Dave Anderson in New Orleans

What can one block tell you about a devastated city?

Plenty, says Dave Anderson, 40, a photographer who chronicled the lives of people reclaiming their homes after Hurricane Katrina in the newly published “One Block: A New Orleans Neighborhood Rebuilds” (Aperture).

After the disaster, Mr. Anderson, who lives in Arkansas, brought his camera and his humane photographic approach to New Orleans. In such a shattered place, he was initially reluctant to do the kind of portraiture that is his specialty. “I didn’t feel right taking pictures of people,” he said. “It was such a brutal time.”

He decided instead on a project that would take in the place and its people, in details small and large.

Mr. Anderson focused on a block in the Lower Ninth Ward, the largely poor neighborhood that suffered some of the most catastrophic flooding in the city. At first, he said, he resisted shooting in that area “because it was so overexposed.”

But he found himself falling in love with a block bounded by Chartres Street, Douglas Street, Caffin Avenue and — yes — Flood Street. It was a racially mixed neighborhood with lovely homes and not-so-lovely ones. “It seemed to represent ethnically what New Orleans was like, to a degree,” Mr. Anderson said. “And they hadn’t gotten so much water that they had absolutely no chance of making it back. There was a chance the neighborhood could recover — but it certainly wasn’t a sure thing.”

He roamed the block, asking the residents if they would allow him into their lives. “I don’t want to overpromise and say that my photographs are going to save the world,” he would tell them, “but I do care about your city and love your block.”

He returned again and again, monitoring people’s progress and setbacks, eventually sleeping over in his new friends’ homes.

Many of the pages in his book show before-and-after pictures: ruin and recovery. There are stunning, rich portraits of people who have been through so much. Their stories can be read not just in their faces, but in their mantels and their dogs and their FEMA trailers and their renewed gardens — growing and green in defiance of experience and despair.

In a lovely and profane introductory essay, the New Orleans journalist Chris Rose captures the beauty and excitement of the small moments that say it just might be all right:

Maybe the door just got hung and you stare at it, so admiringly, hands on hips, head slightly cocked, amazed, simply amazed; you take it in and, well — it consumes you. It’s prettier than any painting you ever saw on a museum wall. Another piece in the puzzle. Another scratch off the to-do list. One less sorrow. No man knows your burden. That door is a beautiful thing. The Baby Jesus wept at the sight of it.

When tour buses brought camera-snapping gawkers to see the devastation, Mr. Anderson remembered becoming angry — until the sobering thought came to him: “I’m kind of doing that.”

It took him a while to realize that what angered him about the tourists was their “leering at a place that was hurting so badly.”

“I hope that the work bears out that I didn’t do that,” he said.

It does.


“One Block” opens at the Ogden Museum of Southern Art in New Orleans on Thursday and at the Stephen Wirtz Gallery in San Francisco on Sept. 9. On Saturday, there will also be a block party. Of course.


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(NYT)

 

Newseum in DC retells Katrina story 5 years later

WASHINGTON — Jarring headlines from the Gulf Coast after Hurricane Katrina said it all: “Catastrophic,” “Hitting Bottom,” “Help Us, Please.”

Five years later, the Newseum on Friday will open a special, one-year exhibit, “Covering Katrina,” that explores and explains how journalists reported on the disaster and its aftermath.

The Newseum assembled the accounts and belongings of journalists, newspaper stories and artifacts from the Louisiana State Museum for what curators believe is the first major exhibit on news coverage of Katrina.

About 80 front pages from around the world show how the story unfolded as the storm bore down on Louisiana and Mississippi — and what followed. At the time, newspapers and TV reporters were the only link between the people needing help and the government that could provide it.

“It puts you right there in the middle of the storm,” Newseum chief executive Charles Overby said of the exhibit. “As you recall, the government was slow to respond, but the media wasn’t.”

The museum about news and the First Amendment also produced a film offering reflections from TV journalists as well as two newspapers that shared the 2006 Pulitzer Prize for public service for their Katrina coverage — the New Orleans Times-Picayune and the Sun Herald of Biloxi and Gulfport, Miss.

The exhibit includes a Gulf Coast map from the Sun Herald newsroom with pins confirming the dead in Mississippi, an anti-looter sign from a New Orleans shop and a rusty ax used by a journalist to break into a colleague’s home to rescue pets.

