That was the year that was – the road to nowhere

Well we know where we’re going
But we don’t know where we’ve been
And we know what we’re knowing
But we can’t say what we’ve seen
And we’re not little children
And we know what we want
And the future is certain
Give us time to work it out
The Talking Heads

To borrow from Boz, these were the worst of times, these were the strangest of times. So disillusioned were we with our politics and our politicians, so dispirited by the sad state of the plant, so fissured and fractured as a society, with our intractable culture wars, we retreated into own private Idahos, pulled up the drawbridge and settled in with our iPads and iPhones and our Foxtel with the vino collapso and watched all the fun of the fair.

The mellifluous but perennially entertaining Donald Trump had a bad year, and a resolute Theresa May likewise. Confounding critics, she endeavours to persevere as she steers her foundering shipm of State towards Brexit and China’s Uighur Muslims. Barbaric Da’ish had a bad year (which was rather a good thing) , as did the unfortunate Rohinga of Myanmar, and the long-suffering people of Gaza.. Resilient Bashar Assad had a good year, with a little help from his Russian, Iranian and Hezbollah friends, but the wars of the Ottoman succession grind on. Vladimir Putin and the fat conductor Kim Jong Un had an excellent year, courtesy of POTUS. Angela Merkel lost her sparkle but royal Markle sparkled, and the luminous Taylor Swift, all legs and lipstick, emerged from her apolitical closet to swing the vote against the Donald in the US midterms. Her trim gluteus maximus starredin a court case that typified a year that saw women stand up strongly against years of aberrant male behaviour.

The Australian parliament devolved into a circus of tantrums and turncoats as the Liberal and National coalition devoured its own in a year book-ended by smutty sexual scandals, whilst canny Labor kept its powder dry for what bodes to be an whopping electoral victory in 2019. We wished that our rulers and representatives would stop behaving like children and start running the country and governing it for all of us.and then the children walked out of school en mass and told us that when they grew up they’d do a better job. The circus clowns huffed and puffed and denigrated the young ones – which only served to embarrass them more for their paucity of vision and partisan division.

And so, to the year in review:

During what was to many observers a dispiriting year of division and destruction, In That Howling Infinite maintained its  watch  with an eclectic mix of commentary, commemoration, culture and comedy. It was a big year – some forty posts in all. So many indeed that decided to reposted my favourite top five – those that I most enjoyed writing – on In That Howling Infinite’s Facebook page. See these at the conclusion of this review.

In a December post, Free Speech, One Each, we expressed disappointment with the ignorance, naivety, and self-absorption of electorates, left and right: their lack of historical knowledge and of curiosity, an unhealthy and self-defeating habit of accepting facts, narratives and theories based upon their preconceptions and prejudices. Nowadays, it often seems as if the reasonable middle has been excised from political discourse, drained out by the shrill voices of the extremes with their identity politics, virtue signalling, and vested interests. Social media has exacerbated the situation as folk lock themselves into their own echo chambers, listening only to those with whom they agree, ignoring or even avoiding contrary opinions and perspectives. It is a self-defeating, delusional, zero-sum form of groupthink that erodes trust and goodwill and prevents the development of consensus and cooperation. Meanwhile, opportunistic politicians and commentators build their constituencies by appealing to the particularistic, even atavistic wants and fears of their followers. Too often this reduces things down to atavistic lowest common denominators. They literally seize the low moral ground. Peoples problems and fears are real enough, and do need to be solved or allayed, but too often they are gulled, manipulated and recruited by modern-day snake-oil salesmen and show-tent shysters.

It was with this in mind that we caste a weary and cynical eye over Australian politics and society, particularly the ongoing history and culture wars, beginning in January with the self-explanatory We’ve Got The Australia Day Blues , and continuing with Conservatism in CrisisMilo Downunder, an alt-right love story, and the ongoing angst about the Ramsay Centre and its proposed university course on western civilization. Never in recent memory have so many words been printed about so little – at least not until the right’s last holy war. And so, there is The long, dark teatime of The Australian’s soul and its sequel The Oz’s lonely crusade. By year’s end, both sides appear to have run out of puff and the course will most likely end up in small regional campuses rather than the prestigious halls of Sydney and Melbourne.

Southern Discomfort.

The year’s leitmotif was the ongoing fiftieth anniversary of 1968, a tumultuous year for the world, and a formative one for myself personally. Stories of the events of that year are interspersed my own recollections – what I was doing at at the time, and what was going through my youthful head.  In Encounters with Enoch, I revisit English politician Enoch Powell’s controversial ‘Rivers of Blood’ speech. Then it’s Springtime in Paris as I recall les Évènements de Mai. And thence to Prague and the Soviet invasion of Czechoslovakia with Tanks for the memory – how Brezhnev changed my life. Finally, there was the year in review with Things fall apart, the centre cannot hold – 1968 revisited.

