By Lola Lafon, as translated by Paul Ben-Itzak
Copyright Actes Sud; translation copyright Paul Ben-Itzak
“Heartless powers try to tell us what to think
If the spirit’s sleeping then the flesh is ink
History’s page will be neatly carved in stone
The future’s here, we are it, we are on our own
On our own, on our own, we are on our own.”
— “Throwing Stones,” lyrics by John Perry Barlow, songwriter for the Grateful Dead and visionary co-founder of the Electronic Frontier Foundation. (Click here to listen.)
“You know what your daddy said, Patty? He said, well, sixty days ago she was such a lovely child and now here she is with a gun in her hands.”
— Patti Smith’s cover of Jimi Hendrix’s “Hey Joe,” cited by Lola Lafon in “Mercy Mary Patty”
“Qu’on se moque pas de mon âme.” (Don’t mock my soul)
— Lola Lafon, “Mon Ame,” from the album “Grandir a l’envers de rien” (Growing up on the other side of nothing) (Recording here.)
“Je suis perdu, je suis revenu.” (I’m lost, I’ve returned)
— Lola Lafon, ibid
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Photo of Lola Lafon by and copyright Lynne S.K., and courtesy Actes-Sud.
Translator’s note: If the ‘you’ addressed by Lola Lafon’s narrator is Neveva Gene, the fictional American professor teaching at a private women’s college in rural France who’s been hired by Patricia Hearst’s attorneys to analyze the Hearst coverage and the tape-recorded messages from Patty released by her kidnappers the “Symbionese Liberation Army” as they try to prove she was brainwashed or coerced into participating in the SLA crimes, this is not a case of the author pretending to be the interior voice of her protagonist. There’s a practical explanation: As becomes clear over the course of the book, the narrator grew up as one of the adopted charges of the adult Violaine, subsequent to the latter’s apprenticeship with Neveva in 1974. During that apprenticeship — while working on the Hearst brief – the French teenager kept a diary. So when the narrator, finding her way to Smith College in 2015 (see first excerpt below) explains (still addressing Gene), “I’m not looking for you, I’m supposing you (emphasis added),” she means that she’s supposing Neveva – and the details of her collaboration with the French teenager Violaine on the Hearst case and their ensuing relationship which form the bulk of the novel – based on what Violaine has told her and on her own reading and interpretation of Violaine’s notes. (In addressing Gene in the second person, Lafon employs the formal “vous,” thus dispensing with any notion that she’s presuming to be the character’s interior voice.) I discovered Lola Lafon when her album Growing up on the other side of nothing was among a box of CDs left on the doorstep of my Belleville apartment building on November 12, 2015, the night before the terrorist attacks that killed 130 people in the music halls and stadiums and on the café terraces of Paris. Her music (see link below) accompanied me during the soul-wrenching days, weeks, and months that followed. So when I heard that Lafon had taken on an episode of my own youth in San Francisco of 1974-75 — in part as a way, in my interpretation, to understand what was happening to too many youth in my Paris of 2015 — I had to find out what she had to say. In “Mary Mercy Patty” Lafon reveals things about my own self — and the impact the Hearst episode had on the fragile pre-adolescent I was — that I hadn’t previously seen. )
In this world where everything is manipulated, where the only thing that can’t be split up is money, and where the heart is rent in half, you can’t rest neutrally on the sidelines.
–Paul Nizan, “La Conspiration,” cited on the frontispiece of “Mercy Mary Patty”
You write of the disappearing teen-aged girls. You write of these missing persons who cut the umbilical cord to search out new vistas without the ability to sort the good from the rotten, elusive, their minds shutting out adults. You question our brutal need to ‘just talk some sense into them.’ You write of the rage of these young people who, at night, in their bedrooms surrounded by stuffed animals, dream up victorious evasions, boarding dilapidated buses, trains, and strangers’ cars, abandoning the neatly paved road for the rubble.