There’s even a kayak deployed by a photographer to navigate flooded New Orleans streets and two bicycles used by reporters to first discover the levees had been breached.

“In that flash of a moment, they both realize that we’re doomed,” Times-Picayune Editor Jim Amoss said in the Newseum film. “The water has broken through the flood walls and that the oceans are rushing into this city.”

Editor Stan Tiner at the Sun Herald explains on film that Katrina brought an urgent demand for information. He recalled people leaving a water line when the newspaper truck arrived to clamor for a paper.

“One of the most righteous jobs we did was to deliver the paper,” Tiner said.

Continue at the AP

 

The Music Of New Orleans, After The Storm

(Soul Rebel Brass Band pictured above)

In advance of the fifth anniversary of Hurricane Katrina, All Things Considered has been talking about recovery along the Gulf Coast: what’s changed, what’s moved, what’s come back. The musical heartbeat of New Orleans has clearly been shifted by what’s become known simply as “the storm.”

Nick Spitzer has spent his life immersed in the music of Louisiana — he hosts the public radio program American Routes from New Orleans. In an interview with All Things Considered host Melissa Block, he says that the cultural disaster he feared after the storm has not come to pass.

“Early on, music became essential to the sense of, ‘Why should somebody come back, and how will the city recover?’ ” Spitzer says. “We found that a lot of it was the intangible sense of music in the neighborhoods and the clubs and the lifestyle. It’s a powerful culture, it’s a diverse culture, and it’s been right there in the middle of getting us to where we are now.”

Spitzer discusses some of the musicians and musical projects in New Orleans who have been active since the storm, including the Soul Rebels Brass Band; Derrick Tabb and the Roots of Music program; and a special collaboration featuring Mos Def, Lenny Kravitz, Tim Robbins and a few New Orleans musicians.

From NPR

 

DENVER — Former FEMA Director Michael Brown is taking his Denver radio show on the road for live broadcasts from New Orleans in advance of Sunday’s fifth anniversary of Hurricane Katrina.

Brown will broadcast his political talk show on Wednesday and Thursday evening. It airs on KOA-AM.

Brown headed the Federal Emergency Management Agency when Katrina hit. He became a target of the outrage over the government’s response when former President George W. Bush told him with the media present: “Brownie, you’re doing a heckuva job.”

Brown says in a new HBO documentary on Katrina by director Spike Lee that he winced when Bush said that because he had just finished telling the president why things weren’t working.

From the AP

 

The Army Corps of Engineers traditionally oversold the strength and quality of the New Orleans levees before Katrina.

But as I reported on Monday, the corps has made progress in meeting its goal of providing stronger hurricane protection for the New Orleans area by the beginning of next year’s hurricane season.

These days, corps officials are even wary of using phrases like “hurricane protection,” instead substituting “risk reduction”– as in “Hurricane and Storm Damage Risk Reduction System,”  the official name for the network of levees, flood walls, pumps and gates now being built around New Orleans.

The corps has had to overcome the mistrust of a city that was devastated by flooding that occurred in no small part because of the failures of a system the corps created — a patchwork that was, as the corps acknowledged in its official report on the disaster, “a system in name only.”

What caused the levee failures and whether the corps is doing the job right this time are the questions asked in “The Big Uneasy,” a new documentary by Harry Shearer, the humorist, actor and passionate advocate for New Orleans.

The film will be shown around the country on Aug. 30. Mr. Shearer, who has a home in New Orleans, has seen the corps’s multibillion-dollar projects to protect the area, like the 1.8-mile wall in Lake Borgne and the enormous floodgates and pump stations for the West Bank of the Mississippi, which have been designed to keep the water from causing catastrophic damage in a future storm.

“All I can say upon being shown the big new stuff is, the people who understand engineering will have to evaluate it,” he said. “Because all I can say is, ‘Ooh, that’s big.’ ”

And while Mr. Shearer recognizes that the corps is being more careful in its language, he argues that it is still overstating what its works can do.

“I would wish that an agency that was doing a better, safer, more responsible job were a little more circumspect in its statements of reassurances, given that they were so generous with tired reassurances with the previous system that failed so badly,” he said.

On a fundamental level, Mr. Shearer said, “I just keep thinking we’re asking the wrong questions” in building the new system the way the corps has.

“Building a big and static thing, it seems to me, would be a fine idea if we lived in a static environment,” he said, but the environment is changing. Wetlands that protect the coast are disappearing, and sea levels are rising. The delta lands are subsiding, and climate change is expected to make storms more violent.