2018 was also the centenary of the armistice that ended The Great War. November 1918 – the counterfeit peace discussed how for many countries and peoples in Europe and beyond, the conflict and the bloodshed continued. We also shared a poignant, fitting tribute by Gerry Condon  to all the “doomed youth” of all wars with Dulce et ducorem est – the death of war poet Wilfred Owen

There were other anniversaries. The Wild Wood and the Wide World revisited Kenneth Grahame’s riverbank pastorale The Wind in the Willows 110 years after it’s publication. Ghosts of the Gulag, which followed on from an earlier discussion of film The Death of Stalin released earlier in the year, looked at the contribution of Alexander Solzhenitsyn on the fiftieth anniversary of The Gulag Archipelago. The Russian theme continued with Whoar! And Peace – a light look at the BBC’s recent racey adaptation of Tolstoy’s celebrated house-brick.

The fiftieth anniversary of the death of John Steinbeck inspired The last rains came gently – Steinbeck’s dustbowl Blues. This featured the complete first chapter of The Grapes of Wrath, describing the unfolding of an environmental disaster. Two other posts also covered ecological bad news stories: The return of the forest wars in Australia, and Losing Earth – the decade we almost stopped climate change.

As always, the politics and people of the Middle East feature prominently in In That Howling Infinite. January kicked off with Ahed Tamimi – A Family Affair, a discussion about the young Palestinian activist and the first family of the resistance. Out of season, we visited the birthplace of the Christ child with O Little Town of Bethlehem, how still we see thee lie and tell the story of a border town that has existed since the beginning of recorded history. We considered whether an Israeli-Palestinian confederation was possible, and republished Israel author David Grossman’s A Fortess But Not Yet a Homeand a review of author Amos Oz’ Dear Zealots – letters from a divided land. Sadly, Oz passed on 28th December, his death and that of the indomitable Uri Avnery (see last September’s Seeing through the eyes of “the other’) in August saw the passing of two of the most forthright intellectual proponents of the receding ‘two state solution’. We also reviewed  the intimations, imperfections and implications of Donald Trump’s “ultimate deal”, an ostensible end to the intractable Arab-Israeli conflict but which is effectively Throwing Abbas under the bus. The wider Arab and Islamic world features in Islam’s house of many mansions, and, in the wake of the murder of journalist Jamal Khashoggi and the Yemen war, we consider the possibility of Sanctioning Saudi -1973 revisited.

Our history posts were as eclectic as ever. We continued our series of Small Stories with a profile of The Monarch of the Sea, Prince Roy of Sealand, the smallest country in the world, and The Odyssey of Assid Corban from a tiny village in Lebanon to a wine dynasty in Auckland, New Zealand. A video of University College Dublin’s celebrated Choral Scholars inspired a look at an old Jacobite song  Mo Ghile Mear, whilst the anniversary of the Irish rebellion of 1798 recalled another song and a host of personal memories: The Boys of Wexford – memory and memoir. We reviewed two historical novels. In Cuddling up to Caligula, we discovered a soft side to the controversial Roman Emperor; whilst melancholy Martin Sparrow’s Blues shone fresh light on the travails of Australia’s early white settlers. And a review of Ulrich Raulff’s Farewell to the Horse, a history of man’s long relationship with our four-legged friend, galloped away from me as we sang the song of the horse with The Twilight of the Equine Gods  – part history, part memoir, part prose-poem.

And that was the year that was.

And the top five?

Number five was that slap that resounded around the world – the story of young Ahed Tamimi and her family. Four, the tale of melancholy Martin SparrowThree, the Jacobite love song Mo Ghile Mear – Irish myth and melody. Two, the reverie of 1968. And, number one, my very, very favourite and indeed, a labour of love, The Twilight of the Equine Gods

Happy New Year. See you on the other side.

Our reviews of previous years: 20172016 2015

Songs to drive the cold winter away

I am not one who makes much of the festive season, but inspired by the example of my favourite blog, Thom Hickey’s Immortal Juke Box, here are five favourite Christmas songs. No Neil Diamond or Mariah Carey here.

Five

The King, sung here by Canadians Loreena McKennitt and Cyril Smith, from Loreena’s Christmas album To Drive the Cold Winter Away, hails from a long tradition of “Wren King” songs. The king of the title is the wee wren, “the king of all birds”, as many old songs tell it. Through December until Twelfth Night (the sixth of January), it was common among Celtic-speakers in Brittany, Wales, Manx, Scotland, and Ireland for children and adults to cruise their neighbourhoods cadging food, money or booze in return for seeing a Wren that they had captured. This particular “King Wren” song dates from the eighteenth century, although the heavy weaponry was added in the nineteenth.

