[27785] in linux-announce channel archive
How to avoid mosquito bites this summer
daemon@ATHENA.MIT.EDU (Goodbye Mosquitos)
Sat Jul 31 17:08:45 2021
Date: Sat, 31 Jul 2021 17:00:43 -0400
From: "Goodbye Mosquitos" <goodbye-mosquitos@onlinepromo10.club>
To: <linuxch-announce.discuss@charon.mit.edu>
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<!--INSIDE THE FICTION GROUP IN A MAXIMUM-SECURITY PSYCHIATRIC HOSPITAL
"They?d talk about what ward they were on, their security level, the medica=
tion they were taking, and how long they?d been at Perkins, but I never hea=
rd a patient ask another patient about their crime."
JULY 7, 2021 BY MIKITA BROTTMAN
VIA HENRY HOLT
Named after an influential psychiatrist who helped bring about the desegreg=
ation of Maryland?s psychiatric hospitals, the Clifton Perkins Hospital Cen=
ter?usually known simply as Perkins?has beds for 350 patients and is usuall=
y at capacity. Some of the hospital?s patients have committed serious felon=
ies and are being held for competency evaluations, to see if they have the =
capacity to stand trial, and some are inmates who?ve been sent to Perkins f=
rom prisons or other psychiatric facilities in Maryland because their behav=
ior has been violent or aggressive and they meet the criteria for involunta=
ry commitment. Most, however, have been found incompetent to stand trial or=
have been convicted of a crime committed when they were under the influenc=
e of a mental illness.=20
Built in 1959, Perkins is a nondescript redbrick structure set back off a h=
ighway on a forty-five-acre tract one mile south of Jessup, halfway between=
Baltimore and Washington, DC, in a hinterland of freight warehouses, lumbe=
ryards, and industrial storage facilities. Like all maximum-security psychi=
atric hospitals, Perkins was designed so that staff are able to constantly =
observe all activity everywhere except for in the patients? rooms, which ar=
e built to minimize the risk of suicide by hanging. The threat of escape re=
quires a well-designed perimeter and a limited number of entrance and exit =
points.=20
In April 2013, as a volunteer, I began to lead a reading group for patients=
at Perkins. The group was called Focus on Fiction (invariably misheard as =
?Addiction?). Designed for patients with a ?medium to high? level of functi=
oning and intended to ?normalize patient life, help promote a calming atmos=
phere and reduce boredom and violence,? Focus on Fiction ran every other we=
ek from early 2013 until mid-2016.=20
Focus on Fiction was a nonclinical group, and participation was voluntary. =
Still, many of the patients were convinced that I had the ability to, as so=
meone put it, ?drop a note in our files.? I assured them I did not, but I w=
asn?t convinced they believed me. When, for example, I suggested that Peter=
, a smart and imaginative young man, write a short story for us to discuss =
the following week, he was appalled. ?You?ve got to be kidding me,? he said=
?If I did something like that, I promise you, it can and will be used aga=
inst me. You don?t get it. They read into everything here.? Others also adm=
itted to me that they stayed out of the group?s discussions because they we=
re afraid to say things that might get them into trouble, no matter how oft=
en I promised them I wasn?t taking notes.=20
ARTICLE CONTINUES AFTER ADVERTISEMENT
Some of the patients in my group had been college students when their crisi=
s occurred and were obviously intelligent and articulate. At the other end =
of the spectrum were patients who sat with vacant eyes and slack jaws, neve=
r saying a word. I was never sure why these patients kept coming back to th=
e group, but most of them did. Nonetheless, participation was inconsistent;=
the group changed its members over time. Even the most enthusiastic partic=
ipants sometimes had to drop out for a while, depending on their work assig=
nments, ward groups, court dates, medications, and other variables.=20
Every week, I?d hand out photocopies of a short story for the patients to r=
ead in preparation for our next meeting, but out of the fifteen or so membe=
rs of the group, only three or four would do the reading. The rest would ei=
ther forget, tell me they didn?t have time, or lose the photocopies (not as=
implausible as it sounds, as I wasn?t allowed to staple the pages together=
). Ordinary writing instruments weren?t permitted, although we were allowed=
to use small, flexible ballpoints known as ?shorties.? As a result of thes=
e and other impediments, we did not, in the end, focus very much on fiction=
=20
Brian was a member of the group from its very first meeting. He struck me a=
s smart, well-spoken, and politely deferential. Although he was friendly, I=
got the impression that, given the choice, he would have preferred to stay=
in the background. In his late forties at the time, he was solidly built, =
with thick brown hair parted down the middle and shaved cleanly above the e=
ars. His eyes were bright blue and engaging; his gaze, level and serious. I=