With the fifth anniversary of Katrina, Mr. Shearer said, “This is a moment to ask, are we going about this the right way?”

From NYT

 

LAKE BORGNE, La. — The great wall of Lake Borgne is a monster. Nearly 2 miles long and 26 feet high, it spans a corner of the lake, 12 miles east of New Orleans. On Aug. 29, 2005, that corner funneledHurricane Katrina’s surge into New Orleans, causing some of the city’s most violent flooding. Now, the corner is being blocked.

Nearly five years after Katrina and the devastating failures of the leveesystem, New Orleans is well on its way to getting the protection system Congress ordered: a ring of 350 miles of linked levees, floodwalls, gates and pumps that surrounds the city and should defend it against the kind of flooding that, in any given year, has a 1 percent chance of occurring.

The sheer scale of the nearly $15 billion project, which is not due to be completed until the beginning of next year’s hurricane season, brings to mind an earlier American age when the nation built huge works like the Brooklyn Bridge, the Hoover Dam and the Interstate highway system.

While New Orleans’s bulwark is still almost a year away from full strength, the city’s reinforced defenses are already stronger than they were before Katrina. Even so, experts argue, that the city’s defenses after 2011 will still provide less protection than it needs to avoid serious flooding in massive storms.

For a region devastated by a storm and by a loss of faith in the government’s ability to safeguard it, the new system is a test of more than the prowess of the Army Corps of Engineers. Some residents say they may never fully get over the failure in Katrina. “Do I trust them?” asked Beverly Crais, a Jefferson Parish resident. “No. How can I trust somebody who makes that big of an error?”

That could be part of the reason that the top of the Lake Borgne wall is crenelated like the fortifications of a castle. The indentations, the engineers say, will weaken waves that splash against the top. But it will also send a clear visual message to anyone who sees it: there is safety behind this wall.

The patchwork of walls and levees that fell apart after Katrina were, in the words of the corps’ own report on the disaster, “a system in name only.” But projects like the wall — vast but largely unseen, because they take the first line of defense away from the center of New Orleans — are knitted into a single barrier.

“It’s a comprehensive-system approach,” said Karen Durham-Aguilera, a civilian engineer responsible for work on what is now known as the Hurricane and Storm Damage Risk Reduction System. “We’re not even in the same universe any more.”

The lessons of Katrina were learned at a tremendous cost in life and property, but they can be seen throughout the works.

Where some of the old levees were built with dredged mud and shell fill that washed away in the storm, the new earthworks are toughened with clay. Many old floodwalls were shaped, in cross section, like the letter I and stood on muddy soil that seemed almost eager to give way; most of the new work is sturdier, shaped like an inverted T and braced with pilings driven diagonally into the ground. The corps is strengthening some soil, by mixing cement deep into the ground.

Victor Zillner, the engineer in charge of the Lake Borgne barrier, stood on the roadway that runs along its top and looked at the cranes building its navigation gates. His challenge, he said, is to build “the world’s tallest surge barrier on the world’s worst soils — in the least amount of time.”

Many who have watched the corps at work declare themselves impressed. “The system that they are building is going to keep us, I think, safe,” said Timothy P. Doody, the president of the consolidated levee board created to correct the failures of the fragmented local boards.

He recalled that when he left his home in St. Bernard Parish before Hurricane Katrina, he patted a column out front and said, “See you later.” He knew, he said, that it was possible that his home would be destroyed — as it was — but “I couldn’t wrap my mind around it till it happened.” Today, he said, “imagination is no longer necessary.”

Polly Campbell, who was the clerk of the St. Bernard Parish Council before the storm, recently toured the 35-foot-high floodwall that will protect her neighborhood. “It’s absolutely phenomenal,” she said.

Early in the morning and late at night, Ms. Campbell said, she hears the pile drivers pounding steel into dirt — “the greatest sound in the world,” she said.

Continue at NYT

 

Five years ago this week, Hurricane Katrina was churning toward the Gulf Coast. The storm ripped up levees and destroyed homes in New Orleans, but it left its mark on the city’s political landscape as well.

When Katrina hit, Orleans Parish was 67 percent black; after the storm, that number fell to 59 percent. It’s a shift that’s brought increasing parity at the ballot box. Elections for City Council, district attorney, even school board positions are no longer dominated by black candidates.

