Monday, August 31, 2009

Contemplative learning Seminar 1

Preparation Paper 1

Contemplative Learning Seminar, sec. F

8/28/2009

Mason Brown


Question: according to Trungpa, one cannot experience fearlessness without first experiencing fear. Why is this? What is “fearlessness” and how do we achieve it?


Since Trungpa's definition of fearlessness is “beyond fear”(35), it follows that to go beyond something, one must go through it. To get to the other side of a street we have to cross the street, being in it for a time. To get to tomorrow there is no way to avoid today. The reasoning seems sound enough. With fear, though, it's a little more complicated. Say we fear death. If we can't stop fearing death without going through death, Is it possible to ever get beyond that fear before actually dying? I would say the answer is yes. We can go through/be in the fear itself. If we practice meditation, we can experience, over and over again, the death of every single moment. We can slowly become more comfortable. We can see that our state of fear is not so terrible; just a mental state. Slowly we can become used to the fear, like someone we've known for a long time. We begin to relax. In that way, by going through the fear of death, it's possible to get beyond it.

I have experienced this kind of process many times in my own life. Applying to Naropa University is only the latest example. First there was a dissatisfaction with where I was and what I was doing. It seemed arbitrary and pointless. Though I had wonderful friends, a loving and supportive partner, and enough employment to survive, it still didn't seem workable. I had already decided to seek higher education, and was enrolled in junior college when I came to the realization that, at my age, I should waste no time in getting to where I wanted to be. In terms of education, that place had always been Naropa.

I was late in applying for this semester, so the process was rushed and intense. It took a month to finish the application in the midst of work and school. During that time, I had the fear that I would not be accepted; that I would not meet Naropa's standards. That fear, as I lived with and, as Trungpa suggests, “...acknowledged”(34) it on a daily basis, it slowly receded. By the time I was accepted, I was resigned to whatever happened. I had a “plan B” and I was perfectly willing to go with that. I had put myself into the hands of the universe.

After being accepted, however, I had something new to fear. What if I couldn't get enough financial aid to pay for it? I have always lived on the edge of poverty, and my family is of very modest means. So during the period of waiting for my aid to be packaged, I had another fear to get beyond. In the same way, As I sat with that fear, it gradually lost its power.

Now that I am at Naropa, I am afraid of failing; afraid of not being able to make it financially(I have never had a fear of academic failure), but I have confidence, inspired by past experience, that this fear too will pass. So getting beyond the fear; achieving fearlessness is an ongoing process. Like peeling the layers of an onion, there is always one more level. Trungpa says:

Fear evolves into fearlessness naturally, very simply, and quite straightforwardly. The ideal of warriorship is that the warrior should be sad and tender, and because of that can be very brave as well. Without heartfelt sadness, bravery is brittle, like a china cup. If you drop it, it will break or chip. But the Bravery of the warrior is like a lacquer cup, which has a wooden base covered with layers of lacquer. If the cup drops, it will bounce rather than break. It is hard and soft at the same time. (37)

I identify strongly with this. I feel both hard and soft; brave and tender. I am ready to face anything. As my teacher, Kobun Chino Otogawa told me, “all we are doing is trying to accept everything as it is”. To me this is the same thing. If we are okay with reality, what is there to fear?







Works Cited

  • Trungpa, Chögyam. Shambala,the Sacred Path of the Warrior. Boston: Shambala, 2007. print.

Tuesday, August 25, 2009

a New Naropa Student

Well, I am now officially a Naropa student. I just finished my first two classes: Buddhist Journey of transformation, a kind of "Buddhism 101", and Contemplative Learning Seminar, which is an introduction to the particular pedagogic style pioneered by Naropa University. We have heard the story of the school's namesake, the siddhi Naropa, and how, when he was a famous scholar at Nalanda University, circa 11-12 centuries, he was visited in his study by an alarmingly ugly old hag. The hag is said to have asked him:" Do you understand the words you are studying?" to which he replied in the affirmative. At this the hag broke out laughing and expressed great joy. She then asked:"Do you also understand the inner meaning of the words?"