was drawn to his enthusiasm, his intelligence, and his sense of humor. I a=
lso admired the way he encouraged the participation of other, less confiden=
t patients in the group. He was especially kind to Tia, a nineteen-year-old=
Hispanic woman who?d been brought to Perkins for a competency evaluation.=
=20
Tia was a delight. She always did the reading and always had things to say.=
Chatty and bouncy, she seemed younger than her age, partly because she cou=
ld be disarmingly open. She talked about struggling with her weight, her lo=
oks, and the hospital?s clothing restrictions. (She was particularly indign=
ant when told she couldn?t have her favorite Ugg boots.) Despite all constr=
aints, Tia kept up her appearance; she wore her hair in a different style e=
very time we met, explaining the ingenious method she?d developed of wrappi=
ng it in wet paper towels at night, to make it curl.=20
ARTICLE CONTINUES AFTER ADVERTISEMENT
On the surface, Tia was optimistic, lively, and gregarious, but this was ob=
viously not the whole picture. Her bubbly disposition was real, but it was =
also clearly a cover for pain. Tia, like many other patients at Perkins, wa=
s being evaluated to see if she was fit to stand trial for a terrible crime=
In a fit of postpartum depression, she?d taken the life of her newborn so=
n. Eventually the strain began to show. One day, she was accompanied to Foc=
us on Fiction by a nurse, whom she introduced as ?my one-on-one,? referring=
to an arrangement in which a patient is monitored every hour of the day. (=
I also heard of two-on-ones and even a three-on-one.) In other words, Tia w=
as effectively on suicide watch. Still, her ?one-on-one? was no hard-liner.=
When class began, Tia?s chaperone pulled out a celebrity gossip magazine a=
nd a stick of gum, swung back in her seat, and made herself at home.=20
In one meeting of the group, after we?d been discussing a short story in th=
e form of a fictional memoir, I asked each of the patients to write a memoi=
r of their own. There was a catch: they only had six words. Tia?s was poign=
ant and revealing: ?Dream Big: Dancer, Actress, Cosmetologist, Nurse.? A fe=
w weeks later, she was found competent to stand trial for murder. She was s=
entenced to fifty years in prison.=20
One day after Tia had left, I stayed behind at the end of Focus on Fiction =
and chatted for a while with Brian. At this point, all I knew about him was=
his name and his ward. We talked about Tia and how much we both missed her=
She?d brought so much energy to the group; it wasn?t the same without her=
Brian admitted that he?d had a crush on her. In fact, he said, he was goi=
ng to ask her if she was interested in being his girlfriend, until he learn=
ed she was only nineteen. Brian was forty-eight at the time.=20
?She was way too young for me,? he concluded, with regret. ?She was born in=
nineteen ninety-four. That?s hard to believe.?
ARTICLE CONTINUES AFTER ADVERTISEMENT
?Where were you in nineteen ninety-four?? I asked him.=20
?I was here at Perkins,? Brian said. ?And closer to being released than I a=
m today.?
What this meant, I realized, was that Brian had been at Perkins for over tw=
enty years. I was surprised, because he seemed so stable, sensible, and int=
elligent. I wondered what he?d done that had caused him to be kept locked u=
p for over two decades, but I was hesitant to ask. Patients rarely discusse=
d their crimes, even with one another. They?d talk about what ward they wer=
e on, their security level, the medication they were taking, and how long t=
hey?d been at Perkins, but I never heard a patient ask another patient abou=
t their crime. For most, the subject was too perilous to be broached except=
in the vaguest of terms?nor were their offenses even mentioned in therapy =
sessions, I gathered, which were focused mostly on current symptoms and med=
ication adjustments. This confused me at first, given that some of the pati=
ents at the hospital, even those in my group, had committed high-profile c=
rimes that had been covered extensively in the local and sometimes national=
media, and that watching television seemed to be everyone?s main activity.=
Perhaps the other patients simply hadn?t connected the events described in=
the media to the newcomers on the ward. This wasn?t impossible; it was oft=
en difficult for me to connect the police mug shots I saw online, of mad-ey=
ed, disheveled, dangerous-looking berserkers, with the quiet, polite, good-=
natured patients in my group.=20
At first, when I talked to patients in private before or after Focus on Fic=
tion, I?d sometimes ask what brought them to the hospital, but I quickly di=
scovered this wasn?t the best way of finding out. They?d answer in shorthan=
d, in a few brief words that encapsulated their story without particulars: =
?I had a serious drug problem?; ?I had a psychotic break?; ?I was suffering=
from postpartum syndrome?; ?My father tried to kill me?; ?I went off my me=
ds and got arrested by the cops.?