This past winter, Mitch Landrieu was elected mayor — the first white mayor of New Orleans since his father held the post three decades ago. He’s just one of several non-black candidates to see broad-based support.

Two years ago, the people of Louisiana’s 2nd District elected Vietnamese-born Republican Joseph Cao. He’s up for election again this year, and is considered one of the most vulnerable Republicans in the country. Whether race or party will decide the vote is anyone’s guess.

The Surprised Winner

Cao took over the seat previously held by William Jefferson. You might remember Jefferson for the $90,000 found by federal corruption investigators in his freezer. Even so, it was considered one of the biggest upsets of that year’s elections.

“To tell you the truth, I thought my chances were slim to none,” Cao tells NPR’s Audie Cornish.

“I was an unknown entity,” he says. “I had never held political office, and I was going against a person who has been one of the foundations of the political process in Louisiana for a long time.”

Republican strategist James Farwell helped run the Cao campaign and says there were two keys to their win.

“First and foremost was a desire to remove Bill Jefferson. That was very important,” Farwell says. “He had gotten into trouble, and people were tired of that. The second was that Cao himself is a smart guy. It wasn’t enough just to replace Jefferson.”

But there were other factors at play. Another storm, Hurricane Gustav, hit the week of the primaries. That pushed the election back until December, when Jefferson didn’t have the advantage of Obama’s coattails. Cao won the majority of the white vote, and the seat.

“I don’t believe it was the population decrease of Katrina that changed the political dynamics of this region. I believe that people were so tired of the political corruption that was going on,” Cao says. “They felt that they could have a fresh start in this Asian-American.”

The Colors That Matter: Red And Blue

In Cao’s two years, he’s crossed party lines, voting with Democrats on new Wall Street regulations and federal hate crime laws. He was the only member of the GOP to vote for any part of the health care overhaul. Republicans have touted him as their most independent freshman, but Democrats here are hoping voters will see it differently.

Continue at NPR

 

Spike Lee’s New Orleans, Take 2

Charlie Varley/HBO

A scene from Spike Lee’s new two-part documentary about the aftermath of Hurricane Katrina, “If God is Willing and da Creek Don’t Rise.“


Published: August 22, 2010

Released just a year after Hurricane Katrina swamped New Orleans, “When the Levees Broke: A Requiem in Four Acts” was a thrilling achievement: both intimate and magisterial, angry and eloquent, an indictment and a testament, it represented a high point in the career of its director, Spike Lee.


Charley Varley/HBO

Fans of the New Orleans Saints, watching the Super Bowl in a New Orleans club in Spike Lee’s new documentary.

Now Mr. Lee is back on HBO with another four-hour documentary about the aftermath of Katrina, “If God Is Willing and da Creek Don’t Rise,” playing in two parts on Monday and Tuesday nights. It was created under different circumstances and it is, perhaps inevitably, a less powerful work than “When the Levees Broke,” more diffuse in its storytelling and more uncertain in its point of view.

As the fifth anniversary of the hurricane approaches, the issues surrounding the rebuilding and repopulating of New Orleans have grown thornier, and Mr. Lee and his documentary crew tiptoe around some of them in “Creek.” Arguments regarding the future of the school system and the demolition of public housing projects are presented neutrally, at least by Mr. Lee’s usually polemical standard.

The shifting sands of the city’s politics are captured in a scene in which a city councilwoman, Cynthia Hedge-Morrell, who appeared in “Levees” as a voice of populist anger at the federal government, hunches over a microphone at a public hearing and takes an unpopular, pro-development stand in favor of tearing down the historic St. Bernard Projects.

The structure and the wavering tone of “Creek” have also been affected by the random but momentous events that have buffeted New Orleans more recently, and that Mr. Lee incorporates into his film at some length. “Creek” opens with the celebrations surrounding the New Orleans Saints’ Super Bowl victory this year, scenes of joy that are eventually undercut when the activist M. Endesha Juakali, invoking the team’s minstrel-show slogan, says: “I was going to have to get up and figure out how I was going to eat the next day, how I was going to pay my bills, how I was going to be able to survive. I’m not a Who Dat. I’m a Who Is Dat.”

(Mr. Lee’s mischievous side comes out in a brief clip of Condoleezza Rice, who was pilloried in “Levees” for vacationing in New York while New Orleans coped with the hurricane; in “Creek” she’s seen on the sideline at a Saints game uncomfortably delivering a “Who dat?”)