Health, love and peace be all here in this place
By your leave we shall sing, concerning our King
Our King is well-dressed in silks of the best
In ribbons so rare no king can compare
We have travelled many miles over hedges and stiles
In search of our King unto you we bring.
We have powder and shot to conquer the lot
We have cannon and ball to conquer them all.
Old Christmas is past, twelve tide is the last
And we bid you adieu, great joy to the new

Four

Of all the trees that are in the wood, the holly bears the crown.  Northumbrian Kate Rusby’s rendering of the old English carol The Holly and the Ivy is gorgeous. I reblogged Thom Hickey’s tribute to this lovely song earlier this month. It is worth another look and listen. The lyrics are so bucolic, so timeless:

The rising of the sun
The running of the deer
The playing of the merry organ
Sweet singing in the choir

Three

Loreena sings a lovely version of The Wexford Carol on her Christmas album. But Christmas songs don’t get much more beautiful than this beautiful version by American bluegrass diva Ali Krauss and cellist virtuoso Yo Yo Ma. The carol is believed to have originated in twelfth century Ireland in my mother’s home town of Inis Córthaidh.

Two

In 1961, Dusty Springfield was but a young lass, but even back then, she had a fabulous voice! I was twelve years old and this was the first time I’d heard the Springfields, the Americanesque folk trio founded by her brother Tom. It was the beginning of unrequited puppy-love that ended when I heard the Bobster’s Love Minus Zero No Limit – see my reverie What’s Bob Got to Do With It?  Dusty went on to become one of the greatest soul singers of all time, and Tom gave the world The Seekers. He adapted Bambino from a traditional Italian carol, just as he was later to transform a Russian folk-song into The Carnival is Over.

Santo natale bambino mio…
To you and all mankind,
To you and all mankind, maybe,
And from strife we shall be free.

One

It’s been voted the best Christmas song of all time – in the U.K, that is, because Americans don’t get it, as The Independent discovered – and, yes, it’s my number one because it IS the best Christmas song of all time. And yet, it seems, the “bah humbug!” straighteners and virtue signallers are out to get it, as reported recently by Aussie writer Mark Mordue: Sanitize Clause would rob a Christmas ballad of its soul.

The irascible, untuneful, dentally-disadvantaged Shane McGowan and his hot ceilidh band hit the big time with this “Christmas Eve in the drunk tank” shanty, wonderfully aided and abetted by the gorgeous and doomed Kirsty MacColl, who could’ve been famous but for a rich Mexican in a speedboat. The repartee between these loser-lovers is up there with Burton and Taylor:

I could have been someone
Well so could anyone
You took my dreams from me
When I first found you…

You’re a bum
You’re a punk
You’re an old slut on junk
You scumbag, you maggot
You cheap lousy faggot
Happy Christmas your arse
I pray God it’s our last

When it comes to a Christmas song, how low can you Go? And, as the band kicks in with the accordion and pipes, how high can you fly?

Happy Christmas.

The Boys of Wexford – memory and memoir

We are the boys of Wexford, who fought with heart and hand
To burst in twain the Saxon chain, and free our native land!
The Boys of Wexford, RD Royce 1898

Glory-o, Glory-o to her brave men who died
For the cause of long down-trodden man.
Glory-o to Mount-Leinster’s own darling and pride
Dauntless Kelly, the boy from Killane.
Patrick Joseph McCall, 1898

It was on this day in 1798, during the first great Irish rebellion against British dominion, that the Battle of Vinegar Hill took place at Inis Córthaid, now the second-largest town in County Wexford.

The Rebellion of 1798 (Éirí Amach) also known as the United Irishmen Rebellion, was an uprising against British rule in Ireland during the summer of ‘98. The United Irishmen, a republican revolutionary group influenced by the ideas of the American and French revolutions, were the drivers of the rebellion. It was led by Presbyterians irate at being shut out of power by the Anglican establishment whilst Catholics became increasingly involved. Plans called for significant French support, which never eventuated. The uprising was poorly organized, uncoordinated, and quickly suppressed by much more powerful British forces. Both sides indulged in bloody reprisals. Between 10,000 to 30,000 souls perished, most of them Irishmen and women of all denominations.

The rebellion raged Ireland-wide, but County Wexford was its heart. Overlooking the town, Vinegar Hill was the site of the largest camp and the headquarters of the Irish rebels who held County Wexford for thirty days against vastly superior English forces; and it was there, after inflicting several defeats upon the insurgents that the English sought to finally destroy the rebel army. Battle raged on Vinegar Hill itself and in the streets of Enniscorthy with considerable loss of life among both rebels and civilians. It marked a turning point in the rising, being the last attempt by the rebels to hold and defend ground against the British military.

