acting in the entire film, but it was over in an eyeblink. Also fascinating was the fact that in the audience are identifical twin drag performers, the Dolly-Twins (Márcio and Marcelo Rodrigues), whose ultra-blasé responses and expressions provide a comical dose of irony, though they do keep listening until Fabio finishes and then jointly give him their "beijos" (kisses) before leaving to prepare for their star turn at a local bathhouse later on. The blond beloved shows up, in about as clumsy an irony as is possible, Fabio mildly reads Miguel, the lovers embrace, and the scene is over. We get no context for the scene except that Miguel is already portrayed as politically aware and that, to the extent that it's possible, he's partially out. But I kept thinking, what led Brüning to cram the scene in this film? Was it a desire to color the other narrative, along with familiarity with a similar group, Quimbanda Dudu, which exists in Bahia, and which is affiliated with Bahia's longstanding, activist organization Grupo Gay da Bahia? Have films of any sort been made about either group, or about Rio's gay rights group Arco Íris (Rainbow), or the ones in São Paulo? And given the rarity of representations of out Afrobrazilian LGBTQs, especially politically conscious ones, in documentary or fiction films, doesn't this warrant greater interest? It manages to queer an already queer film in ways I imagine the director never imagined. Nothing I've read about this film addresses this moment, which verges on breaking the diegetic trajectory of the movie.

In the accompanying documentary on the making of the film, Brüning does say that all his films are flawed, thus explaining the majority of what's on the screen, but with this one he wanted to portray something different about Black Brazilians than we usually see. (In the same documentary, Annunciação says that depictions of gays in Brazilian films are rare, though there are some high profile examples, in films such as Madame Satã, Carandiru, etc.) He certainly does that in this one scene, and it's a shame that he didn't decide to scrap the rest of what surrounds it and build on what I'm assuming is a minor cinematic revelation.

Summerfall in Chicago + This and That

SUMMERFALL
When I left Jersey City last week, autumn had arrived. Cool days and cooler evenings filled my final week at home. In Chicago, however, it's still summery. Actually mid-summery. Every day the thermometer's crossed the 80°F threshold, and today it's so warm (90°F) I'm finding it difficult to believe that classes are about to start and October is just around the corner. Rather than calling this Indian summer, it's basically Summerfall. Or Sutumn. Or Faummer.

JENA 6 RALLYING LAST WEEK

From Los Angeles Times: Chris Graythen / Getty Images

Last Thursday I wasn't able to head down to Texas to participate in the Jena Six protest and rally nor was I able to participate in the local demonstrations, so I signed up to call Louisiana state officials to urge justice in the case, in which six African-American teenagers were arrested, and one convicted as an adult, for an attack on a White schoolmate. The attack on the White student was the culminating event in a series of clashes that began White students decided to hang a noose from a tree, as an racially inflammatory affront to Black students who'd decided to sit under it (and to Blacks in Jena more broadly), and received only token sanctions as a result, their action being labeled a "prank." The case has rightly sparked international outrage, and last's week's public protest drew many thousands of participants.

Since I'm shy and not especially comfortable on the telephone, I was a little nervous about calling, but ColorofChange provided scripts and numbers, and I set to dialing. I can report that of the actual human beings I actually reached, all were unfailingly polite, some even apologetic, and one sounded exasperated, especially after I said that I was calling from Chicago, Illinois. (I think C said she probably was thinking "Damn Yankees!") This same person also said she would put me "on the list," which I assumed meant a list to be presented to the state official to whom I was lodging my protest, but then I also considered that the same list might end up in the hands of scary right-wing types (even though I realize we may be undergoing wiretapping, which I say with no little amount of horror and rage), so while I gave my name, she at least got a dummy phone number.

I do not for a minute think that my telephone rallying matched the commitment and courage of those who were present at the marches and rallies, or the bravery of the young defendants. I also think that one response by some of the officials involved will be what it was in before, during and after the Civil Rights movement: defiance, though they have been served a wake-up call, not only by the longstand Black leadership, but by a new generation of activists who are fed up by the persistence of racism in its most grotesque and spectacular forms.