Near the end of “Creek” Mr. Lee turns his attention to the oil spill in the gulf for nearly an hour, a segment that feels lightweight and under-reported compared with the rest of his work here and in “Levees.” In another, shorter section he goes further afield to compare the response to Katrina with the response to the January earthquake in Haiti.

“Creek” can feel disjointed as it jumps among these many strands of the New Orleans story, which also include the damage to the health care system and the prosecutions of police officers in post-hurricane shootings. (It can also feel a bit secondhand, as the number of excerpts from “Levees” mounts.)

But there is a somber theme that runs through most of them: the question, if there’s any doubt, of whether developers and their friends in government are taking advantage of the destruction wrought by the hurricane to build a wealthier, whiter city — one without the affordable housing or public services needed by the 100,000 or so former residents who still have not returned.

For those who have seen “When the Levees Broke,” much of the pleasure and the pain of “If God Is Willing and da Creek Don’t Rise” will come from catching up with the earlier film’s characters; it’s like the post-traumatic stress version of a Michael Apted “Up” movie. Some have died, at least one of them violently. Several have noticeably aged or weakened over the four years. Darnell Herrington, shot by a white vigilante after the hurricane, has been shot again, this time by a black carjacker.

Sean Penn reappears, but has been replaced as actor-hero by Brad Pitt, who is spearheading the building of houses in the Lower Ninth Ward reserved for returning residents. The trumpeter Terence Blanchard’s mother, Wilhelmina, seen sobbing in the ruins of her house in “Levees,” moves into a new house on the same spot — and complains that the washing machine isn’t where it used to be.

Best of all are the alpha and omega of “Levees”: Russel L. Honoré, the lieutenant general, now retired, who finally restored order in downtown New Orleans, and Michael D. Brown, the much ridiculed Brownie of the Federal Emergency Management Agency. Both agreed to be interviewed for “Creek” and have interesting things to say about the public roles they played in 2005. Mr. Lee helpfully replays a famous Katrina moment so that we can decide whether we believe Mr. Brown’s claim that he winced when President George W. Bush said, “Brownie, you’re doing a heck of a job.”

IF GOD IS WILLING AND DA CREEK DON’T RISE

HBO, Monday and Tuesday nights at 9, Eastern and Pacific times; 8, Central time.

Produced by HBO Documentary Films and 40 Acres and a Mule Filmworks. Directed by Spike Lee; Sam Pollard and Mr. Lee, producers; Butch Robinson, line producer; Mr. Pollard, supervising editor; Cliff Charles, director of photography; Terence Blanchard, music; Geeta Gandbhir, editor. For HBO: Jacqueline Glover, supervising producer; Sheila Nevins, executive producer.

(NYTimes)

 

By Dan Baum

Sunday, August 22, 2010

A month after the levees broke, when New Orleans was still a dark, damp ghost town, I ran into the saxophone player Joe Braun as he loped gloomily through the deserted French Quarter in his trademark newsboy cap. I was in a funk about the latest bad news — the floodwaters after Hurricane Katrina had swallowed all of the city’s real estate records — and I mournfully conveyed it, half-expecting Braun to burst into tears. Instead, his face brightened. “Thank God!” he said, and hurried off as if to spread the word, the staccato of his footsteps echoing off shuttered storefronts.

It took me awhile to understand. Braun wasn’t concerned about real estate, and neither were most New Orleanians, who had always regarded their houses as homes, not piggy banks. Although they correctly guessed that adequate help would never arrive, they were confident that they would physically rebuild, house by ruined house. What worried them was not the loss of deeds or titles, but the prospect of losing their culture, and with it, the city’s soul.

I first got to know New Orleans when it was submerged, as I covered the aftermath of Hurricane Katrina in 2005 for the New Yorker. I spent most of the following year there, then moved to the Bywater neighborhood for half of 2007 while I researched a book about the city. Even at its low point, I could tell New Orleans was a profoundly weird place.

The longer I spent there, the clearer it became that what makes New Orleanians so different from other Americans is that they are experts at the lost art of living in the moment. They’re less deadline-driven and less money-obsessed than the rest of us. Their identities are more rooted in their neighborhoods, second line clubs, and Mardi Gras krewes and Indian tribes than in their personal achievements. They don’t squeeze friends and family into busy lives; they build their lives around them. Sharing a beer on the porch is not something a New Orleanian must schedule two weeks in advance.