“Mercy Mary Patty,” your study published in 1977 in the U.S., which has just been re-issued, augmented with a new preface by you and a brief publisher’s note, is dedicated to them. It’s not yet been translated into French. It concludes with acknowledgments as well as your résumé, from your degrees in American Literature, History, and Sociology through your teaching positions: the University of Chicago in 1973, the College of the Dunes, France, in 1974-75, assistant professor at the University of Bologna in 1982 and, finally, professor at Smith College in Northampton, Massachusetts. Articles appearing in the academic revues over the past few months underline the importance of your research, magazines analyze what they dub your ‘rehabilitation.’ The New Yorker devotes two columns to you: “A controversial theory: Neveva Gene and the capsized teenaged girls, from Mercy Short** in 1690 to Patricia Hearst in 1974.” The Northampton bookstore clerk slips your book into a paper bag, he seems curious about my choice, the Hearst saga is old history, You’re European, aren’t you? You seem to have your own share of toxic teenagers at the moment, those girls swearing allegiance to a god like one idolizes a movie star, Marx, God, different eras, different tastes…. I’m guessing you’re a student at Smith, he goes on, if you’re looking to meet the author, she’s probably listed in the faculty directory.
But I’m not looking for you. Your office is on the second floor of the building I walk by every morning but it doesn’t matter because I’m not looking for you, I’m supposing you. I explain my reason for being here to the bookstore clerk, I pronounce your name, I recount, I refer to “Madame Neveva” as if you were standing right there next to us and insist upon it, I pronounce “Neveva” in the same way as your students in France who venerated you and who I was not one of, Neveva Gene who arrived in a village in Southwest France in the month of January 1974, a young teacher who in the autumn of 1974 hastily tacked up notices at the village’s two bakeries, Wanted female student with high level of spoken and written English, full-time job for 15 days. Adults need not apply. URGENT.
The three girls who have responded to your notice are there, sitting across from you in your cramped office, you offer them a bag of peanuts and cashews, your knees bump up against the desk, your light blue Shetland sweater sports elbow patches, your hitched-up Levis reveal the malleoluses of your ankles. You say Bonjour, I’m Neveva Gene, pronounced ‘Gene’ as in Gene Kelly or Gene Tierney, no nick-names please, no ‘Gena,’ no ‘Jenny.’
Squeezed into a window nook, one by one the candidates rattle off their credentials in an effort to win you over, this one is studying English Literature at the university, the next has already been to the U.S. twice, speaking English fluently is important if you’re going to go into business. When it’s the third girl’s turn, she refers to taking a “pause” since graduating from high school in June and the need to make a little bread. As they already know, you’re a guest professor. You studied at Smith College in Massachusetts, a university founded in 1875 and reserved for girls barred at the time from higher education. Sylvia Plath was a student there. Sylvia Plath, the name doesn’t ring a bell to them? You mark an incredulous pause in the face of the embarrassed looks of the postulants. Margaret Mitchell? The author of “Gone with the Wind”? The young women acquiesce to that one with an enthusiasm which you find alarming, it’s a novel that’s more than a little dubious, above all Smith had the honor of admitting the first African-American woman to graduate from college, in 1900: Otelia Cromwell.
American Lifestyle and Culture, the course you’re teaching at the College of the Dunes, is multi-faceted; you rapidly enumerate what you’d anticipated teaching before you arrived, the distinct architecture of Massachusetts houses, F. Scott Fitzgerald’s letters to his daughter Scottie, the history of the Haight-Ashbury neighborhood of San Francisco, an examination of the success of the film “The Planet of the Apes,” an explanation of the urban legend of the phantom hitch-hiker, the adventure of Apollo 16 and, finally, the invention of the Arpanet and its consequences for communication. Daunting program. The fact is that you harbored big hopes for this college. They should see the welcome brochure, three pages on pedagogic innovation, but the reality is something else, this institution is merely the umpteenth private school for girls without any particular qualities who drift aimlessly about after high school, a factory for future homemakers more hippy than their mothers, adorable domestic pets brought up to be consumed before their expiration dates. And who understand absolutely nothing in the articles you hand out. The young candidates say nothing and wait politely to find out what this has got to do with them, perhaps they didn’t get the sexual connotation of “brought up to be consumed.” Or maybe they’re just terrified now at the idea of being subjected to your judgment for this work about which you still haven’t said a word. One by one, they recite an article from the New York Times out loud, then translate the essentials, you ask them about the books they read, their musical tastes, pretend not to understand if they answer in French, Sorry?