Louisiana's officials probably will respond to the threat of economic boycott, but they also probably realize that many of the supporters of the Jena Six are also strong supporters of those who suffered from Hurricane Katrina and its aftermath, and cutting off the state of Louisiana could harm New Orleansians just as readily as racist district attorneys in rural parts of the state. So it strikes me that one of the best positions to take is to keep the pressure on, publicize the miscarriages of justice far and wide, and not let Louisiana's officials of whatever party off the hook. The Governor, Lieutenant Governor, Director of Tourism, top judicial officials, and everyone else in power should know that last Thursday was not the last hurrah--that won't come until all of the Jena Six are fully cleared, and there is a public apology and investigation into everything that occurred.

And, now that the New York Times has abolished Times Select, you can read Paul Krugman's take on the protests and on the electoral corner the Republican Party, through its Southern, a/k/a racist strategy, has painted itself into. (I would add that the Democratic Party and politicians also engage in racist discourse when they feel--wrong--the need to do so.)

And as Metta Sama noted in a recent email she sent, "it ain't just a Southern thang."

And as Reggie notes, the issue of Black on Black violence, and Black male violence against women, deserves a similar nationwide demonstration and rally.

HASTA, LIBRERÍA LECTORUM
Sic transeunt ruae Novi Eborici.

Herbert R. wrote Reggie and me to pass on an article from Críticas saying that the landmark Librería Lectorum, the major Spanish-language bookstore in New York, has closed. Founded in 1960, the store can no longer afford the burgeoning rents on its strip of West 14th Street--that's right, rents are exploding on West 14th Street!--and ironically, the landlords are the sons of the store's founder, Argentinian Gerome Gutiérrez. The heirs no longer own the business, which was sold along with the Spanish-language publishing arm, Lectorum, to the publisher Scholastic, which now plans to shift the entire outfit to the online world, though there's a slender--nonexistent--possibility that they will find another storefront in New York.

Lectorum Publications president Teresa Mlawer says that street traffic has plummeted and the neighborhood has been gentrifying for years, but 14th Street between 6th and 7th Avenues was still fairly gritty when I walked it many times this summer, although it has changed somewhat even from last year. Still, it's no SoHo or Chelsea, at least not yet, and ousting the store will only help speed the gentrifying process. It's a major loss for New York's Spanish-speaking community and for the city's culture, on multiple levels, not least because of the disappearance of an important venue and meeting place for Spanish-language authors from across the city and globe, and because of the ongoing dismantling of 14th Streets's longstanding cultural economy, which is set to shift into another mode altogether.

I realize New York, like all vibrant cities, is always changing, and that from its origins it's revolved around commerce, but it still painful to acknowledge the loss of yet another key institution like this. I also think the Gutiérrez brothers ought to be ashamed, but is that even a valid emotion in our contemporary society? I visited the store several times this summer, primarily to look for books in Spanish by the late Roberto Bolaño, and I also recall one of the first times I went there, back in the 1990s, and found a book by the Dominican fiction writer and scholar José Alcántara Almánzar, and the woman at the registered, noting his back cover and glancing up at me, asked me if I was he! Given how bad my spoken Spanish was then and that I was flattered into speechlessness, I had to deny it with a headshake.

Neither of the two articles mentions that one block west, another Spanish-language bookstore, Macondo, remains, though it long has hand only a fraction of the texts as Libreria Lectorum, and on occasion I've almost had to wake the attendant who was working in there. I wonder how much of a lease and life it'll have as the relentless march of luxury condos and stultifying chain stories continues across every square inch of Manhattan's grid.

The New York Times's article on the store's closing is here.

Que nunca se la olvide, que siempre se la recuerde.

AHMADINEJAD IN NEW YORK
Re: the brouhaha surrounding the visit by the decidedly wacko, authoritarian, Israel-hating, democratically elected, figurehead president of Iran, Mahmoud Ahmadinejad, to New York to attend the opening of the UN General Assembly, and his "roast" (to use C's apt term)/conversation/free-for-all today at Columbia University (which should not be punished by New York State politicians for hosting the talk), I came across a great quote from the comments section after Glenn Greenwald's post on this topic:

"History teaches that grave threats to liberty often come in times of urgency, when constitutional rights seem too extravagant to endure."--Thurgood Marshall

In light of the events this year and the past seven years, that "urgency" deserves scare quotes, BTW.