The famous statue in the market square of Enniscorthy shows the doomed Father Murphy, a leader of the ’98, pointing the way to Vinegar Hill for a young volunteer, ‘The Croppy Boy’.

Father Murphy and The Croppy Boy

The Battle of Vinegar Hill, Enniscorthy

History – and indeed, our lives – have a way of echoing across the world and down the years. In 1804, Irish convicts in the far-away penal colony of New South Wales, raised the flag of rebellion against the British soldiery and the colonial masters they served. It was the only convict rising in Australia. Many of those convicts would have been involved in the ‘98, and transported to Botany Bay for their part in it. Their quixotic Intifada was crushed at a place they called Vinegar Hill after the Wexford battle. In 1979, having migrated to Australia, I visited what is believed to be the site of the convicts’ revolt, the Castlebrook lawn cemetery on Windsor Road, Rouse Hill, where a monument commemorating the revolt was dedicated in 1988, Australia’s bicentennial year. Once open farmland, a place of market gardens and horse riding (back in the day, Adèle and I would canter across its  gently rolling paddocks), it is now a suburban sprawl of McMansions.

The Battle of Vinegar Hill, New South Wales

Myth and memory often embellish the stories and the glories of oppressed people rising up against the power, but when we recall these oftimes forlorn hopes, from Spartacus to the Arab Spring, it is difficult to imagine ourselves, in our relatively comfortable, free and democratic countries, in the position of people desperate and passionate enough to risk life and limb and to face the terrible consquences of heroic failure.  We can but sense, vicariously, the ache and the urge behind Lord Byron’s passionate couplet:

Yet, Freedom! thy banner, torn, but flying,
Streams like the thunder-storm against the wind.

And ponder Seamus Heaney’s poignant Requiem for the Croppies:

The pockets of our greatcoats, full of barley
No kitchens on the run, no striking camp
We moved quick and sudden in our own country.
The priest lay behind ditches with the tramp.
A people, hardly marching on the hike
We found new tactics happening each day:
We’d cut through reins and rider with the pike
And stampede cattle into infantry,
Then retreat through hedges where cavalry must be thrown.
Until, on Vinegar Hill, the fatal conclave.
Terraced thousands died, shaking scythes at cannon.
The hillside blushed, soaked in our broken wave.
They buried us without shroud or coffin
And in August the barley grew up out of the grave.

Father Murphy and me

I’ve always felt a connection with Vinegar Hill and “the boys of Wexford” who fought there.

In Birmingham, back in the early fifties, we lived with our aunt in a cold-water, back-alley walk-up on the border of Balsall Heath (just inside Moseley, a ‘better’ suburb). Aunty Mary was my mother’s mother’s sister. Her family had lived through Ireland’s war of independence and the civil war that followed, and she carried with her the memory of those times when she migrated to Birmingham before the Second World War – after her husband had run off “with another woman” (these things happened in Catholic Ireland). She lived in that same old house right through the Blitz when German bombers regularly targeted The Second City’s engineering, motor and arms factories, and not a few public buildings including the Piccadilly and Waldorf cinemas on nearby Stratford Road which were destroyed with considerable loss of life. Mary would serve tea to the bomb-disposal lads as they carried out their dangerous work. When her sister died and daddy Paddy (Patrick Joseph, my middle names) had decamped – he’d found a new Love – Mary brought their six children over to Birmingham from Enniscorthy one by one. I never met nor learned what became of my grandfather. My aunt and mother would say that if Paddy Whelan died, the devil himself would come and tell us. Old Nick never did, but my brother Robert recently chased down the records. Paddy also crossed the water, passing on in Leicester – not that far from Brum – in 1985 at the age of eighty.

I was born in Mary’s house. She had a friend who had once given birth so that friend was the midwife. My brothers followed over the next two years. By then, the National Health Service had kicked in, and they were born in hospital. Childbirth, forever dangerous, was now rendered less life-threatening. There we all lived, three kids, our folks, Aunty Mary, three uncles, two aunts, a pekingesecalled Monty, named for the famous field Marshall, and an ancient white cat called Gorgee. Monty was flattened by a bus on Moseley Road, right outside our home.

Three bedrooms, girls in one, boys in another, and our family in the third. Outside loo and coal shed, no bathroom or hot water (we kids bathed in the kitchen sink and grown-ups went down to The Baths). Cold and damp, and close to the shops. And there we lived until 1956 when a council house in Yardley Wood became our first family home. Cold and colder running water that froze in winter, but it was at least inside the house; a bathroom with hot water heated in a big gas boiler; and an outside flush lavatory that was nevertheless immediately adjacent to the backdoor and not down in the garden. A big garden it was too, for winter and spring vegetables, snowmen and summer camp-outs.