When Naropa answered again, that of course he understood the deeper meaning, the hag's attitude changed abruptly. She began weeping and wailing uncontrollably, falling on the ground and clutching herself; expressing great sadness and despair.

Naropa asked "why were you so happy at my first answer and so sad at my second?"

The hag replied: "when you answered my first question, you told the truth, but when you answered the second question, you lied!" At this the hag dissolved into rainbow light and was gone. Naropa realized his understanding was insufficient, and gave up his place at the university and embarked on a years-long journey to find a teacher who could help him understand "the inner meaning".

I too, like Naropa, have studied and practiced for many years, and many people consider me a source of knowledge and experience. But, like Naropa, I don't know nuthin'! I am starting at the beginning and I hope I can accept everyone as my teacher. Even the ugly, poor old woman, or a child with bare feet.

With humility, I ask for the presence to pay attention every moment to the teachings that constantly surround me. My footsteps have led me back here after decades of seemingly aimless wandering, and I aspire to take what comes with equanimity.

My friend and Dharma brother, Hakubai Martin Mosko, Zenji has invited me to act as caretaker at his temple in Boulder, which is also a memorial garden for our teacher, Kobun Chino Otogawa, Dai-osho and his daughter, Maya, who tragically died in 2002. I am honored and humbled to serve in that position, and grateful for the trust that Martin has shown in me.

I am also thankful for all the support that has come from my friends and family, without which this would be impossible. I am keeping you all in my heart.

So this is my first post as a Naropa student. I will endeavor to write regularly on my experience here. The writing requirements will be pretty heavy for classes: it's looking like I'll have to write 3-4 papers a week this semester, so I may cheat and recycle some of that for this blog. I'll keep you posted. Gassho!