In time, I came to understand that it was precisely this quality of life that New Orleanians most feared losing after Katrina. Their deepest worry was not that they might have to rebuild their homes with their own hands — this they were prepared to do — but that the disaster would give the outside world a chance to convert New Orleans into just another city driven by the dollar and the clock. The fact that flooded real estate records made it more difficult for outside speculators to swoop in and buy up houses for pennies on the dollar was, to Braun and many others, a blessing.

Around the time of my encounter with Braun, the Urban Land Institute, the Mayors’ Institute on City Design and several commissions run by local developers were setting up shop in downtown hotels, displaying plans for what they called a “bigger and better” New Orleans built on a “blank slate.” They unveiled schemes to turn New Deal-era public housing into expensive condos, to open the whole city to casino gambling, to declare generations-old neighborhoods “pockets of poverty” and “clean them out” to make way for mixed-income developments. Some of them brazenly suggested that, with the people of New Orleans dispersed, they could rush their dreams to fruition. (This was back in the good old days of the real estate bubble, remember.)

Looking back, I’m startled by the hubris. One developer unrolled for me a plan for a whole new city, an “Afro-Caribbean Paris” that his company hoped to build with the help of billions of federal dollars. Other developers, members of high-level commissions and even Mayor Ray Nagin told me again and again that the Lower Ninth Ward was “over,” that it was “a new day” and that people needed to accept that “certain neighborhoods” would never come back. Janet Howard, who ran a government watchdog group, told me she had seen a map covered with purple blobs representing new construction; a certain well-connected developer, it was explained to her, would be “doing” the city’s center.

In church basements and coffee shops, New Orleanians met over and over, plotting to fend off plans that clashed with their neighborhoods’ identities and their city’s sense of self. At one gathering in a stifling church on St. Claude Avenue, I recall a woman with tears in her eyes addressing the congregation. “People like to talk about ‘hard facts,’ ” she said, “but they don’t consider social networks. We have a huge population of single mothers, a huge population of elderly. These new buildings mean absolutely nothing to us. The social networks mean everything.”

I still can’t explain exactly how they did it, but the exhausted people in that room — and people like them all over the city — drove the barbarians from the gate. Some combination of meetings and marches; T-shirts, fliers and spray-paint on sodden houses (“I’m not leaving for any $$$!”); and occasional hollering at council members and planning commissioners got the message across. The people of New Orleans weren’t going to play along. The big plans quietly faded, the blueprints were rolled up and stashed away, and the city grew back organically, street by street, neighborhood by neighborhood, the way its people wanted.

When I was in New Orleans this May, I was dumbstruck by the extent of its physical recovery. I could remember the terrible silence of Katrina’s aftermath, but now I had to go looking for traces of its destruction. Even in the Lower Ninth Ward, so often deemed unsalvageable after the crisis, businesses are open, homes are under construction, and eye-popping houses built by Brad Pitt’s Make It Right foundation fill block after block.

The city didn’t reject outsiders indiscriminately; it accepted lots of help, particularly in overhauling a school system that was blighted long before Katrina. Campuses are being refurbished and the school district reorganized; Teach for America has infused the system with idealistic young instructors; and test scores have risen by almost a quarter since the days before Katrina.

But even while it was busy rebuilding its homes and transforming its schools, New Orleans held on to its character, its culture and its soul. Life may be harder now than it was before the disaster, but it’s no speedier. New Orleanians still wander in and out of each other’s houses, plan second lines, create Indian suits for Mardi Gras. The Ernie K-Doe Mother-in-Law Lounge, whose roof I once passed over in a boat, is rocking.

New Orleans, in other words, is still New Orleans. It did not succumb to external pressures to become bigger and supposedly better. Compared with those other cities that seem, increasingly, to live with a BlackBerry in one hand and a paper cup of coffee in the other, its way of life almost feels like an act of civil disobedience.

There was a time when the Big Easy’s culture seemed likely to work against its recovery. “You pay for your blessings, man,” the New Orleans organizer Jacques Morial told me in the dark days after Katrina. “Sometimes you overpay, sometimes you underpay. Right now, we’re in an overpay cycle.” What we didn’t know then was that the city’s culture would ultimately see it through. The I’ll-help-you-gut-your-house-if-you-help-me-gut-mine communalism, the parties thrown in a neighborhood’s first reopened house in the hopes of encouraging others to return, the palpable sense that nobody was alone — these are the things that brought people home.