But where did you learn to speak English like that, you ask the third candidate who immediately blushes, she refers to American songs whose lyrics she likes to copy, they’re actually British you point out, amused, when she recites the words from the Rolling Stones’s “Time Waits for No One” and David Bowie’s “Young Americans.” She lists her favorite movies, every week on the second public television channel a film is projected with sub-titles, the ciné-club, she never misses it even if it’s on late, 11 o’clock, you call her an Americanophile, she stammers, not sure if this is good or bad. All three listen to you, petrified, as you imitate the annual speech of the director to parents in an exageratedly nasal and mincing voice, “Oh nooo, it has nothing to do with not accepting boys in my establishment but offering girls special attention! To liberate them from their own fears!” You want to know their opinion: Would they like to study there, where one has access to so many courses, Introduction to Psychoanalysis, Cinema History, Introduction to Baroque Singing, Judo, and Modern Dance? The third girl’s answer — the tuition is too high — you greet with exaltation, as if it were a scientific breakthrough: Eggs-act-ly! Yes! The very principal of this establishment is a contradiction: Emancipate only those who have the means to be emancipated. At the end of the day, it’s just a bunch of bullshit. (In English in the original.)
Suddenly, you climb up onto the Plexiglas chair. You grab a box stored on the top shelf and place it on the desk. Voila, you announce in designating the package of American origin, as attested to by an impressive quantity of identical green stamps glued across the top of the box. The job of whoever you decide to hire is entirely contained within, you show them the folders overflowing with press clips, half open a plastic bag filled with cassette tapes resembling those teenagers use to record their favorite songs off the radio. You have to write a report, and you won’t have the time to read all this. You must be capable of synthesizing these tons of articles, you explain to them, pointing your finger at the box. You insist on an availability that will be indispensable but of a limited duration, 15 days maximum.
“In fact, do you know who Patricia Hearst is?” They’re on the landing when you pose the question, as if it’s an after-thought, one of the candidates hastens to answer: During her vacation in the U.S., she saw her on t.v., Patricia is very rich she was kidnapped and…. She’s cut off by her competition, yes they talked about her in France, there was a fusillade, a fire, and she was killed. No, you correct her, she’s alive, the police caught her. It’s the kidnappers who are dead. And you’ve been hired to evaluate the mental state of Patricia Hearst after all these tribulations. A respectful silence follows. None of the three ask about this mysterious “they” who have engaged your services or why “they” picked you, you whose specialties are history and literature. You’re the adult, the teacher, and also a foreigner inviting them into a world of adventure, kidnapping, heiresses, happy endings. That’s enough in itself. The young woman whose English level you praised hasn’t uttered a word, distressed, perhaps, to have lost out in the final leg of the race; she’s never heard of Patricia Hearst. That same night, her mother nudges her bedroom door open, her hand on the telephone: It’s for you, a funny accent, certainly the American professor.
“Is it accepted here to go to teachers’ homes?,” you ask the young woman you’ve annointed as your assistant. “Because in my office we’d be too scrunched up, we’ll be a lot more comfortable in my home. We’ll talk salary tomorrow, I’m counting on you to not let yourself be gypped. By the way, are you really 18? I’d put you more at 15.” And it doesn’t matter that she’s never heard of Patricia Hearst, you add before hanging up.
During the rambling job interview — a real Show — you conveniently leave out a major chunk of the Hearst saga. Are you afraid of scaring off these three demeure French girls by telling them any more, do they seem too young to you, are you worried that their parents will be alarmed to see them working on such a subject? You’ve been living in this village of less than 5,000 habitants for a year and a half and have already tested its limits, here everyone knows everything, talks about everything, judges everything. It takes time to explain the complexities and nuances of the drama to your interlocutors and time is the one thing you don’t have a lot of. What angle of approach will you use to study the trajectory of this young American? Which episode will you start with?