There we grew, with free medical treatment for all our ailments, and free optical and dental care. I still have crooked teeth – no fancy orthodontics on the NHS – but I have all my teeth still. And my eyesight. We were educated for free. This came in during the war with the Butler Act. So, thanks to the Welfare State, we were housed and healthy enough to get to primary school and beyond. Once there, we had free books, free pens and paper and compulsory sport, and doctors and nurses would turn up on a regular basis to check our vitals. And thus, we were able to reach the glorious ‘sixties ready to rock ‘n roll.

In 1956, my uncle took me “across the sea to Ireland” to meet our family – my mother’s, that is. Dad was a proddie from County Tyrone, and we didn’t talk about them. We stayed in the tiny terrace house in Patrick Street where my mother was born in 1928, a crowded place with an outside toilet and a whitewashed back wall that looked out onto windswept fields beyond.

Uncle Sonny (Philip, really, but knicknamed for Al Jolson’s famous song), took me to the top of Vinegar Hill, and it’s lonely ruined round tower, used then as a shelter for cattle. We visited the statue of Father John Murphy and the young volunteer, and I learned the story of The Croppy Boy. Today, the term “croppy” is used derogatively to refer to a country bumpkin. Back then, it also referred to the young patriots who answered to the call “at the rising of the moon”. Their name came from their cropped hair – interpreted by some at the time as symbolic of the rejection of the powdered wigs of the gentry and also of the style popularised by French revolutionaries. Sonny took me to The Bloody Bridge on the outskirts of town where Father Murphy was tortured and executed by the English soldiers, the ‘yeos’ (or yeomen). I put my fingers in the groove in the  bridge’s stone parapet, said to have been made by the dying priest himself. We walked across the bridge in Wexford Town where so many martyrs perished at the hands of the foe – and, alas, so many innocents were murdered by the rebels. Little matter that the bridge we now trode was the third built there since those fateful days.

History was alive, and it was black and white. People remembered, as if it was yesterday, how Oliver Cromwell cut a bloody swathe through Catholic Ireland and massacred the innocents of Wexford town. It was said that people hung Cromwell’s picture upside down in their living rooms, and turned his face to the wall for good measure. Relatives would recount how the Black and Tans, the English paramilitaries raised to terrorise the populace, held their bayonets to women’s throats demanding “where’s your husband?”…or father…or son…Even the English teachers at my English grammar school would remark that the ‘Tans were war veterans who’d survived carnage of the Western Front and wanted more.

In the summer of 1969 my brother and I and an old chum spent several weeks in an Enniscorthy that looked and felt felt like it had not changed since Aunty Mary’s day – so well portrayed in the academy award nominated film Brooklyn. Dressed as we were in hippie garb and sporting long locks, we cut incongruous figures in the pubs and at the local hop, and were so unsuccessful hitchhiking around the county that we walked many a long Irish mile. We hiked to Killane, Sean Kelly’s country, and inspired by the song, climbed upwards though heath and hedge to the top of Mount Leinster. We stayed at 13 Patrick Street, and spent a lot of time sitting up on Vinegar Hill, beneath its round tower, looking down on the River Slaney and the town beyond. My brother was a keen photographer, and he took the following pictures:

The Croppy Boy 1969

Enniscorthy from atop Vinegar Hill August 1969

Enniscorthy Sunset August 1969

Fast forward into another century, and I was “on the Holy Ground once more”. Adèle and I attended the wedding of an old pal and cosmic twin (born on the same day as me at about the same time, in English town beginning with B) we were the only Brits in a seminar at London’s School of Oriental and African Studies. Back then, SOAS was known to many Arabs as the school of spies, a status I was reminded of by the owner of our hotel when we all visited Damascus in 2006. But I digress.

The wedding was held at an old pub in right in the heart of Ireland, and in getting there, we did a whistle-stop tour of the south, including Enniscorthy, Wexford and Ross, the heartland of the ‘98 rebellion. When I first visited Enniscorthy, you could lie down in the middle of the Main Street and not be disturbed by traffic. This time, you could still lie down in th middle of Main Street – we were stuck in a traffic jam as we wound up the hill past Saint Aiden’s Cathedral to Patrick Street, which was no longer on the edge of town. The old house was still standing, as the song goes. Clean and crisp and pebble-dashed. As we stood outside number thirteen, a young goth girl in a multicoloured hoodie with tattoos and piercings opened the door. I told her how my mother and her brothers and sisters were born in this very house a long, long time ago, and that we’d come all the way from Australia to see it. “You don’t say!” she said.

