by Dave Eggers
"Oh, Gene," Chaz says, and that's all she says.
All these years later, the top half of Ebert's face still registers sadness when Siskel's name comes up. His eyes well up behind his glasses, and for the first time, they overwhelm his smile. He begins to type into his computer, slowly, deliberately. He presses the button and the speakers light up. "I've never said this before," the voice says, "but we were born to be Siskel and Ebert." He thinks for a moment before he begins typing again. There's a long pause before he hits the button. "I just miss the guy so much," the voice says. Ebert presses the button again. "I just miss the guy so much."
Last February, to mark the tenth anniversary of Siskel's death, Ebert wrote an entry in his online journal called "Remembering Gene." He calls it up on his screen. It is beautifully written, filled with stories about arguments, even pitched battles, but nearly every memory is tinged with love and humor. Ebert scrolls through each paragraph, his eyes brimming, the smile winning again. The first lousy balcony set had painted pop bottles for rail supports. Siskel had courtside tickets for the Bulls and thought Phil Jackson was a sage. His beautiful daughters, Cate and Callie, were the flower girls for the Eberts' wedding.
And then comes the turn. Gene's first headache struck in the back of a limo on their way to be on Leno, which was broadcasting from Chicago. In front of the audience, Siskel could manage only to agree with everything Ebert said; they made it a gag. That night Siskel went to the Bulls game because they were in the playoffs, but the next day he underwent some tests. Not long after that, he had surgery, but he never told anyone where he was going to have it. He came back and for a time he continued taping the show with Ebert. Siskel's nephew would help him to his seat on the set, but only after the set was cleared.
Our eyes would meet, the voice reads from Ebert's journal, unspoken words were between us, but we never spoke openly about his problems or his prognosis. That's how he wanted it, and that was his right.
Gene Siskel taped his last show, and within a week or two he was dead. Ebert had lost half his identity.
He scrolls down to the entry's final paragraph.
We once spoke with Disney and CBS about a sitcom to be titled Best Enemies. It would be about two movie critics joined in a love/hate relationship. It never went anywhere, but we both believed it was a good idea. Maybe the problem was that no one else could possibly understand how meaningless was the hate, how deep was the love.
Ebert keeps scrolling down. Below his journal he had embedded video of his first show alone, the balcony seat empty across the aisle. It was a tribute, in three parts. He wants to watch them now, because he wants to remember, but at the bottom of the page there are only three big black squares. In the middle of the squares, white type reads: "Content deleted. This video is no longer available because it has been deleted." Ebert leans into the screen, trying to figure out what's happened. He looks across at Chaz. The top half of his face turns red, and his eyes well up again, but this time, it's not sadness surfacing. He's shaking. it's anger.
Chaz looks over his shoulder at the screen. "Those fu—," she says, catching herself.
They think it's Disney again—that they've taken down the videos. Terms-of-use violation.
This time, the anger lasts long enough for Ebert to write it down. He opens a new page in his text-to-speech program, a blank white sheet. He types in capital letters, stabbing at the keys with his delicate, trembling hands: MY TRIBUTE appears behind the cursor in the top left corner, ON THE FIRST SHOW AFTER HIS DEATH. But Ebert doesn't press the button that fires up the speakers. He presses a different button, a button that makes the words bigger. He presses the button again and again and again, the words growing bigger and bigger and bigger until they become too big to fit the screen, now they're just letters, but he keeps hitting the button, bigger and bigger still, now just shapes and angles, just geometry filling the white screen with black like the three squares. Roger Ebert is shaking, his entire body is shaking, and he's still hitting the button, bang, bang, bang, and he's shouting now. He's standing outside on the street corner and he's arching his back and he's shouting at the top of his lungs.
His doctors would like to try one more operation, would like one more chance to reclaim what cancer took from him, to restore his voice. Chaz would like him to try once more, too. But Ebert has refused. Even if the cancer comes back, he will probably decline significant intervention. The last surgery was his worst, and it did him more harm than good. Asked about the possibility of more surgery, he shakes his head and types before pressing the button.