That of the kidnapping of Patricia Hearst on February 4, 1974 by an obscure revolutionary cell, the Symbionese Liberation Army? That of the first message from the heiress of February 12, a tape recording deposited by her abductors at the entrance to a radical radio station which mesmerized the entire country, her feeble voice murmuring “Mom, Dad, I’m all right”? How to explain to these French girls just looking for work that in the eyes of the FBI, the victim metamorphosed into a perpetrator in less than two months; converted to the Marxist cause of her captors, she was even identified at their sides April 15 on the video-surveillance images from a San Francisco bank, armed with an M1. It’s understandable that you’re cautious about what the candidates know and don’t say anything about the metamorphosis of Patricia Hearst.
As for your task, the “psychological” evaluation, you don’t exactly lie but here as well you take shortcuts and consign Patricia’s lawyer, your client, to the shadows. You have just 15 days to find something in the cardboard box overflowing with Xeroxes that will help you write an expert report proving the innocence of this child over whom the American media is whipping up a frenzy as her trial date approaches. 15 days to determine, who is the real Patricia Hearst?: a Marxist terrorist, a lost co-ed, an authentic revolutionary, a poor little rich girl, an heiress on the lam, an empty-headed and banal personality who embraced a cause at random, a manipulated zombie, an angry young woman with her sights set on America?
A large beige dog with chestnut spots greets your new assistant on the doorstep with boundless enthusiasm, you lean forward to hold him back — blech!, he’s just planted a sloppy wet kiss on me — a wink, Meet Lenny, you throw a sock at the dog so he’ll amscray.
You put some sugar-coated cookies out on a plate, offer a cup of tea, jasmine, mint, saveur Russe, it’s up to her, you indicate 10 scattered, slightly rusty tin boxes on the kitchen counter. She picks one at random, doesn’t dare tell you that in her family, whether it’s black tea or herbal tea, it’s only imbibed when one’s sick. Remaining standing, she listens to you, her cup in hand, you’ve not invited her to sit down and the only chair in the room is covered with sweaters, an amorphous pile.
“Summarizing the articles would be too fastidious, we need to concentrate on the details,” with a finger you pick at the frayed edges of the cardboard box posed on the dining room table. The French girl acquiesces, looking for signs, are you married, you’re not wearing any perfume, your face is a make-up free zone, the reddened nostrils testify to this, your hair is gathered up into a haphazard pony-tail, your nails clipped like a boy’s are yellowed with tobacco, you laugh with your mouth full of chewed-up cookies without excusing yourself, the beads of tangled necklaces peak out from a half-opened drawer; you tack 33 record covers on the wall, a Nina Simone and a Patti Smith, twice you allude to your “best friend” who lives in San Francisco, the expression suggests an extended adolescence, how old are you? The dog follows you everywhere, into the kitchen, the bathroom, when you go to the WC you continue talking to your assistant, yelling at her to answer the phone. Mlle Gene Neveva is not available, the flabbergasted girl improvises.
You’re the first American she’s ever met. Speaking this language that she associates with novels and movie stars, hearing her own voice become foreign makes your first day together an intoxicating role-playing game. Everything is part of the scenery, a stop-over in an exotic wonderland, the peanut butter you spread on the crackers whose pale crumbs are strewn all over the rug, your bedroom with the storm-windows shuttered in the daytime, the books piled up at the foot of your bed and the stacks of dailies and weeklies that you ask her to sort by name: Time, Newsweek, the New York Times, the San Francisco Chronicle. You toss around the words casually, kidnapping, FBI, abductors, when night falls, you rub your eyes like a tired child and twist around and contort your chest with the eyes half-closed, inhaling slowly, sitting Indian style on the floor. Re-invigorated, you marvel at the manila folders that the girl has prepared, as well as the neat rectangular white labels with sky-blue borders that she pulls out of her bag.
“I love how serious you are, Violette. That name doesn’t really fit you, ‘Violette,’ maybe because it makes you sound too much like a fragile flower….”
My middle name is Violaine, the teenager improvises. You skooch your legs under the table, your mouth forms a careful O, the smoke rings evaporating before they hit the ceiling.
“It’s important, a first name, it’s a birth. Violaine. Not easy to pronounce for an American but o-kay. You know, Vi-o-lai-nuh, what will remain unforgettable for me when I go back to the United States?”