Saturday, July 4, 2009

"When Humans Walked the Earth"-- notes on the songs

  1. BIG LIZA JANE/FROSTY NOON
    Big Liza Jane was one of the first tunes I learned on the banjo. It was on Kicking Mule Records' "Southern Clawhammer Banjo" played by Susan Cahill. The album fascinated me, and I literally wore out the cassette. I wrote "Frosty Noon" one snowy January day in Taos in 1995. I was attempting to write a tune that was similar to "Frosty Morning". I play these tunes in a style I learned from Martin Simpson called "guitar frailing". It is exactly analogous to banjo frailing. Roger Landes joins me on bouzouki for what we called our "we-don't-need-no-stinking-banjos" set.
  2. BRIGHT SUNNY SOUTH
    This song was famously recorded by Dock Boggs, one of my all-time favorite musicians. I have loved it for many years. I play Chipper Thompson's Farland banjo (circa 1900) and my Gibson L-1 (1913) parlour guitar, a gift from Chipper. I play this round-hole, arch-top guitar throughout the album.
  3. WILL YOU GO TO FLANDERS?
    I can't remember the name of the singer-guitarist I learned this from, but he was fantastic and I believe he was a Brit. It was on an unlabeled cassette that Chipper Thompson gave me. I love these Napoleonic war songs, and this one is delicious in its sarcasm. Connie Dover adds lovely harmony over my DGDGAD guitar and Mark Dudrow's 'cello.
  4. DEVIL IN THE STRAW STACK
    I learned this North Carolina tune from Doug Goodhart, whose smoldering fiddle graces the track. Doug and I started playing together in 2005, and have done so regularly ever since. I enjoy playing the banjo part on guitar a la Martin Simpson.
  5. I HATE THE CAPITALIST SYSTEM
    This song was written by Sara Ogan Gunning. Gunning was a union woman from east Kentucky whose husband and child were lost to Capitalist coal-mining. Between the verses I quote the tune to "Dark as a Dungeon" by Merle Travis. Ed Caner plays a perfect fiddle on this in B-flat!
  6. BULLY FOR ALL/ST. PATRICK'S DAY
    I learned these tunes from the playing of the great Minstrel banjo player Joe Ayers. I've run into the second one a lot at Irish sessions, but I've never heard anyone else play the first. I changed them to the same key, and I play them in G-major tuning.
  7. DAYS OF '49
    I learned this song as a kid and I don't remember the source. No doubt it was from one of those "revivalists". The guitar is in DADGAD and I play the "old-time" pardessus on the track.
  8. BROWNIE'S LAMENT
    My father's uncle, Ralph Otis Brown, died in the 1990's. He was quite a character, and I always loved "Uncle Ralph". His friends all called him "Brownie". He was something of a beatnik, writing poetry, hanging out in black bars, carrying a gun and a knife. He had a catch phrase: "well, that's the road of life... but you know!" This song is loosely based on an evening I spent sitting on a bar stool next to him in the Saints and Sinners Lounge in Battle Creek, Michigan. The tuning is CGCGCD, and my sister, Katari Brown sings harmony. The Rev. Dr. Chipper Thompson contributes the "sacred steel".
  9. WHEN HUMANS WALKED THE EARTH
    In 1998, when Chipper Thompson and I were recording Am I Born to Die?, we would often spend the drive home from Howlin' Dog Studios in Alamosa talking about nerdy things like the name of our next album. This was a title I contributed to that list, and we would periodically say to each other: "we need to write that song!" In 2000, Chipper's lovely wife, Lanford Monroe, passed away suddenly. The song came to me in response to that event. I added the traditional tune, "Billy in the Low Land" for Lanford. Ben Wright and Peter Halter do a wonderful job of backing this track.
  10. THE CUCKOO
    This is a war-horse of a song that's been done by just about every great banjo player you can name. I think I heard it first by Hobart Smith or Clarence Ashley, but I used every verse I could think of. Gari Hegedus and Tobias Roberson were in New Mexico for a gig and I took them into the studio. The oud and banjo seemed to really like each other, and the dumbek agreed. We did this very quickly. It was Tobias' idea to introduce the polyrhythms at the end. I play a minstrel banjo by Brooks Masten, an absolute genius.
  11. DOBRUDJA DANETZ
    Stanley Greenthal introduced this tune to us. Stanley is an amazing musician, scholar and all- around great guy who should have a lot more recognition. The tune is from Bulgaria, near the Black Sea, and Doug Goodhart and I do an "appalachified" version of it.
  12. LORD FRANKLIN
    I first heard this song done by the great John Renbourn, and I've been in love with it ever since. It was originally published as a broadside shortly after Franklin's disappearance. Randal Bays gave me luscious multi-track fiddles, and Connie Dover crafted beautiful line-by-line harmony. The guitar is DADGAD.
  13. OMIE WISE
    I learned this from the playing of Roscoe Holcomb. I played Chipper Thompson's Farland banjo tuned to eCgad.
  14. ROCKY ROAD TO DUBLIN/TRALLEE GAOL/DUNMORE LASSES
    The first is a slip-jig with words that you usually hear sung, but which is an awesome tune. The second I first learned from Ken Perlman, but later heard others play, and the third is a one of those reels that's beautiful when played slow, which was famously done by the Bothy Band. Mark Dudrow and I have been playing this set for years, and I think it shows in our performance.
  15. ODE TO MARTIN LUTHER KING
    Uncle Ralph Otis "Brownie" Brown wrote this poem, and I grew up hearing him recite it in his gravelly Tennessee drawl. In spite of his cultural racism, he was deeply inspired by the life and death of Martin Luther King, and I believe he was moved to write this poem after the shooting of King's mother, Alberta, in 1974. After Brownie's death, I reworked his words slightly and made this melody. The guitar is tuned DGDGAD and is capoed at the 6th fret.
  16. SHE
    This beautiful tune was composed by Roger Landes, who joins on bouzouki. Mark Dudrow is on 'cello, and I play pardessus viol and guitar tuned to DGDGAD. Roger gave this tune to Lisa Wright as a Christmas present. Andy Salamone, who mastered the album, deserves special mention for bringing all the disparate tracks on this one together.