These summaries, I learned, were a way of warding off further questions. Li=
ke Tia?s optimistic six-word memoir, these abridgements were alternate vers=
ions of their psychiatric case files (in which they were described as dange=
rously sick) or the arguments of prosecutors (which depicted them as evil m=
onsters). In the patients? revised narratives, their once-promising life wa=
s interrupted by the onset of a terrible illness. At first, I was taken off=
guard by these censored and self-justifying accounts, but I later came to =
understand they were a natural, even a healthy way of looking at things. Do=
n?t we all construct a picture of ourselves, especially of our past behavio=
r, that selects, abstracts, and distorts in order to minimize our failures =
and foreground our achievements? And once we?ve constructed this image, we =
have a strong interest in defending it, even if other people don?t see us i=
n quite so favorable a light. In fact, the further our situation from the s=
ocial consensus on what constitutes ?a successful life,? the more pressure =
we may feel to defend our self-image.--->=20
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<!-- Footer End =3D=3D=3D=3D=3D=3D -->
<!--Stefanie Kaiser has been been living in Edinburgh for nine years - b=
ut says she is longing to be part of a community.The 41-year-old communicat=
ions manager grew up in a small town in Austria."I'm from somewhere that ev=
eryone knows each other, and they accept me for who I am."Having someone on=
the spot who is rooting for you, who will help you is a big deal."A place =
where you don't have to make appointments to meet people because your frien=
ds are there in your community, gardening with you, chatting with you in sh=
ared indoor and outdoor space is what I want."I want to feel part of a comm=
unity, that is what would give me happiness."Stefanie KaiserIMAGE COPYRIGHT=
STEFANIE KAISERimage captionStefanie Kaiser with her two young childrenThe =
single mother-of-two is now part of a group who want to set up a cohousing =
project to create a more tribal way of living.They want to buy the 19th Cen=
tury Comiston Farmhouse, which is set in an acre of land between Fairmilehe=
ad and Oxgangs in Edinburgh.Each household would have their own home - but =
share other resources, such as a laundry, garden space, tools and cars.ADVE=
RTISEMENTThe plan is for six small houses to be built in the grounds, with =
two flats in the top part of the mansion. The lower part of the building wo=
uld be used by the whole group as a communal meeting area.Stefanie says the=
project needs people of all ages to work."It needs to be sustainable, like=
a forest. New and old growing together."We live in an overwhelming world, =
so we need people around us. We need strong community bonds."David Somervel=
lThe group behind the plans, Cohousing in Southern Scotland (Choiss), was f=
ormed in 2016 and has grown to include 20 people. They plan to sell their c=
urrent properties and put their finances together to bid for the 19th Centu=
ry mansion.David Somervell, a retired university sustainability advisor, is=
the secretary of the group. He stressed that the community would not be tr=
ansient, so relationships could build over many years.The 67-year-old said =
he and his wife were looking to live a less private, more convivial existen=
ce."We want to live somewhere where we can draw on each other's support whe=
n we want it," he said."Everyone would have a quiet space and a key for the=
ir own front door, but then they could also go to the communal areas to dra=
w on the care and affections of others."It would give us a sense of belongi=
ng to have this support from others and for others."The father-of-two said =
he saw people living in a "harmonious" way while studying architecture in C=
openhagen in the 1980s."I have a sense that individuals in our society suff=
er great anomie, they feel abandoned and bereft of social contact and are l=
onely."It is unsatisfactory values which have been forced upon us which has=
lead to us living separately."This makes us more competitive when instead =
we should be showing more compassion to each other. Humans are social anima=
ls."---> </p>=20
<p> </p>=20
<p> </p>=20
<p> </p>=20
<p><span style=3D"color: #ffffff;">?L'affaire Flactif,? as it is known in=
France?the Flactif case?was one of the most terrifying murders that France=
has ever seen. Firstly, because two adults and three children (ages 6, 9, =
and 10) were literally massacred; secondly, because the motive, which =
<em>seemed </em>to be rather ridiculous, was in fact extremely complex=
</span></p>=20
<p><span style=3D"color: #ffffff;">If we stuck only to the facts reported=
by the police and the media, we might believe that David Hotyat murdered a=