Of course, I don’t live in New Orleans. If my perspective seems glass-half-full, it’s because I don’t face daily the glass-half-empty aspects of the city’s post-Katrina life: the businesses that haven’t reopened, the public housing communities that remain scattered, the shuttered Charity Hospital and the abandoned public health system with which it was associated. In a city still trembling with the post-traumatic stress that followed the flood, mental health services are almost nonexistent. Infrastructure is falling apart. The crime rate is terrible; my trip in May was to attend the funeral of a beautiful young bandleader whose murder was the city’s 61st this year. And the BP oil spill has shaken two of the legs on which New Orleans still stands: seafood and tourism.

Five years after Katrina, living in the Big Easy is not for the weak of spirit. It’s a triumph that the place continues at all; that it’s still the singular city it was borders on the miraculous. As we mark Katrina’s anniversary next weekend, it will surely be a time for mourning and for taking stock of the challenges ahead. But since this is New Orleans we’re talking about, it’s a time for celebration, too. As a wise old man of the Lower Ninth Ward once told me, “We’re capable here of holding more than one thought in our heads.”

danbaum@me.com

Dan Baum is the author of “Nine Lives: Mystery, Magic, Death and Life in New Orleans.”

(Washington Post)

 

GRAND ISLE, La. — Biologist John Supan thinks he has developed what may be the holy grail for oyster lovers: a hardy breed of the delectable shellfish that stays fat enough for consumers to eat throughout the year.

And unlike many oysters across the Gulf Coast, ruined by BP’s massive oil spill and the fresh water poured in to fight it, Supan’s oysters are all alive.

Now, nearly four months after the spill, Supan’s oysters may offer the Gulf oyster industry a chance for a better long-term recovery. But his special breed of modified oysters, which some say are prohibitively expensive, could be a hard sell to an industry reeling from the BP disaster.

Most oystermen agree that few oysters will be harvested from the Gulf Coast in the next year or two, signaling a potential calamity for shucking houses, oyster farmers and people who love a half dozen oysters on the half shell. As much as 65 percent of the nation’s oysters come from the Gulf.

Oysters are particularly susceptible to pollution, taking longer than fish or shrimp to clear oil contamination from their bodies.

Supan’s oysters are bred for performance, making them more fit to deal with viruses and other contaminants. Being sterile, they don’t go through the stress of reproduction, so they stay fat and juicy all year round. Supan says his oysters are sweet, plump and meaty in summertime when other oysters become thin and watery.

But the most crucial advantage this year was their mobility.

Unlike the vast majority of oysters in the Gulf, which spend their lives on the bottoms of bays and sounds, Supan’s oysters dangle in the water in cages at a hatchery on the inland side of this island.

When the Deepwater Horizon rig exploded on April 20 just a few dozen miles from his hatchery, the 57-year-old Louisiana State University oyster biologist evacuated his broods to a research hatchery in Alabama and a wildlife preserve in western Louisiana. Then he brought them back.

“In my opinion, this is the most important brood of oysters in the history of the Gulf of Mexico,” Supan says. “But you know, you ask an oysterman that and they will say, ‘Huh?’”

He said the day is coming when all the Gulf’s oystermen will know what he’s talking about.

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In this July 1, 2010 picture, Louisiana State University assistant research professor John Supan inspects algae growing tanks used to feed oyster larvae in his bivalve hatchery at the Louisiana Wildlife and FIsheries Laboratory in Grand Isle, La. Unlike traditional oysters that spawn and get skinny in the summer, Supan has developed sterile, “super” crossbreeds that remain fat, making them one of the best hopes for restoring Louisiana’s oyster industry. (AP Photo/Patrick Semansky)

In this July 1, 2010 picture, sacks of oyster half shells carrying tiny oyster larvae are seen in a tank in a bivalve hatchery at the Louisiana Wildlife and Fisheries Laboratory in Grand Isle, La. Unlike traditional oysters that spawn and get skinny in the summer, Louisiana State University assistant research professor John Supan has developed sterile, “super” crossbreeds that remain fat, making them one of the best hopes for restoring Louisiana’s oyster industry. (AP Photo/Patrick Semansky)