Sunday, May 31, 2009

English 101

I have started this blog with all six essays I wrote for English 101 this last semester(spring 2009). I hope this blog will be a clearing house for my writing, whether it be for school requirements or just random thoughts, poetry or comments on current events. Wish me luck!

Self-evaluation

I think I was a pretty decent writer when I came to English 101. I have always been a daily reader. My mother was a voracious consumer of books. I remember her reading many of the classics as I was growing up. She read all of Charles Dickens, Les Miserables, and anything she could find about the Russian Revolution. My father was constantly reading books about Buddhism and art, and poetry books were always lying around.

My parents would summarize and discuss what they were reading, and I shared many of those books with them. That history is why I have an intuitive “feel” for writing; for how to put words together. At the same time, I have never written extensively. I have dabbled in poetry, written a couple of dozen songs, some letters and emails, and a few blog entries. Though some of this writing was fairly eloquent, I never did much editing or rewriting. I would just dash it out and be done with it.

This class has given me the form I needed to practice the art of examining my writing and relentlessly trying to improve it. All of the papers I have written in this class were first free-written rather quickly, and from the beginning, they were coherent pieces, naturally well-organized and logical, with elevated vocabulary and erudite turns of phrase. But when I spent time reviewing these first drafts, I was amazed by how many small things were cumbersome, unclear or simply incorrect. I now have a much better grasp of comma and semi-colon usage, for example (although absolute certainty remains elusive). I ended up spending about six hours slowly polishing my writing for every hour I had spent drafting it. As a result, I have come to realize that it’s absolutely necessary to do this if I want my writing to be at the highest possible level, and to communicate what I want to say, to whom I want to say it.

The essays I have provided for my portfolio: “Uncle John’s Furniture Truck” and “Iran Is Not a Threat to the United States,” were chosen not because they were the best-written - I believe that all five of my essays were of a similar high quality - but because they represent the range of my writing. “Uncle John’s Furniture Truck” is based on stories I have been telling verbally in casual settings for years. The situations are humorous and the tone is light, and the style is a little more relaxed than the more serious argument form of “Iran Is Not a Threat to the United States,” in which government policies and media statements are examined and, I think, deflated by truth-seeking analysis.

In both of these essays I was compelled, after reflection, to modify my language in order to make the writing more accurate and persuasive. As I reread the story about Uncle John, I noticed that I used shorthand phrases to refer to events rather than simply describing what happened. For example, in the first draft of this story, I said that I “took out” a fire hydrant, but in the final draft I replaced that phrase with a more vivid moment-by-moment account of the destruction of the hydrant. I am learning that narrating a chain of events can be more impactful than just encapsulating them.

After reading my early drafts of “Iran Is Not a Threat to the United States”, I shaped my language in order to make the wording less confrontational, more nuanced, and less absolute. “Always” would become “typically”, in an effort not to paint myself into a corner, rhetorically. I think that the work I put into polishing the pieces was worth it, and that the essays were substantially improved.

I have fulfilled the requirements of all of the assignments, and I put in the maximum amount of work I could, considering that I am a part-time student and have the distraction of trying to make a living at the same time as I seek an education. In short, I think I deserve an A for this class.

Ross Daly, the World's Greatest Musician

The premise that there is a “world's greatest musician” is absurd. There are so many different kinds of music in the world, and so many brilliant and accomplished practitioners of music, most of whom are unknown to us, that it would be impossible to make a convincing case for the primacy of just one player. However, it is an interesting mental exercise. When I think about my favorite musicians, a lot of names come to mind, many of them my good friends, but a few stand out in terms of importance to me. One is Jordi Savall, the Spanish-Catalan viola da gamba player who introduced to modern ears the music of Marin Marais and others who played the abandoned instrument. Another is Randal Bays, Seattle-area Irish fiddler who, after discovering Irish traditional music rather late in life, was soon lending guitar accompaniment to great fiddlers like James Kelly and Martin Hayes, and who went on to become one of the best players of Irish fiddle in the world. Yet another is Martin Simpson, the English guitar wizard who introduced me to open tunings and his signature “guitar frailing” technique, with which any clawhammer banjo tune may be perfectly imitated on guitar. These musicians and many others are truly great, but finally, my mind comes to rest on Ross Daly.