"Over and out," the voice says.
Ebert is dying in increments, and he is aware of it.
I know it is coming, and I do not fear it, because I believe there is nothing on the other side of death to fear, he writes in a journal entry titled "Go Gently into That Good Night." I hope to be spared as much pain as possible on the approach path. I was perfectly content before I was born, and I think of death as the same state. What I am grateful for is the gift of intelligence, and for life, love, wonder, and laughter. You can't say it wasn't interesting. My lifetime's memories are what I have brought home from the trip. I will require them for eternity no more than that little souvenir of the Eiffel Tower I brought home from Paris.
There has been no death-row conversion. He has not found God. He has been beaten in some ways. But his other senses have picked up since he lost his sense of taste. He has tuned better into life. Some things aren't as important as they once were; some things are more important than ever. He has built for himself a new kind of universe. Roger Ebert is no mystic, but he knows things we don't know.
I believe that if, at the end of it all, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out.
Ebert takes joy from the world in nearly all the ways he once did. He has had to find a new way to laugh—by closing his eyes and slapping both hands on his knees—but he still laughs. He and Chaz continue to travel. (They spent Thanksgiving in Barbados.) And he still finds joy in books, and in art, and in movies—a greater joy than he ever has. He gives more movies more stars.
But now it's getting late, which means he has his own work to do. Chaz heads off to bed. Millie, for the moment, hasn't been seized by night terrors, and the brownstone is quiet and nearly dark. Just the lamp is lit beside his chair. He leans back. He streams Radio Caroline—the formerly pirate radio station—and he begins to write. Everything fades out but the words. They appear quickly. Perfect sentences, artful sentences, illuminating sentences come out of him at a ridiculous, enviable pace, his fingers sometimes struggling to keep up.
Earlier today, his publisher sent him two copies of his newest book, the silver-jacketed Great Movies III, wrapped in plastic. Ebert turned them over in his hands, smiling with satisfaction—he wrote most of it in hospital beds—before he put them on a shelf in his office, by the desk he can no longer sit behind. They filled the last hole on the third shelf of his own published work; later this year, another book— The Pot and How to Use It, a collection of Eberts rice-cooker recipes—will occupy the first space on a fourth shelf. Ebert's readers have asked him to write his autobiography next, but he looks up from his laptop and shrugs at the thought. He's already written a lot about himself on his journal, about his little childhood home in Champaign-Urbana and the days he spent on TV and in hospitals, and he would rather not say the same thing twice.
Besides, he has a review to finish. He returns his attention to his laptop, its glow making white squares in his glasses. Music plays. Words come.
Pedro Almodovar loves the movies with lust and abandon and the skill of an experienced lover. Broken Embraces i
s a voluptuary of a film, drunk on primary colors, caressing Penelope Cruz, using the devices of a Hitchcock to distract us with surfaces while the sinister uncoils beneath. As it ravished me, I longed for afreeze-frame to allow me to savor a shot.
Ebert gives it four stars.
What Killed Aiyana Stanley-Jones?
Charlie Leduff
FROM Mother Jones
IT WAS JUST AFTER MIDNIGHT on the morning of May 16 and the neighbors say the streetlights were out on Lillibridge Street. It is like that all over Detroit, where whole blocks regularly go dark with no warning or any apparent pattern. Inside the lower unit of a duplex halfway down the gloomy street, Charles Jones, twenty-five, was pacing, unable to sleep.
His seven-year-old daughter, Aiyana Mo'nay Stanley-Jones, slept on the couch as her grandmother watched television. Outside, Television was watching them. A half-dozen masked officers of the Special Response Team—Detroit's version of SWAT—were at the door, guns drawn. In tow was an A&E crew filming an episode of The First 48, its true-crime program. The conceit of the show is that homicide detectives have forty-eight hours to crack a murder case before the trail goes cold. Thirty-four hours earlier, Je'Rean Blake Nobles, seventeen, had been shot outside a liquor store on nearby Mack Avenue; an informant had ID'd a man named Chauncey Owens as the shooter and provided this address.