13 Patrick Street, August 2004

Vinegar Hill August 2004

I was best man at that wedding, and in a speech largely devoted to the groom and our mutual, lifelong appreciation of Bob Dylan, I was able to relate to guests young and old tales of my Irish childhood, taking us all “down the foggy ruins of time”, and sang extracts from songs I actually did learn at my mothers knee. When I was little, mother Mary would march us up and down the parlour as she sang Enniscorthy’s songs of rebellion: Kelly the Boy From Killane, Boulavogue, and the eponymous Boys of Wexford.  “In comes the captain’s daughter, the captain of the Yeos …” – I’ve always wondered what became of that young rebel lass. Transported to Australia with hundreds of others, maybe? The songlines of my Celtic twilight.

We were told that such songs were banned in Britain, and that we must never sing them in public. There’s nothing so tempting as forbidden fruit. A relative brought us over Irish Songs of Freedom, sung in a sweet tenor by Willie Brady – a daring deed indeed, listening to it was,   and perhaps my first act of rebellion. We know now that this was all a cod. The Clancy Brothers were singing those rebel songs to packed houses the length and breadth of the British Isles and North America. And today, of course, you lose count of the collections and anthologies of Irish songs of freedom, rebellion or resistance, sung with vim, vigour, and nostalgic gusto from the Clancy Brothers and Dubliners back in the day to Sinead O’Connor and Celtic Woman.

In true men, like you men – songs of ‘98

So, on this, the two hundredth and twentieth anniversary of Vinegar Hill, let us remember the patriot men with a few of those old songs.

At Vinegar Hill o’er the pleasant Slaney
Our heroes vainly stood back to back
And the yeos at Tullow took Father Murphy
And burnt his body upon the rack
God grant you glory, brave Father Murphy
And open heaven to all your men
The cause that called you may call tomorrow
In another fight for the green again
Boulavogue Patrick Joseph McCall 1898

The song commemorates local parish priest Father John Murphy, he of the statue in he market place, who led his parishioners into battle in Wexford. Father Murphy and the other rebel leaders were captured and executed. He was hanged, decapitated, his corpse burnt in a barrel of tar, and his head placed on a spike as a warning to other rebels.

Enniscorthy is in flames and old Wexford is won
And tomorrow the barrow will cross
On the hill o’er the town we have planted a gun
That will batter the gateway to Ross
All the Forth men and Bargy men will march o’er the heath
With brave Harvey to lead in the van
But the foremost of all in the grim gap of death
Will be Kelly, the boy from Killane
Patrick Joseph McCall 1898

Sean Kelly was one of the leaders of the ‘98, celebrated for his role in then Battle of Ross, where he was wounded. After the fall of Wexford on 21 June, he was dragged from his sick bed, tried and sentenced to death and hanged on Wexford Bridge along with seven other rebel leaders. His body was then decapitated, the trunk thrown into the River Slaney and the head kicked through the streets before being set on display on a spike as a warning to others…Bad times for brave men.

Some on the shores of distant lands
Their weary hearts have laid,
And by the stranger’s heedless hands
Their lonely graves were made;
But though their clay be far away,
Beyond the Atlantic foam,
In true men, like you, men,
Their spirit’s still at home.
Who Fears to Speak of ‘98, John Kells Ingram 1843

See also, Irish Rebel Music, and A Selection of songs of ’98.

And in In That Howling Infinite, see Mo Ghile Mear – Irish myth and melody

That was the year that was

Reviewing 2017, I am reminded of Game of Thrones‘ Mance Rayder’s valedictory: “I wish you good fortune in the wars to come”.

On the international and the domestic front, it appeared as if we were condemned to an infernal and exasperating ‘Groundhog Day’.

Last November, we welcomed Donald Trump to the White House with bated breath and gritted teeth, and his first year as POTUS did not disappoint. From race-relations to healthcare to tax reform to The Middle East, South Asia and North Korea, we view his bizarro administration with a mix of amusement and trepidation. Rhetorical questions just keep coming. Will the Donald be impeached? Are we heading for World War 3? How will declining America make itself “great again” in a multipolar world set to be dominated by Russia Redux and resurgent China. Against the advice of his security gurus, and every apparently sane and sensible government on the globe (including China and Russia, but not King Bibi of Iz), his Trumpfulness recognized Jerusalem as the capital of Jerusalem. Sure, we all know that Jerusalem is the capital of Israel – but we are not supposed to shout it out loud in case it unleashed all manner of mayhem on the easily irritated Muslim street. Hopefully, as with many of Trump’s isolationist initiatives, like climate change, trade, and Iran, less immoderate nations will take no notice and carry on regardless. The year closes in, and so does the Mueller Commission’s investigation into Russia’s meddling in the last presidential election and the Trumpistas’ connivance and complicity – yes, “complicit”, online Dictionary.com’s Word of the Year, introduced to us in her husky breathlessness by the gorgeous Scarlett Johansson in a spoof perfume ad that parodies Ivanka Trump’s merchandizing.