Ross is an Irishman whose parents were diplomats. He grew up all over the world, and studied music from an early age. As a young man, he traveled to Greece. He found the traditional music he encountered there captivating, and not unlike the Indian music he had already studied, with its modal basis and uneven time signatures. Greek music gives us the seven “modes”, or scales, of Western music, but it actually contains more than seven modes. It contains notes between notes that Western musicians might consider “out of tune”, but which are actually very precisely played micro tones. Greek music also often involves odd meters, in which the beats are grouped into twos and threes, using time signatures such as seven-eight, which sounds like “ONE-two, ONE-two, ONE-two-three”.


Ross studied very diligently, and mastered many instruments, including the Cretan lyra, a pear-shaped lap-fiddle with three main strings and many sympathetic strings, which is extremely difficult to play. Instead of pushing the strings down against the fingerboard with the pads of the fingers, as on the violin, the fingers rest beside the strings so that the strings are stopped by the large, smooth surfaces of the fingernails. The result is an eerie, haunting sound with rich sustain and expressive vibrato, reminiscent of the human voice. Ross also plays many plucked-string instruments, including rubab, an Afghani banjo; lauto, a Greek lute; setar, a Persian lute; and various Turkish lutes, called saz. He has mastered many forms of music from Greece, Turkey, and Iran, and has transcended these forms, developing a fusion that mixes traditional instruments and themes.


Ross has also become a prolific composer. His tunes evoke a mythic past, shrouded in Aegean mist, while remaining fresh and urgent, embodying the longing, love, and tear-wet sorrow of human existence. His compositions, like their traditional models, are melodically and rhythmically dense and complicated. Once Ross and his collaborators have established the musical territory of these compositions, they launch headlong into the open space of improvisation, soaring to ever-new heights of imagination and freedom, gliding among iridescent, melodious birds before plunging down through unknown stratospheres to dive with shimmering rhythmic fishes, and deeper, to the very darkest sub-marine trenches of music.


Daly has trained and mentored an entire generation of younger musicians from the around the world. When he started playing traditional music it was not popular among the youth of its native countries, many of whom were seduced by the “cool”, modern pop music of the West. The music of their grandfathers was seen as staid, boring and conservative. Ross Daly, an outsider, nurtured a new appreciation for some of the greatest musical traditions in the world, and brought his interpretation of those traditions to enthusiastic audiences who had never heard music like this before.


Ross Daly is now considered to be a national treasure in Greece. The government of Crete has provided him with a historic villa, which serves as a museum, housing his collection of hundreds of instruments. It is also the home of the “Labyrinth Music Workshop,” where musicians flock from every continent to attend master classes with top players and singers in pan-Near-eastern styles. Some of his famous protégées are Stelios Petrakis, the great lyra and lauto player from Crete; Bijhan Chemarani, Paris-born Iranian zarb master; and Sokratis Sinopoulis, player of the politici-lyra, from Athens. Ross Daly's accomplishments as a player, a composer and an ambassador of music are unparalleled by any other living person I can think of, and that's why, for my money, he is the greatest musician in the world.

Argument--Iran is not a Threat to the United States

The threat from Iran toward the United States is routinely overblown and hyped. American government and media both uniformly present Iran as a grave and looming menace, poised to attack the U.S. and its allies. It is assumed that Iran desires and intends to attack, and is lacking only the means to do so. That large numbers of Americans seem to accept this assumption is understandable, since there is very little chance of hearing alternative views, but I believe that Americans, once they have all the facts, are inclined toward fairness and dislike hypocrisy.