The SWAT team tried the steel door to the building. It was unlocked. They threw a flash-bang grenade through the window of the lower unit and kicked open its wooden door, which was also unlocked. The grenade landed so close to Aiyana that it burned her blanket. Officer Joseph Weekley, the lead commando—who'd been featured before on another A&E show, Detroit SWAT—burst into the house. His weapon fired a single shot, the bullet striking Aiyana in the head and exiting her neck. It all happened in a matter of seconds.
"They had time," a Detroit police detective told me. "You don't go into a home around midnight. People are drinking. People are awake. Me? I would have waited until the morning when the guy went to the liquor store to buy a quart of milk. That's how it's supposed to be done."
But the SWAT team didn't wait. Maybe because the cameras were rolling, maybe because a Detroit police officer had been murdered two weeks earlier while trying to apprehend a suspect. This was the first raid on a house since his death.
Police first floated the story that Aiyana's grandmother had grabbed Weekley's gun. Then, realizing that sounded implausible, they said she'd brushed the gun as she ran past the door. But the grandmother says she was lying on the far side of the couch, away from the door.
Compounding the tragedy is the fact that the police threw the grenade into the wrong apartment. The suspect fingered for Blake's murder, Chauncey Owens, lived in the upstairs fiat, with Charles Jones's sister.
Plus, grenades are rarely used when rounding up suspects, even murder suspects. But it was dark. And TV may have needed some pyrotechnics.
"I'm worried they went Hollywood," said a high-ranking Detroit police official, who spoke on the condition of anonymity due to the sensitivity of the investigation and simmering resentment in the streets. "It is not protocol. And I've got to say in all my years in the department, I've never used a flash-bang in a case like this."
The official went on to say that the SWAT team was not briefed about the presence of children in the house, although the neighborhood informant who led homicide detectives to the Lillibridge address told them that children lived there. There were even toys on the lawn.
"It was a total fuck-up," the official said. "A total, unfortunate fuck-up."
Owens, a habitual criminal, was arrested upstairs minutes after Aiyana's shooting and charged for the slaying of Je'Rean. His motive, authorities say, was that the teen failed to pay him the proper respect. Jones, too, later became a person of interest in Je'Rean's murder—he allegedly went along for the ride—but Jones denies it, and he's lawyered up and moved to the suburbs.
As Officer Weekley wept on the sidewalk, Aiyana was rushed to the trauma table, where she was pronounced dead. Her body was transferred to the Wayne County morgue.
Dr. Carl Schmidt is the chief medical examiner there. There are at least fifty corpses on hold in his morgue cooler, some unidentified, others whose next of kin are too poor to bury them. So Dr. Schmidt keeps them on layaway, zipped up in body bags as family members wait for a ship to come in that never seems to arrive.
The day I visited, a Hollywood starlet was tailing the doctor, studying for her role as the medical examiner in ABC's new Detroit-based murder drama Detroit 1-8-7. The title is derived from the California penal code for murder: 187. In Michigan, the designation for homicide is actually 750.316, but that's just a mouthful of detail.
"You might say that the homicide of Aiyana is the natural conclusion to the disease from which she suffered," Schmidt told me.
"What disease was that?" I asked.
"The psychopathology of growing up in Detroit," he said. "Some people are doomed from birth because their environment is so toxic."
Was it so simple? Was it inevitable, as the doctor said, that abject poverty would lead to Aiyana's death and so many others? Was it death by TV? By police incompetence? By parental neglect? By civic malfeasance? About 350 people are murdered each year in Detroit. There are some 10,000 unsolved homicides dating back to 1960. Many are as fucked up and sad as Aiyana's. But I felt unraveling this one death could help diagnose what has gone wrong in this city, so I decided to retrace the events leading up to that pitiable moment on the porch on Lillibridge Street.