The thunder-storms. The mountains. On the beach, on certain days, one can make them out etched into the fog, when they lock themselves around the ocean like an open hand it’s a good sign that it will be sunny the next day, your assistant is amused to hear you recite with such conviction the sayings of the old-timers.
The tidal equinoxes, also. Last week the ocean rose up to the level of the dunes! The paths along the moors. Absolutely identical, no point of reference, a pine tree is a pine tree is a pine tree is a fern tree is sand. The sand, you sigh…. That, mixed with the soil in the forest, which melts into mud the instant it rains, the silky beige sand that ends up embedded in your purse, encrusted in the spirals of your notebooks, stuck to the base of the bed, clinging to the soleus of your calves, rooted in your socks.
Mlle Neveva won’t forget the sand, she who’s just baptized herself Violaine notes in her journal with the detachment of a documentarian, omitting the fleeting moment when she thinks she hears you qualify her as unforgettable even though she barely knows you.
The sand, you repeat practically every day, exasperated, removing your tennis shoes and shaking them out over the ground.
When, on the morning of the 13th day, you announce that you’ve read something which has opened your eyes, no doubt your report will be finished tomorrow afternoon, Violaine is more relieved than you can imagine. Her only wish is to get back to the equilibrium of those first days, to be your helping hand which cuts out the newspaper and magazine clippings, translates, and pastes. Rather than being the person who slows you down and annoys you and doesn’t hear the same thing you hear in Patty’s recorded messages. You suggest going to the village’s bar / smoke-shop, a change of ambiance will help.
It’s noon, people are emerging from the chapel, the church plaza is packed, Lenny goes wild every time a hand is stretched out to him, exuberant and shy at the same time, a little kid who you never let out of your sight, you whistle and put an end to the social whirl. You dismiss all these pious church-goers out loud in English, tell Violaine to note their holier-than-though airs, wearing their religion on their sleeves, they’re so relieved to be in good standing with God. There’s no such thing as lost souls, just passive bodies — our own.
When you walk into the café, the men aligned along the counter rivet their eyes on you, Violaine follows in your wake, embarrassed to be embarrassed by you who are not at all embarrassed, your jeans just a little too big reveal the hemline of your panties, your sea blue pull-over emphasizes that you’re not wearing a bra.
This providential book, you read it all in one night, the Stanislavski Method of the Actor’s Studio is the bible of all the big American actors, Robert de Niro used it for his approach to playing Travis McGee in “Taxi Driver” (Violaine hasn’t seen it, the film is banned for those under 21). It includes an abundance of exercises to aid in character-building. And without a doubt, Patricia has become a character. And voila your idea, to envisage the entire saga like a story, a film! You’ll portray Patricia and Violaine can play, let’s see, Emily Harris, of the SLA. Your assistant’s aghast refusal amuses you; what, Marxism isn’t contagious?!
“First exercise: Two words that define your character.”
“Alone,” Violaine suggests.
“Protected from everything. Oops, I used one word too many.”
“Too mature for her age.”
“Too many words, Violaine! Susceptible and superficial?”
“Typical teenager,” you fire back, sticking your tongue out at Violaine.
“A symbolic example.”
A symbolic example? Of what? Your assistant is talking nonsense, she has no idea, she’s simply parroting what the heiress says on the second tape. You admit that you’re perplexed, without doubt Patricia must have said “This is a symbolic example,” and Violaine must have understood “I am a symbolic example.” You’ll have to listen to it again later. Second exercise, write a letter to one’s character. How would a letter addressed to Patricia Hearst, college sophomore, be different from one addressed to Patricia Hearst, convict? One doesn’t change in a few weeks, Violaine protests, regretting all the same to find herself disagreeing with you yet again. You continue to insist that we’re not entities with immutable identities, circumstances change us, does Violaine act the same with her parents as here in the bar, certainly not, but Violaine sticks to her guns, Patricia doesn’t really change over the course of her messages, she’d write her the same letter.