The president of Iran, Mahmoud Ahmadinejhad, is relentlessly attacked by American government officials and media pundits alike. I have read and heard dozens of references in the press to Ahmadinejhad's call to “wipe Israel off the map”, a translation that was first widely reported in the New York Times. The implication is that Iran is an anti-Semitic state, bent on exterminating the Jewish people, but according to Juan Cole, a University of Michigan professor of Middle Eastern History, “wipe Israel off the map” is an erroneous translation. First of all, there is no such idiom as “wipe off the map” in Farsi, the language of Iran, and second, it does not convey the intended meaning of the statement. Cole and other scholars debunked this translation almost as soon as it was made, but that clarification hasn't stopped media analysts and the highest government officials from using it over and over again. According to Cole, Ahmadinejhad was quoting the Ayatollah Khomeini as saying that “this Jerusalem-occupying regime must disappear from the page of time”, which Ahmadinejhad described as a “wise statement”. In other words, “this too shall pass” (Cole). Though this might not be friendly toward the Israeli government, it is not the same as “(we are going to) wipe Israel off the map”. It also does not follow, as American government and media voices almost always imply, that the Israeli government is the same as the Jewish people as a whole. Some scholars have taken exception to Cole's interpretation, while seeming not to dispute his translation. Joshua Teitelbaum, a critic of Cole's, writing in the Jerusalem Post, admits that the New York Times' translation was “non-literal”, but goes on to claim that it conveys the spirit of Ahmadinejhad's statement. Why? Because he says so.

The idea that Iran might have real grievances against the United States and Israel is rarely, if ever, presented in the American media, but consider what those grievances might be. Israel has on many occasions threatened to attack Iran. It was speculated widely in the press that Israel might attack certain Iranian sites with nuclear weapons in the wake of Ahmadinejhad's announcement in September, 2007 (Katz/Weiss), that Iran had three working centrifuges. Iran also has grievances with the United States going at least as far back as 1953, when the U.S. orchestrated the overthrow of the popular, democratically elected Mohammad Mosaddeq, and installed the Shah, a quite ruthless and repressive dictator who ruled over the people of Iran until their revolution in 1979. The United States also armed and supported Saddam Hussein of Iraq in his eight-year war against Iran in which over a million Iranians perished.

These examples (and they are not the only ones) are not to excuse or apologize for Iran's hostility to the U.S. and Israel, but to show that its mistrust is, to some degree, understandable. The level of personal demonization of Ahmadinejhad is bizarre, given that being president of Iran is nothing like being president of the United States. Ahmadinejhad has no direct power over foreign policy or the military. He does not have the authority to order an attack on Israel even if one accepts the assumption that he wants to. Iran, though totalitarian, is a republic, with a complex, functioning government containing competing interests: various ministries, parliament, the Council of Clerics, all under the Supreme Leader, Ayatollah Khamene'i.

The fear expressed constantly by the United States and Israel is that Iran is developing nuclear weapons, in violation of the Nuclear Non-proliferation Treaty (N.P.T.), with which it will attack Israel, and possibly Europe, as soon as it can. There is reason to doubt this. For one thing, what ever happened to the idea of “deterrence”? The concept was practically religion for foreign policy makers for decades during the Cold War, when “mutually assured destruction” meant that neither the United States nor the Soviet Union would attack the other first. Israel has hundreds of nuclear weapons; the U.S. and Europe have thousands. If Iran, after many years, got one or two nuclear weapons, and presumed to launch them, it would be instantly vaporized. It would be suicidal of Iran to use nuclear weapons, and there is no evidence that Iran's leaders or its people are suicidal.