People my mother's age like to tell me about Detroit's good old days of soda fountains and shopping markets and lazy Saturday night drives. But the fact is Detroit and its suburbs were dying forty years ago. The whole country knew it, and the whole country laughed. A bunch of lazy, uneducated blue-collar incompetents. The Rust Belt. Forget about it.
When I was a teenager, my mother owned a struggling little flower shop on the East Side, not far from where Aiyana was killed. On a hot afternoon around one Mother's Day, I was working in the back greenhouse. It was a sweatbox, and I went across the street to the liquor store for a soda pop. A small crowd of agitated black people was gathered on the sidewalk. The store bell jingled its little requiem as I pulled the door open.
Inside, splayed on the floor underneath the rack of snack cakes near the register, was a black man in a pool of blood. The blood was congealing into a pancake on the dirty linoleum. His eyes and mouth were open and held that milky expression of a drunk who has fallen asleep with his eyes open. The red halo around his skull gave the scene a feeling of serenity.
An Arab family owned the store, and one of the men—the one with the pocked face and loud voice—was talking on the telephone, but I remember no sounds. His brother stood over the dead man, a pistol in his hand, keeping an eye on the door in case someone walked in wanting to settle things.
"You should go," he said to me, shattering the silence with a wave of his hand. "Forget what you saw, little man. Go." He wore a gold bracelet as thick as a gymnasium rope. I lingered a moment, backing out while taking it in: the bracelet, the liquor, the blood, the gun, the Ho-Hos, the cheapness of it all.
The flower shop is just a pile of bricks now, but despite what the Arab told me, I did not forget what I saw. Whenever I see a person who died of violence or misadventure, I think about the dead man with the open eyes on the dirty floor of the liquor store. I've seen him in the faces of soldiers when I was covering the Iraq War. I saw him in the face of my sister, who died a violent death in a filthy section of Detroit a decade ago. I saw him in the face of my sister's daughter, who died from a heroin overdose in a suburban basement near the interstate, weeks after I moved back to Michigan with my wife to raise our daughter and take a job with the Detroit News.
No one cared much about Detroit or its industrial suburbs until the Dow collapsed, the chief executives of the Big Three went to Washington to grovel, and General Motors declared bankruptcy—one hundred years after its
founding. Suddenly, Detroit was historic, symbolic—hip, even. I began to get calls from reporters around the world wondering what Detroit was like, what was happening here. They were wondering if the Rust Belt cancer had metastasized and was creeping to Los Angeles and London and Barcelona. Was Detroit an outlier or an epicenter?
Je'Rean Nobles was one of the rare black males in Detroit who made it through high school. A good kid with average grades, Je'Rean went to Southeastern High, which is situated in an industrial belt of moldering Chrysler assembly plants. Completed in 1917, the school, attended by white students at the time, was considered so far out in the wilds that its athletic teams took the nickname "Jungaleers."
With large swaths of the city rewilding—empty lots are returning to prairie and woodland as the city depopulates—Southeastern was slated to absorb students from nearby Kettering High this year as part of a massive school-consolidation effort. That is, until someone realized that the schools are controlled by rival gangs. So bad is the rivalry that when the schools face off to play football or basketball, spectators from the visiting team are banned.
Southeastern's motto is Age Quod Agis: "Attend to Your Business." And Je'Rean did. By wit and will, he managed to make it through. A member of JROTC, he was on his way to the military recruitment office after senior prom and commencement. But Je'Rean never went to prom, much less the Afghanistan theater, because he couldn't clear the killing fields of Detroit. He became a horrifying statistic—one of 103 kids and teens murdered between January 2009 and July 2010.
Je'Rean's crime? He looked at Chauncey Owens the wrong way, detectives say.
It was 2:40 in the afternoon on May 14 when Je'Rean went to the Motor City liquor store and ice-cream stand to get himself an orange juice to wash down his McDonald's. About forty kids were milling around in front of the soft-serve window. That's when Owens, thirty-four, pulled up on a moped.