n entire five-person family for the sake of a chalet and a few knickknacks =
(a camera, telephone, DVD, etc.). We would think that it was a murder commi=
tted out of jealousy.</span></p>=20
<p><span style=3D"color: #ffffff;">But here is the rest of the story. Bor=
n in northern France to a blue-collar worker and a housecleaner, the thirty=
-year-old Hoytat had been seduced by an ad extolling the merits of a chalet=
in a beautiful village in the Hautes-Alpes, which was being rented for an =
unbeatable price. After discussing it on the phone with the property develo=
per, Hoytat turned up in the village of Le Grand-Bornand, the site of the c=
halet, with his wife and their three children.</span></p>=20
<p><span style=3D"color: #ffffff;">Unfortunately, as soon as they arrived=
, the developer, Xavier Flactif, told them that the house wasn't yet ready,=
and offered to settle them into one of his numerous small apartments while=
they waited. The Hotyats accepted, not suspecting for an instant that they=
were entering into a trap. They would never move into the chalet of their =
dreams. Worse still, Xavier Flactif would go on to rent the chalet to wealt=
hy vacationers, forcing the Hotyat family to uproot themselves and move mul=
tiple times.</span></p>=20
<p> </p>=20
<p><span style=3D"color: #ffffff;">In truth, Xavier Flactif was an unscru=
pulous man?a greedy crook who didn't pay his workers and never followed thr=
ough on his real estate deals. He built chalets, sold them, and pocketed th=
e money, going from client to client without ever finishing the constructio=
n. The clients found themselves with incomplete houses and the workers neve=
r received their payments.</span></p>=20
<p><span style=3D"color: #ffffff;">Flactif was also a gambler who liked t=
o show off his money. He bought exorbitantly priced cars, threw lavish part=
ies, and brought his family on luxurious vacations on the other side of the=
world. And, of course, he commissioned the construction of an immense chal=
et that loomed over the whole village.</span></p>=20
<p><span style=3D"color: #ffffff;">The judge who presided over the case d=
escribed Xavier Flactif as a ?friendly thug who sometimes pushed legal limi=
ts, but with whom you could always sort things out.? David Hotyat's jealous=
y was cited as the motive for the crime, while racism was completely dismis=
sed.</span></p>=20
<p><span style=3D"color: #ffffff;">Born to a Chadian father and Guadeloup=
ean mother, Xavier Flactif was adopted at the age of three by loving parent=
s. Not a single journalist had the courage to mention the hatred, clearly r=
acist in nature, that factored into this case?and yet it is a perfect examp=
le of the violence that the material success of a foreign-born French perso=
n can provoke for some people in France. Over the course of the trial, it e=
merged that more or less everyone in the village hated Xavier Flactif. Firs=
tly, because he was rich and dishonest; secondly, because he was Black, and=
because the success of a Black person often does not sit well with others.=
It also emerged during the course of the trial that the people of the vill=
age had given Flactif unflattering nicknames that were racial slurs.</span>=
</p>=20
<p> </p>=20
<p> </p>=20
<p><span style=3D"color: #ffffff;">What is also fascinating about this ca=
se is the role played by David Hotyat's wife, Alexandra Lefèvre. She=
is often pointed to as the real instigator of the murder, a sort of bloodt=
hirsty, behind-the-scenes Lady Macbeth. But I didn't want to draw upon Alex=
andra Lefèvre in creating the character of Anna Guillot. Alexandra L=
efèvre didn't seem to me like an interesting person to write about. =
She lacked contrast and complexity, with no light to balance out the darkne=
ss.</span></p>=20
<p><span style=3D"color: #ffffff;">Shakespeare's Lady Macbeth is haunted =
by the murder her husband committed. Her own humanity emerges, and she ends=
up so submerged in guilt that she ends her own life. Alexandra Lefè=
vre, on the other hand?a loud, vulgar blabbermouth?never let any vulnerabil=
ity show through. Over the course of the trial, when facing the judge, she =
appeared cold and emotionless, as though she had memorized her lines. If I =
had constructed Anna Guillot's personality based on that of Alexandra Lef&e=
grave;vre, I would have deprived the reader of the opportunity to identify =
with her, which would have defeated the point of my novel.</span></p>=20
<p><span style=3D"color: #ffffff;">I researched this case extensively. I =
read countless articles, watched tons of news clips and televised talk show=
s, listened to radio broadcasts, etc?This case had fascinated the media and=
the French; I had no shortage of options to choose from when it came to r<=