Britain continues to lumber towards the Brexit cliff, its unfortunate and ill-starred prime minister marked down as “dead girl walking”. Negotiations for the divorce settlement stutter on, gridlocked by the humongous cost, the fate of Europeans in Britain and Brits abroad, and the matter of the Irish border, which portends a return to “the troubles” – that quintessentially Irish term for the communal bloodletting that dominated the latter half of the last century. The May Government’s hamfistedness is such that at Year End, many pundits are saying that the public have forgotten the incompetence of Labour leader Jeremy Corbyn, and predict that against all odds, his missus could soon be measuring up for curtains in Number Ten.

Beset by devilish twins of Trump and Brexit, a European Union written-off as a dysfunctional, divided bureaucratic juggernaut, appears to have found hidden reserves of unity and purpose, playing hardball with Britain, dismissing the claims of Catalonia and Kurdistan, rebuking an isolationist America, and seeing-off resurgent extreme right-wing parties that threaten to fracture it with their nationalist and anti-immigration agendas. Yet, whilst Marine Le Pen and Gert Wilders came up short in the French and Dutch elections, and centrists Emmanuel Macron and Angela Merkel hold the moderate middle, atavistic, autocratic and proto-fascist parties have risen to prominence and influence in formerly unfree Eastern Europe, driven by fear of a non-existent flood of refugees from the Middle East and Africa (these are headed for the more pleasant economic climes of Germany, Britain and Scandinavia), and perhaps, their historically authoritarian DNA. Already confronted with the Russian ascendency in the east, and the prospects of the Ukrainian – Donetsk conflict firing up in the near future, the EU’s next big challenge is likely to be reacquainting itself with its original raisin d’etre – the European Project that sought to put an end to a century of European wars – and addressing the potential expulsion of parvenu, opportunistic member states who fail to uphold the union’s democratic values. As a hillbilly villain in that great series Justifed declaimed, “he who is not with is not with us”.

The frail, overcrowded boats still bob dangerously on Mediterranean and Aegean waters, and the hopeful of Africa and Asia die hopelessly and helplessly. Young people, from east and west Africa flee poverty, unemployment, and civil war, to wind up in Calais or in pop-up slave markets in free but failed Libya. In the Middle East the carnage continues. Da’ish might be finished on the battlefields of Iraq and Syria, with the number of civilian casualties far exceeding that of dead jihadis. But its reach has extended to the streets of Western Europe – dominating headlines and filling social media with colourful profile pictures and “I am (insert latest outrage)” slogans. Meanwhile, tens, scores, hundreds die as bombs explode in Iraq, Syria, Yemen, Egypt, Afghanistan and Pakistan, with no such outpourings of empathy – as if it’s all too much, too many, too far away.

Bad as 2017 and years prior were for this sad segment of our planet, next year will probably not be much better. The autocrats are firmly back in the saddle from anarchic Libya and repressed Egypt to Gulf monarchs and Iranian theocrats. There will be the wars of the ISIS succession as regional rivals compete with each other for dominance. Although it’s ship of state is taking in water, Saudi Arabia will continue its quixotic and perverse adventures in the Gulf and the Levant. At play in the fields of his Lord, VP Pence declared to US troops in December that victory was nigh, the Taliban and IS continue to make advances in poor, benighted Afghanistan. Meanwhile, Africa will continue to bleed, with ongoing wars across the Sahel, from West and Central Africa through to South Sudan,  ethnic tensions in the fragile nations of the Rift Valley, and further unrest in newly ‘liberated’ Zimbabwe as its people realize that the military coup is yet another case what The Who called “meet the old boss, same as the new boss”.

This Syrian mother and her child were rescued by the Greek Coast Guard.

In our Land Down Under, we endured the longest, most boring election campaign in living memory, and got more of the same: a lacklustre Tory government, and a depressingly dysfunctional and adversarial political system. Politicians of all parties, blinkered by short-termism, and devoid of vision, insist on fiddling whilst the antipodean Rome burns. All this only accentuates Australians’ disenchantment with their representatives, warps their perception of the value and values of “democracy”, and drives the frustrated, disgruntled, fearful and alienated towards the political extremes – and particularly the Right where ambitious but frustrated once, present and future Tory politicians aspire to greatness as big fishes in little ponds of omniphobia.