The waiter buzzes about you, when he serves the glass of Armagnac the owner insists on offering — the American lady from the Dunes is spending the afternoon in his bar! — his wrist brushes against your hair, Violaine whispers to you, “Il tient une couche celui-là” (He’s one sick puppy, that one), you don’t know the expression but it enchants you, you repeat it to the waiter, who slinks away, the bar is full, the regulars just coming from the rugby match, teenagers putting off going home for the traditional Sunday lunch, you can’t hear anyone in all the hubbub, you step up to the counter to order a beer, you drink to the death of that bastard, Franco finally croaked the day before yesterday, you proclaim rather than simply state, “Those who are against fascism without being against capitalism, those who wail about barbary and who come from barbary, are like those who eat their share of veal then say calves shouldn’t be killed. They want to eat the veal but don’t want to see the blood.”
A young blonde man applauds you, Bravo, say that again but louder this time, so that everyone can hear, a couple approaches you and introduces themselves respectfully, their daughter is in your class, she talks about you all the time, you interrupt them, she should read Brecht, their daughter, voilà, the glasses are refilled and clinked, dirty fascists, then, in the midst of this mob, Violaine rises to her tippy-toes and whispers to you these words that she knows by heart, the phrase with which the SLA signs all its messages, “Death to the fascist insect who feeds on the life of the people.” You stare at her, amazed, she thinks you’re going to make fun of her and apologizes, she’s read the words so often in the past few days that they’ve become embedded in her brain, but you take hold of her hand and execute a rapid, exaggeratedly ceremonious kiss of the hand, everyone whistles for you, you graciously acknowledge them as in the theater.
You insist on walking Violaine home despite her protests, It’s not like she’s going to get lost over 500 meters. Weaving along the path, slightly buzzed, you burst out laughing, recalling the perturbed air of a group of your students, seeing you drinking with the farmers seemed to scandalize them, you regale Violaine with your impressions of them, the way one can never separate those two in class, the sadistic books that one devours, the stories of girls on drugs, prostituted, beaten, locked in closets, raped, the passion of that one for Arthur Rimbaud, she keeps a picture of him in her wallet and sobs over his death, but she’s incapable of citing a single one of his poems. Arriving at the gate, you can’t seem to decide to leave, you ask about the purpose of the high thickets which hide the property of Violaine’s parents. It’s a question of tranquility, Violaine answers without reflecting. You repeat the syllables, “tran-quil-i-ty.” Your assistant’s parents are therefore insulated from all the terrible racket which rages around here — you indicate with a large gesture the forest and the disparate other houses. You crack yourself up with your own jokes, do Violaine’s parents have a special thermostat in their salon for perfect tran-quil-i-ty, with different gradations: “bored like a dead man,” “death-like silence….” Violaine, her keys in hand, doesn’t dare tell you that she’s cold, that around these parts the expression is “bored like a dead rat” and that her parents are waiting, the living-room lights are on, if they come outside and find you both on the stoop, they’ll invite you in, and Violaine can’t think of anything worse than you meeting her parents, why do you have to endlessly analyze everything, you tilt your head and hoot at the sky, waiting for the theoretical reply of an owl which doesn’t come. As if it weren’t night, with the humid sand under your naked feet — you clutch your shoes in your hands, they clutch you — you start in on a recapitulation of the afternoon, it was groovy. You’ll go back to the bar next Sunday as promised with a Nina Simone 33 because you couldn’t find her songs in the jukebox. A propos, did Violaine notice what happened when you recounted how, during a Nina Simone concert, her parents had to give up their seats of honor to Whites and Nina refused to continue singing? Nothing. Nothing happened. Not a shadow of indignation.
The bar had never been so quiet. Violaine should remember it, this stillness, it has an acrid taste, it’s the silence of that which remains unspoken, those who didn’t flinch at the mention of concert seats being off-limits to Blacks thought they were abstaining from commenting but they said it all. In this café, everyone had chosen his camp. There’s no such thing as neutrality.
Day 14 (Excerpt)
Your faith in Method Acting doesn’t last long, the following morning you don’t talk about it anymore. You complain that you have at most two more days before you have to mail the report and you’ve really only just begun writing it. You hole up in your room for most of the day, from the living-room Violaine can hear the tape player starting up, No one’s forcing me to make this recording, Patricia insists. A brief click, the lisping of a tape being rewound, “… understand that I am a, uh, symbolic example and a symbolic warning not only for you but for all the others.”