However, the possession of nuclear weapons by Israel is, as long understood under the theory of deterrence, a perverse incentive for Iran to desire similar weapons. With Israel's threats and U.S. invasions of neighboring countries, one can see why they might want some deterrence. U.S. officials are typically quick to point out that the Iranians are signatories of the N.P.T., and are therefore forbidden to develop nuclear weapons, but that same document also gives all signatories, including Iran, the absolute right to have nuclear power and all the technologies and capabilities that go with it. When dire warnings are given about Iran enriching uranium, the fact that Iran is enriching to the low percentages used in civilian nuclear power, and not to the high percentages required for nuclear weapons, is uniformly omitted.

In fact, in spite of ongoing claims to the contrary, there is no evidence that Iran is developing nuclear weapons. Of course, it's possible that they are. Given the threats against them and the other reasons I have discussed, and if they share the assumptions of the same geostrategic thinking that informs our own government's actions, it would be understandable. The evidence, however, is to the contrary. Iran has been participating in the International Atomic Energy Agency's inspection process, and the Supreme Leader has issued a legally-binding fatwa that nuclear weapons are against Islam. Conversely, The United States itself is in violation of the N.P.T., which seeks to prevent “wider dissemination of nuclear weapons”, and to “achieve at the earliest possible date the cessation of the nuclear arms race and to undertake effective measures in the direction of nuclear disarmament”(U.N.). I don't think that any reading of U.S. history since the signing of the N.P.T. could conclude that the U.S. made good faith efforts toward disarmament. How can we, who abhor hypocrisy, take Iran to task for violations, alleged on the flimsiest of grounds, of a treaty of which we ourselves are in violation? Iran would have every right to withdraw from the treaty if it chose to do so, but it has not.

We should also consider the source of charges against Iran. The United States has a long and colorful history of demonizing countries much smaller, poorer and weaker than itself, of claiming an imminent threat of some kind, and then attacking those countries either by proxy or by direct invasion. We should be very skeptical of such talk now, especially in light of Washington's record of duplicity and double-standards, reinforced by the press and fed to the American people like baby food.

While it is true that the Iranian government has a hostile attitude toward the United States government, to say that Iran is an existential threat to the U.S. is absurd. The opposite is actually true. The U.S. and Israel have all but called for the destruction of Iran, and Iran has very little defense against their overwhelming military might. It is also well-known that the Iranian people have very high regard for the American people in spite of their experience with our government.

Shouldn't we, as Americans, who believe in fairness and detest hypocrisy, look for the truth in our relations with Iran? If we don't want them to develop nuclear weapons, which we can all probably agree would be a bad idea, why not seek to remove their incentive for developing them, namely, Israel's (and, ultimately, our own) possession of them?

Of course it's always possible for a small country or, more likely, non-state groups or individuals, to launch terrorist attacks on the United States, but even though those attacks might sometimes be successful, they do not threaten the existence of the United States. The possibility of terrorists obtaining and using nuclear weapons is a real concern, but the possibility will not be lessened by demonizing Iran, while condoning and even enabling other countries to build nuclear stockpiles. If we Americans could base our attitude toward Iran on a more realistic appraisal of its stature as a threat, I don't know how we could fail to take Iran's point of view into account, and to promote justice in the Middle East.


Sources cited:

Cole, Juan. "Ahmadinejhad: We Are Not a Threat to Any Country, Including Israel." Informed Comment . 27 August 2006. , 16 April, 2009.


Katz, Yaakov, Mark Weiss and AP. “US Afraid of an Israeli Strike in Iran.” Jerusalem Post 9 2007, Friday, News; pg 3. print.


Teitelbaum, Joshua. “Iran's Talk of Destroying Israel Must Not Get Lost in Translation.”Jerusalem Post 22 June 2008, Sunday, News; pg. 9. print.


United Nations. 2005 Review Conference of the Parties to the Treaty on the Non-Proliferation of Nuclear Weapons (NPT) 2-27 May 2005.Text of the Nuclear Non-proliferation Treaty (NPT). http://www.un.org/events/npt2005/npttreaty.html>, 16 April 2009.