• Features
  • Reviews
  • Teaching
  • Watch & Listen
  • About

The past is never dead. It's not even past

Not Even Past

How to Survive a Plague: The Inside Story of How Citizens and Science Tamed AIDS, by David France (2016)

By John Carranza

51wo3zzp4bl-_sx341_bo1204203200_In the 1980s, the United States experienced a new disease that seemed to target young, gay men living in New York City and San Francisco. From the beginning, those doctors and scientists willing to treat members of the gay community remained perplexed as to why these men, their ages ranging from their early twenties to their thirties, were falling ill with rare diseases that would not ordinarily affect someone their age. The earliest name given to this new epidemic was gay related immune deficiency (GRID) before it took the name acquired immune deficiency syndrome (AIDS), which was caused by the human immunodeficiency virus (HIV). The push for scientific advancement and treatment was not readily available to these young men, and many government officials at the state and national levels refused to acknowledge the epidemic that soon spread across the United States and affected groups other than gay men.

David France’s How to Survive a Plague: The Inside Story of How Citizens and Science Tamed AIDS is a complementary work of history to the 2012 documentary of the same name that documented the early years of the AIDS epidemic to the successful discovery a decade later of combination drug therapies that brought people with AIDS from the brink of death back to life. The main actors in France’s sweeping narrative are a group of men and women who formed the AIDS Coalition to Unleash Power, or ACT-UP, devoted to demanding action from the government and pharmaceutical companies for treatment. Their initiatives were influential in saving thousands of lives by the early 1990s.

buttons_18168559608

ACT-UP buttons from the 1980s (via Wikimedia Commons).

ACT-UP began as an informal group of gay men who were dying of opportunistic infections related to the compromised immune systems associated with AIDS. However, as time went on, the epidemic took more lives and the government remained silent, so they took it upon themselves to learn about their illnesses in order to demand government intervention and the development of medical treatments. In this way, many of them became citizen-scientists. They compiled the scientific data made available to them by competing scientists and used it to educate one another and the government officials that they lobbied. They pushed for medications that would treat their opportunistic infections, as well as the virus that causes AIDS once it was discovered. They were also first in realizing the safe sex might lessen the chances a person had for catching this new and mysterious disease.

635944716875263811-1398634550_fighting-for-our-lives

AIDS activists in the 1980s (Curve Magazine via the Odyssey Online).

France recounts the activism necessary to win visibility not just for gays, but also for other populations who became affected, such as intravenous drug users and women. ACT-UP’s activism undertook public demonstrations as a means of demanding more scientific research, access to drugs, and lower prices for those drugs once they were identified as possible treatments. In its earliest years of activism, the group modeled itself on the Civil Rights movement of the 1960s by practicing nonviolent civil disobedience and going into traditionally conservative parts of the United States to educate people. ACT-UP petitioned members of Congress for AIDS funding for research, fought with the Food and Drug Administration (FDA) to allow lifesaving drugs onto the market faster, set up needle exchanges for intravenous drug users, and protested on Wall Street. The early stages of ACT-UP’s activism included using the infamous symbol of the pink triangle with SILENCE = DEATH written beneath it, which was made into bumper stickers and posters that could be plastered all over the city, as well as hats and T-shirts. One of the enduring symbols of their activism is the AIDS Memorial Quilt, which was created in San Francisco to remember the lives lost in the epidemic. It made its first appearance on the National Mall in Washington, D.C. in the fall of 1987 when it included more than 1,900 panels.

797px-aids_quilt

The AIDS Quilt on the National Mall in 2011 (via Wikimedia Commons).

David France’s book is a great achievement in that he details the events and lives of the people who lived through the AIDS epidemic over the course of approximately thirteen years. France achieves this not simply as a researcher with an eye for historical detail, but also as a person who lived through those events as a journalist. His ability to document the AIDS epidemic in the 1980s resulted in the ability to keenly observe developments while still keeping a certain level of objectivity. France uses extensive archival research, including the papers of the most visible activists and he draws on his own experience. Where possible, France conducted oral interviews with members of ACT-UP who are still alive today. France captures the emotion and frustration of the members of ACT-UP who pushed for access to life saving drugs while negotiating alliances and feuds among members of the group and the scientific community. How to Survive a Plague is essential reading, not only for members of the LGBTQ community, but for everyone who may have been too young or not have been alive during the 1980s and early 1990s when the fight for visibility and medication was still happening. How to Survive a Plague is an excellent example for understanding how activism works, how advocacy for those marginal members of society can be effective, and to show government and public health officials how not to handle a plague.
bugburnt
You may also like:

Joseph Parrott reviews The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government by David K. Johnson (2006).
Chris Babits explores the Dallas Gay Historic Archives.
Blake Scott reviews AIDS & Accusation: Haiti and the Geography of Blame by Paul Farmer (1992).
bugburnt

The Enemy Within: Cold War History in FX’s The Americans

By Clay Katsky

Those who watch the television show The Americans share a secret with its protagonists: they are not a quintessential American couple living in the suburbs of D.C.; they are, in fact, spies for the Soviet Union. Set against the backdrop of a resurgent Cold War in the early 1980s, this serialized spy thriller and period drama follows the fictional lives of Elizabeth and Philip Jennings, played by Keri Russell and Matthew Rhys, who were born in Russia and trained as KGB officers to be “sleeper” agents in America. Activated when Reagan throws détente out the window, no one suspects that they have two deeply separated lives, one as travel agents who live in Northern Virginia with two young children, and a second filled with spy missions where they don disguises to seduce and assassinate targets and gather intelligence by blackmailing officials and recruiting assets. The dichotomy of their lives is by day marked by their genuine devotion to their children and to each other, and by night by the violent and frequently murderous clandestine missions directed by their Russian handlers. These Americans are not what they seem to be.

web_img_gallery_detail_series_dsktp_theamericans_s3_06

Kerri Russell and Matthew Rhys star in The Americans (via FX).

Ultimately, it is Reagan’s hardline against the U.S.S.R. that gives the show context. The first season begins as Reagan assumes the presidency and the third ends with the Jennings family watching his “evil empire” speech together. During the most recent fourth season, a family viewing of the TV movie The Day After, which is about nuclear Armageddon, adds another dimension to a subplot involving powerful bioweapons. The writers of The Americans do a good job of using 1980s popular culture and history to add contextual drama to the show, but sometimes ignore chronological specifics and the technical aspects of espionage tradecraft for the sake of storytelling. Regardless, the late Cold War works well as a general guide for the narrative arc of the series; the escalating tension between superpowers is directly responsible for the increasing drama in the lives of its main characters.

president_reagan_speaking_in_minneapolis_1982

President Reagan in 1982 (via Wikimedia Commons).

Perversely, The Americans sometimes makes you root for the enemy within.  Fueled by terrific performances from Russell and Rhys, the Jennings can come off as sympathetic, and patriotic in their own way. Reminiscent of James Gandolfini in The Sopranos, these are bad people with redeeming qualities. She is an ideologically driven cold-blooded killer who is loyal to her family, while he is more sensitive and compelled by emotion, yet also capable of extreme violence. Both struggle with the conflict between their mission as spies and their duty as parents, which is a major plot device of the show. The tension of the first season is driven by their fear that the FBI will catch them. Right away evading capture is set up as synonymous with protecting their family. The second season expands on the theme of protecting their family from their world – after two other sleeper agents and their young children are murdered the Jennings fear they are next. The danger in the third season comes from within the family, with their daughter suspecting her parents are way more than just travel agents. And in the fourth season an assignment to steal bioweapons puts the whole world in jeopardy, pitting their loyalty to their country against their instinct to protect their children. Making the show about more than just spying and the Cold War, there are strong subplots involving the family’s next door neighbor, the FBI agent who works in the counter-intelligence division, and their daughter’s increasing devotion to Christianity, which comes to a head when she over shares with her pastor. The drama is about the characters, how they develop and how they react to one another in the context of the world around them.

fema_-_2720_-_photograph_by_fema_news_photo

The images of nuclear destruction in The Day After (1983) were troubling to many American families (via Wikimedia Commons).

In The Americans, history is used as the setting. The show underscores Reagan’s determination to defeat the forces of Communism using clips from his speeches – as Soviet agents, the Jennings find the rhetoric palpable. And at their house, the news always plays in the background at night, helping to give a timeline of events while also highlighting the television culture of the time – pop culture events like David Copperfield making the Statue of Liberty disappear are drawn on to both diffuse the tension and offer social nostalgia. But the headlines are also used to drive the drama. When Reagan gets shot, the Jennings go on high alert because they are not sure if their government was involved; and when Yuri Andropov, their former leader at the KGB, takes power in 1982, they know their lives are about to get busier. The writers incorporate the shift towards renewed hostilities that occurred during the late Cold War in order to give the viewer the sense that the Jennings mission is important. The rivalry between the superpowers could have spun out of control very quickly and at any moment, and the “the Americans” are caught in the middle of it.