When you find yourself with Violaine in the kitchen, you sip your tea without a word, no mea culpa and Violaine doesn’t dare bring up again Patricia’s expression that she therefore in fact completely understood, nor ask you who these others are, “all the others,” does she mean “warning” in the sense of an alarm or of a threat, of what is she supposed to be the example, Patricia…?
You’re expected in San Francisco December 15. There, like the other expert witnesses, you’ll be briefed on the potential attacks from the judge and the prosecutor on your credibility and your past. We’ll turn your revolutionary experience into an asset, the lawyer promises. Who could be better placed than you to know that, in these groups, you don’t find many 19-year-old heiresses who’ve never participated in a demonstration? That a lawyer whose universe is limited to Harvard and the circle of influential Republicans would harbor this type of certitude is hardly surprising. That you’ve shown yourself so sure to be able to prove him right is more intriguing.
But here at your side sits a skinny French teenager. Why listen to Patricia at all if you’re going to refuse to hear her?, she innocently asks you over and over. Her question, you also can’t allow yourself to hear it, you whose job is to prove that Patricia doesn’t know what she’s saying. You were right the day you hired her, Violaine understands perfectly well what you’ve given her to read, just not in the way you need.
Are you eviscerated by an experiment which is not turning out the way you wanted it to, all these discussions in which Violaine continues to whittle away at your attempts to prove that Patricia Hearst was brainwashed? Are you drained, between teaching every other day and writing the report, are you pre-occupied by the prison sentence in store for Patricia if the Defense shows itself incapable of proving her innocence — or worried about seeing your reputation tarnished, you who up until now have lived a dream life, the trial promises to be extremely mediatized, your defeat will be public, Neveva Gene couldn’t be bothered to come up with three measly lines to save Hearst. On this particular morning you usher Violaine in and swing open the door to your bedroom to reveal, carefully spread out across the carpet, a mosaic of Patricias. Ten tableaux, the magazine covers from Time and Newsweek. Ten attempts to forge a coherent portrait. One melting into the other, the covers overlapping and supplanting each other.
The cover from February 6, 1974, “SHATTERED INNOCENCE,” a Patricia bearing a wide grin, under the tender blue of a fixed horizon, her hair tossed and tussled by an ocean breeze, she’s wearing a boy’s striped Polo shirt. The cover from February 13, “WHEN WILL SHE BE SET FREE?,” with a pensive Patricia coiled up in a vast green armchair, her father with his back against the bookshelves standing behind her, his hand resting on her shoulder. The cover from March 10, “FIANCÉ TALKS ABOUT PATRICIA.”
Violaine sinks to her knees, careful not to move the photos. Here’s the most recent one, you indicate the Time cover from April 4, 1974. No more blue, no more sky, but fire. The background of the image is red,**** like the fire of a nightmare which announces the color, red like the flag of the SLA in front of which she poses, her legs slightly apart, Patricia is 20 years and one month old, she wears a beret slanted back over her undulating auburn hair, the leather bandolier of an M16 rifle rumpling the khaki fabric of her blouse. A wide black banner splits the image of the heiress in half: GUILTY.
You tell a stunned Violaine that what you’re going to listen to now is a bit shocking. The discourse itself but also Patricia’s tone, the way she talks to her parents. You propose to listen to the recording three times, once with the eyes closed, to take notes, and then to rapidly read the dailies from April 1974. Only afterwards will you talk about them.
Tape 4, broadcast April 3, 1974
“I’d like to start out by emphasizing that what I’m about to say I wrote on my own. This is how I feel. No one’s ever forced me to say anything in these messages. I haven’t been brainwashed, or drugged, or tortured, or hypnotized. Mom, Dad, I want to start off with your pseudo-efforts to ensure my safety. Your gifts were an act. You tried to fool people. You screwed around, played for time, all of which the FBI used to try to kill me and the members of the SLA. You pretended you were doing everything in your power to get me freed. Your betrayals taught me a lot and in that sense, I thank you. I’ve changed; I’ve grown up. I’ve become aware of many things and I can never go back to the life I lead before; that sounds hard, but on the contrary, I’ve learned what unconditional love is, for those who surround me, the love that comes from the conviction that no one will be free as long as we’re not all free. I’ve learned that the dominant class won’t retreat before anything to extend its power over others, even if this means sacrificing one of its own. It should be obvious that people who don’t give a hoot about their own child don’t care anything about the children of others.