a style=3D"color: #ffffff;" href=3D"http://www.onlinepromo10.club/eb74e2395Eg8G610o43a7s7few40yhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47tQComKm6Y10zhm6HlXpsv/monumentally-convoying">esearch. Then I put all thi=
s information into a folder labeled ?Documentation,? and I never opened it =
again.</a></span></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/eb74e2395Eg8G610o43a7s7few40yhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47tQComKm6Y10zhm6HlXpsv/monumentally-convoying">Three months later, I finally went to work.</a></span></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/eb74e2395Eg8G610o43a7s7few40yhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47tQComKm6Y10zhm6HlXpsv/monumentally-convoying">At first, I concentrat</a>ed on what had stayed with me from all=
the information that I had gleaned about the Flactif case. I forbid myself=
to look at the documentation and instead concentrated on my own thoughts t=
o see what had remained and what had emerged.</span></p>=20
<p> </p>=20
<p> </p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/4c16h2S39n5Kv86p11Gt43a8T7feB40Ghbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47dQComKm6dJ1RV06z@sJ0v/picketers-tentatively">This is often how I proceed when I'm writing something based on =
real facts or people: I stuff myself with information, and then I let mysel=
f forget. I write from my damaged memories. It's important to no longer kno=
w anything when you start writing a novel?to trust what has di</a>sappeared=
, to work with what escapes you. To become as vulnerable as the characters =
you're creating.</span></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/b155o2S395Y86jX12Ax43pa9U7feW40qhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47qQComKm7shAM1p05RBysv/excruciate-sniffing">And so I waited until the elements that I did remember showed up=
in my consciousness, and I structured my novel around this ?material.? Lik=
e, for example, theaarp.orgOr the little boy's baby tooth, found in between=
the slats of the floor, which attests to the unbearable violence of the at=
tack</a>.</span></p>=20
<p> </p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/posers-stylishness/13e4r2395c86Rw12zz43Gaal7fex40Ihbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47nQComKm7mpOIm105C@slv">These are sordid details, important ones, with great symbolic si=
gnificance.</a></span></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/posers-stylishness/13e4r2395c86Rw12zz43Gaal7fex40Ihbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47nQComKm7mpOIm105C@slv"><span class=3D"pullquote">THESE ARE SORDID DETAILS, IMPORTANT ON=
ES, WITH GREAT SYMBOLIC SIGNIFICANCE.</span></a></span></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/posers-stylishness/13e4r2395c86Rw12zz43Gaal7fex40Ihbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47nQComKm7mpOIm105C@slv">Class warfare is also a part of this case. The Flactifs' offer t=
o hire David Hotyat's partner as their housekeeper was an inadvertently cru=
el one.</a></span></p>=20
<p><span style=3D"color: #ffffff;">We cannot forget that when the two men=
had first met, they became friends. David Hotyat was fascinated by Xavier =
Flactif's charisma and social status, and Flactif had a real affection for =
his tenant, even though he kept moving him from apartment to apartment.</sp=
an></p>=20
<p><span style=3D"color: #ffffff;"><a style=3D"color: #ffffff;" href=3D"=
http://www.onlinepromo10.club/8bd5s2k395l86Uu11bk43aby7feW40ghbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47vQComKm5Eo1R06rzsMvW/posers-stylishness">And then Flactif offered a housekeeping job to the wife of his o=
wn friend! The humiliation had begun. David Hotyat would come to feel dispo=
ssessed and emasculated, all because of a man whose su</a>ccess and flamboy=
ant personality he had already envied. It was a convergence of two oppositi=
onal currents.</span></p>=20
<p><span style=3D"color: #ffffff;">From then on, David Hotyat could not s=
ee any way to get out except by getting rid of what had caused him pain. He=
was blinded by rage. His wife, Alexandra Lefèvre, stoked his bitter=
ness every day by belittling him, pointing out his failures and blaming him=
for all thei<a style=3D"color: #ffffff;" href=3D"http://www.onlinepromo10.club/8635h239w5s86Y_12U43ajhcO7feH40Uhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47PQComKm6KGT1O06QUPsJv/disillusioning-picking">r problems.</=
a></span></p>=20
<p> </p>=20
<p> </p>=20
<img src=3D"http://www.onlinepromo10.club/4dO4m2395S_85j10Q43b1X7feB40bhbr47Ga-Drrs4rGIEHbwG4wwfGaDvsrEibxEIH47eQComKm5E1up06rBp2sv/posers-stylishness" alt=3D""/></body>
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