UPDATE: Here's a New York Times report on Ahmadinejad's bizarre riffs today, including his claim that there are no gay people in Iran (though they're persecuted, like the Baha'i and other religious, social and sexual minorities, and hanged there) and that the Holocaust was theoretical rather than actual (though Iranian TV is featuring a very popular miniseries on this topic). He did get in a few knocks at his questioners and at his chief antagonist, W, though he said little of substance, whether about the appalling heinous human rights record in Iran, its support of Hamas, or its connection to the corrupt and ineffectual quasi-government of Iraqi Prime Minister Nuri Al-Maliki.

WHERE DID THE TV GAYS GO?
There are fewer gay characters (and Latino characters) on network TV, but more on cable. So says a new Gay & Lesbian Alliance Against Defamation (GLAAD) study. According to GLAAD's report, most of the network gay characters--all 6 of them--are on one channel, ABC, with the other one appearing on NBC; there are no gay characters on CBS, Fox, or CW. The last channel has the largest percentage of characters who're people of color. CW used to be the WB, and snapped up content from UPN, both ghettos for neo-minstrelsy, right?

(BTW, what categories does Wentworth Miller fall into? Racial, that is, for the survey purposes. Just asking.)

I'm not sure what the mainstream network folks are thinking, and I'm not suggesting there's a conspiracy so much as the usual oversight, indifference and neglect, but given the high gay quotient both in Hollywood and New York, it makes you wonder.

No word on how many of the few remaining network gays, lesbians, bisexuals, or transgenders or their cable kin have lots of melanin, though. And the lone show featuring lots--a whole cast full!--of Black and Latino gay people, Noah's Arc, problematic as it was, is off LOGO, so I'd imagine the numbers aren't great on cable either. It's not just on Queer as Volk that queers of color don't exist....

UAW SAYS STRIKE
GM wants to cut costs while to compete with foreign automakers. The United Auto Workers want to keep jobs in the US. GM says, No. The UAW says no more more work until they get a guarantee. Health care costs and liabilities are a major aspect of the negotiations. But if we had a single-payer national health care system, GM and the UAW wouldn't have haggle over this issue. Would they?

DEMOCRACY IN MYANMAR
Finally, this is what I'd call religious, moral and ethical leadership.

18 Nigerians Facing Sharia Death Sentence for Being Gay

Talk about out of the loop. I just received an email from Grupo Gay da Bahia president Marcelo Cerqueira decrying the failure of Candomblé practioners to speak out against the condemnation to death of 18 men in northern Nigeria under the Islamic Sharia-based criminal laws there. That led me to google the story, and here's the first link, from 365gay.com: 18 Men Face Death Penalty in Nigeria.

(In Marcelo's statement on the GGB site and in his email, he opens with GGB founder and noted anthroplogist and historian Luiz Mott's statement that "Silence is death. And the silence of Brazilian adepts of the African mother religion in relation to the condemnation to death of the 18 homosexuals in Nigeria is a criminal omission." Mott goes on to note that GGB is launching an appeal to all the babalorixás e yalorixás from Bahia and the rest of Brazil to send a protest to the president of Nigeria, Olusegun Obasanjo, urging him to respect the law of the orixás, which never condemned homosexual love." Marcelo also mentions several scholars of Yoruba religion who point to the fact that important pais and mães de santo in Nigeria were known to be "adé" and "aló," Yoruba terms referring to gays and lesbians. GGB and Quimbanda Dudu, Bahia's Black LGBT organization, had already protested against Nigeria's pending anti-gay laws in front of Salvador's Casa da Nigéria, in March, and have called on Brazil's president, Inácio Lula da Silva, to once again take a bold stand and offer sanctuary to the 18 condemned men as he did back in 2002, when he and Senegal's president, Abdoulaye Wade, offered asylum to Amina Lawal, the Nigerian widow who was sentenced to death by stoning for giving birth outside of marriage.)

Below I've reprinted the entire story, which also discusses the horrific legal situation that people convicted of homosexual acts face not only in the predominantly Muslim north of the country and the particular "panic" around the issue of cross-dressing and same-sex marriage (both of whose local forms have origins in specific cultural traditions in what is now Nigeria), but the looming extreme situation that gays across Nigeria, the most populous country in Africa with more than 130 million people, will face if a new law that completely strips lesbians, gays and transgender people of any civil rights and penalizes even the distribution of LGBT literature or information is passed and goes into effect.

(Lagos) Eighteen Nigerian men have been found guilty of sodomy by a Sharia judge in the Islamic northern part of the country. The men are awaiting sentencing and under Sharia, or Islamic law, they could be sentenced to death.