“I’ve been given the choice between: 1) being released in a safe place or 2) joining the SLA and fighting for my own liberty and for the liberty of all the oppressed. I’ve decided to stay and fight. No one should have to humiliate themselves to line up for food, nor live in constant fear for their lives and those of their children. Dad, you say that you’re worried about me and for the lives of the oppressed of this country, but you’re lying and, as a member of the ruling class, I know that your interests and those of Mom have never served the interests of the people. You’ve said that you’ll offer more jobs, but why don’t you warn people about what’s going to happen to them, huh? Soon their jobs will be taken away. Of course you’ll say that you don’t know what I’m talking about, you’re just a liar, a sell-out. But go ahead, tell them, the poor and oppressed of this country, what the government’s getting ready to do. Tell the Blacks and the vulnerable that they’ll be killed down to the last man, women and children included. If you have so much empathy for the People, tell them what the energy crisis really is, tell them that it’s just a clever strategy to hide the real intentions of Big Business. Tell them that the oil crisis is nothing more than a way to make them accept the construction of nuclear power plants all over the country; tell the People that the government is getting ready to automate all the industries and that soon, oh, in five years at the most, we won’t have need of anything but push-buttons. Tell them, Dad, that the vulnerable and a big part of the Middle Class, they’ll all be on unemployment in less than three years and then the elimination of the useless will begin. Tell the People the truth. That the maintaining of order and the laws are just an excuse to get rid of the supposedly violent elements, me, I prefer being lucid and conscious. I should have known that you, like other businessmen, you’re perfectly capable of doing this to millions of people to hold on to power, you’d be ready to kill me for the same reasons. How long will it take for the Whites of this country to realize that what’s being done to Black children will sooner or later happen to White children?
My name has been changed to Tania, in homage to a comrade of the struggle who fought with Che in Bolivia. I embrace this name with determination, I’ll continue her fight. There’s no such thing as partial victory. I know that Tania dedicated her life to others. To fight, to devote oneself entirely in an intense desire to learn…. It’s in the spirit of Tania that I say, Patria o muerte, venceromos.“
From pages 139-140:
(The “I” in this segment is the narrator herself, now an adult after having in her turn grown up at the knees of the adult Violaine.)
I’m 37 years old, we’re in 2015, young women are vanishing from their homes. They’re signaled at the borders, designated “S” (likely to commit terrorist acts), inscribed in organizational charts, with graphics establishing the co-relations between them: Coming from the Middle Class for the most part, they range from 15 to 25 years old, and displayed no signs in the preceding months of what was to come. The parents didn’t see it coming when they discovered, stupefied, the B-sides of their children on the ‘Net, in video messages they ask accusingly, in monotone voices, How can we claim to be humanists when in the face of injustice we remain immobile, are we not guilty, with our indifference to the poor? Let’s admit it and say it out loud, they’re a warning. For hours and hours I watch the reportages, read and cut out the articles for no reason, without any particular end, pages and pages of questions, why these girls, to whom everything was permitted and who now grace the magazine covers, they stare at the camera, an arm flattening out their breasts dissimulated under a jumble of fabric. I send the articles to Violaine, the declarations of adults panicked by these impenetrable young girls and who propose to ‘reprogram’ them in a few weeks. Violaine is initially skeptical, Patricia didn’t want to kill anyone, the SLA’s credo was humanist even if it failed, be careful about over-simplifications. We pick up our abandoned discussions, these editorials, 40 years later, employ the same words as in 1975, Could they be our daughters, our sisters, our friends? Violaine answers with a short phrase copied onto a visiting card: “What some people call ‘conversion’ or see as a sudden change isn’t one but a slow process of development, a bit like that of photographs, you know.” — Patricia Hearst (Tania)