The show begins as Reagan kicks the Cold War into high gear in 1981 and it will end with the collapse of the Communist superpower – having been renewed for a final two seasons, the story will be told to its conclusion. The Soviet fear of the Strategic Defense Initiative, Reagan’s anti-ballistic missile “Star Wars” project, is a centerpiece of the first few episodes. In reality, 1981 is too early for the Russians (or even Reagan) to be thinking seriously about SDI, but it works as an easy set up. At that time, however, it was mostly Reagan’s rhetoric that threatened to turn the Cold War hot. Nicaragua comes to the fore in the second season, again a little early in terms of chronology, but it works well because the Jennings’ sympathy for the Sandinista movement helps humanize them. Oliver North is credited as a technical advisor on an episode where the Jennings infiltrate a Contra training base. Empathy for the Jennings continues to build as they assist the anti-apartheid movement during the third season, while meanwhile the seeds of mistrust in their government are sown with the opening of the war in Afghanistan. In the fourth season, as their government pushes them to recruit their own daughter, the Soviet mismanagement of that war feeds their growing disillusionment and dovetails with a risky mission to acquire an apocalyptic bioweapon. While this past season was it’s least historically based, it was also its best because it dealt with larger, more existential issues.

evstafiev-spetsnaz-prepare-for-mission

A Soviet Spetsnaz (special operations) group prepares for a mission in Afghanistan, 1988 (via Wikimedia Commons)

The technical focus of the show is on tradecraft, not history. The thrills come from watching the spies operate; and from making dead drops and cultivating assets to planting listening devices and evading surveillance, the Jennings are very busy. But the show’s most exciting aspect is also its least plausible. It is hard to believe that such well-placed agents would be used as workhorses for the KGB. Especially in the first two seasons, the Jennings juggle multiple assignments at the same time and go on a wide variety of missions – simultaneously they are assassins, saboteurs, master manipulators, and experts in surveillance, counterespionage, and combat. As valuable as they would have been to their government, the Jennings are asked to take too many risks and expose themselves too often. But even in its most exaggerated aspects, The Americans feels realistic due to the expert performances from Russell and Rhys, who are so believable in their roles as skilled spies and as doting parents that one cannot help but trust in their inhuman ability to be an expert in anything they need to be.

Two Soviet era subminiature cams. The one to the left is a Kiev-30 (1974-1983), the other one is a Kiev Vega 2 (1961-1964).

Two miniature Soviet spy cameras form the late Cold War (via Wikimedia Commons).

Overall, The Americans is a highly engaging and richly thought out show set in the waning years of the Cold War. It is very exciting to watch two highly trained KGB operatives as they navigate the complexity of staying ideologically loyal to their cause while raising an American family and living a lie. People who remember the 1980s firsthand will enjoy the references and set pieces, and anyone who likes spy thrillers will be instantly hooked on the slow boiling but constant action and drama. It will be interesting to see how the upcoming fifth season incorporates the Able Archer war scare, when the Soviets mistook NATO war games for the start of real life a nuclear engagement. Will it be the Jennings who witness an increase in late night pizza deliveries to the Pentagon and report back to Moscow that nuclear war is imminent? They seem too savvy to drop the ball like that. But what will happen in the end? Will they survive or be caught by the FBI, or will they get called back to Russia to be punished for some failure or perceived disloyalty?
bugburnt
Read more by Clay Katsky on Not Even Past:
Kissinger’s Shadow, By Greg Grandin (2005)

You may also like:
Simon Miles reviews Reagan on War: A Reappraisal of the Weinberger Doctrine, 1980-1984, by Gail E. S. Yoshitani (2012)
Joseph Parrott examines The Rebellion of Ronald Reagan: A History of the End of the Cold War, by James Mann (2010)
bugburnt

Recent Posts

  • NEP’s Archive Chronicles: A Brief Guide Through Some Archives in Gaborone and Serowe, Botswana
  • Review of Hierarchies at Home: Domestic Service in Cuba from Abolition to Revolution (2022), by Anasa Hicks
  • Agency and Resistance: African and Indigenous Women’s Navigation of Economic, Legal, and Religious Structures in Colonial Spanish America
  • NEP’s Archive Chronicles: Unexpected Archives. Exploring Student Notebooks at the Institut Fondamental d’Afrique Noire (IFAN) in Senegal
  • Review of No Place Like Nome: The Bering Strait Seen Through Its Most Storied City
NOT EVEN PAST is produced by

The Department of History

The University of Texas at Austin

We are supported by the College of Liberal Arts
And our Readers

Donate
Contact

All content © 2010-present NOT EVEN PAST and the authors, unless otherwise noted

Sign up to receive our MONTHLY NEWSLETTER

  • Features
  • Reviews
  • Teaching
  • Watch & Listen
  • About