The official government news agency Nan reports that the men were arrested in a hotel in north-eastern Bauchi State.

Bauchi is one of a number of northern states which recognizes Sharia law. Elsewhere in the country gay sex carries sentences up to 14 years behind bars.

If sentenced to death the court decision would need the approval of the state governor.

Nan reports that the men were wearing women's clothes when they were arrested and had gone to the hotel to celebrate a gay wedding.

The government frequently alleges that men arrested for being gay were dressed as women and were attending or preparing to attend gay weddings.

More than a dozen men have been sentenced to death in recent years for alleged homosexuality. In most cases their fate is unknown.

Meanwhile, the government is moving ahead with legislation that would strip gays and lesbians of all civil rights.

The bill started out as a ban on same-sex marriage and has been revised to make it a crime for more than two gay people to be in the same venue at the same time.

It prohibits LGBT social or civil rights groups from forming. It would be illegal to sell or rent property to same-sex couples, watch a gay film or video, visit an LGBT web site, or express same-sex love in a letter to one's partner.

The legislation goes so far as to make it a criminal offense to impart information of HIV/AIDS to gays or for non-gays to meet with any group of gays for any purpose.

The penalty would be five years in prison with hard labor.

The most recent arrests have sparked outrage in Britain and is likely to scuttle Nigeria's bid to host the Commonwealth Games in 2014.

A movement by LGBT rights activists to block the Nigerian bid began before the arrests and appeared to be gaining broader support on Friday.

Mike Hooper, the chief executive of the Commonwealth Games Federation - the organization that will make the decision about the games venue - said Friday that Nigeria should be rejected on the grounds of the country’s homophobic oppression.

The southern half of Nigeria is predominantly Anglican. The primate of the Nigerian Church is Archbishop Peter Akinola who has been at the forefront of opposing gay clergy in the denomination. Conservative Anglican churches in the US have aligned themselves with Akinola.

A different report appears in the Lagos-based Daily Champion, courtesy of AllAfrica.com.

A quote:

In June an agency tasked with implementing shari'ah law in Bauchi called on the new state governor Isa Yuguda to approve three sentences of death by stoning and 40 of amputation passed since 2002 which his predecessor had refused to ratify.*

The death sentences were passed for sexual offences, including one for sodomy.

STONING AND AMPUTATION! I am not making this up! (*Both emphases are mine.)

Yet another report, from the BBC News: "Gay Nigerians Face Sharia Death," which notes that most of the extreme sentences, which have also been handed out for other alleged sexual crimes, such as adultery, have not been carried out, but that two amputations had been effected in Nigeria's northwestern Zamfara State.

When I went to the International Gay and Lesbian Human Rights Campaign's (IGLHRC) site, the last statement on this issue was from February 2007, announcing a report: "IGLHRC's New Report Documents LGBT Nigerians' Response to the Same-Sex Prohibition Act." (This is a .pdf file.)

In this press release, IGLHRC gives the address for Nigeria's ambassador to the US. They urge that people concerned with the pending legislation politely contact the ambassador. His info:

His Excellency Professor George A. Obiozor
Ambassador Extraordinary and Plenipotentiary
Embassy of the Federal
Republic of Nigeria
3519 International Court, NW
Washington, DC 20008
Fax: (202) 362-6552
gobiozor@nigeriaembassyusa.org

In light of this most recent news, I would add that contacting the US ambassador to Nigeria might also be a good idea. The previous ambassador, Bush-appointee John Campbell, has stepped down, and as of July 19, 2007, the acting Chargé d'Affaires is Robert Gribben. Here is his information:

Mr. Robert E. Gribbin
Chargé d'Affaires
Ambassador to Nigeria
Embassy of the United States of America
Plot 1075 Diplomatic Drive
Central District Area, Abuja, Nigeria
Telephone: (234)-9-461-4000
Fax: (234)-9-461-4036

One of the sites that documents some of the crises LGBT people are facing around the globe is Direland. I may be wrong, but I think there's been comparatively little reporting about ongoing massacre of gay Iraqis, though Doug Ireland has written on this topic more than once. On a different note, Andrés (El Blabbeador) at Blabbeando was recently visiting Colombia, and among many other interesting posts links to a Miami Herald article on the gay rights advances occurring there.

Now what was that about "post-gay"...?