Conservative Christian politicians imposed upon us an expensive, unnecessary and bitterly divisive plebiscite on same-sex marriage which took forever. And yet, the non-compulsory vote produced a turnout much greater than the U.K. and US elections and the Brexit referendum, and in the end, over sixty percent of registered voters said Yes. Whilst constituencies with a high proportion of Muslims, Hindus, Christians and Chinese cleaved to the concept that marriage was only for man and women, the country, urban and rural, cities and states voted otherwise. The conservatives’ much-touted “silent majority” was not their “moral majority” after all. Our parliamentarians then insisted on dragging the whole sorry business out for a fortnight whilst they passed the legislation through both Houses of Parliament in an agonizingly ponderous pantomime of emotion, self-righteousness and grandstanding. The people might have spoken, but the pollies just had to have the last word. Thanks be to God they are all now off on their summer hols! And same-sex couples can marry in the eyes of God and the state from January 9th 2018.

Meanwhile, in our own rustic backyard, we are still “going up against chaos”, to quote Canadian songster Bruce Cockburn. For much of the year, as the last, we have been engaged in combat with the Forestry Corporation of New South Wales as it continues to lay waste to the state forest that surrounds us. As the year draws to a close, our adversary has withdrawn for the long, hot summer, but will return in 2018, and the struggle will continue – as it will throughout the state and indeed the nation as timber, coal and gas corporations, empowered by legislation, trash the common treasury with the assent of our many governments.

And finally, on a light note, a brief summary of what we were watching during the year. There were the latest seasons of Game of Thrones and The Walking Dead. The former was brilliant, and the latter left us wondering why we are still watching this tedious and messy “Lost in Zombieland”. Westworld was a delight with its fabulous locations and cinematography, a script that kept us backtracking to listen again to what was said and to keep up with its many ethical arcs and literary revenues. and a cavalcade of well cast, well-written and original characters. Westworld scored a post of its own on this blog – see below. The Hand Maid’s Tale wove a dystopian tale all the more rendered all the more harrowing by the dual reality that there are a lot of men in the world who would like to see women in servitude, and that our society has the technology to do it. To celebrate a triumphant return, our festive present to ourselves were tee-shirts proclaiming: “‘ave a merry f@#kin’ Christmas by order of the Peaky Blinders”.  And on Boxing Day, Peter Capaldi bade farewell as the twelfth and second-best Doctor Who (David Tennant bears the crown), and we said hello to the first female Doctor, with a brief but chirpy Yorkshire “Aw, brilliant!” sign-on from Jodie Whittaker.

Whilst in Sydney, we made two visits to the cinema (tow more than average) to enjoy the big-screen experience of the prequel to Ridley Scott’s Alien and the long-awaited sequel to our all-time favourite film Blade Runner. Sadly, the former, Alien: Covenant, was a disappointment, incoherent and poorly written.  The latter, whilst not as original, eye-catching and exhilarating as its parent, was nevertheless a cinematic masterpiece. It bombed at the box office, just like the original, but Blade Runner 2049 will doubtless become like it a cult classic.

This then was the backdrop to In That Howling Infinite’s 2017 – an electic collection covering politics, history, music, poetry, books, and dispatches from the Shire.

An abiding interest in the Middle East was reflected in several posts about Israel and Palestine, including republishing Rocky Road to Heavens Gate, a tale of Jerusalem’s famous Damascus Gate, and Castles Made of Sand, looking at the property boom taking place in the West Bank. Seeing Through the Eyes of the Other publishes a column by indomitable ninety-four year old Israeli writer and activist Uri Avnery, a reminder that the world looks different from the other side of the wire. The Hand That Signed the Paper examines the divisive legacy of the Balfour Declaration of 1917. The View From a Balcony in Jerusalem reviews journalist John Lyons’ memoir of his posting in divided Jerusalem. There is a Oh, Jerusalem, song about the Jerusalem syndrome, a pathology that inflects many of the faithful who flock to the Holy City, and also a lighter note, New Israeli Matt Adler’s affectionate tribute to Yiddish – the language that won’t go away.

Sailing to Byzantium reviews Aussie Richard Fidler’s Ghost Empire, a father and son road trip through Istanbul’s Byzantine past. Pity the nation that is full of beliefs and empty of religion juxtaposes Khalil Gibran’s iconic poem against a politically dysfunctional, potentially dystopian present, whilst Red lines and red herrings and Syria’s enduring torment features a cogent article by commentator and counterinsurgency expert David Kilcullen.

On politics generally, we couldn’t get through the year without featuring Donald Trump. In The Ricochet of Trump’s Counterrevolution, Australian commentator Paul Kelly argues that to a certain degree, Donald Trump’s rise and rise was attributable to what he and other commentators and academics describe as a backlash in the wider electorate against identity and grievance politics. Then there is the reblog of New York author Joseph Suglia’s original comparison between Donald Trump’s White House and Shakespeare’s Julius Caesar. But our particular favourite is Deep in the Heart of Texas, a review of an article in The New Yorker by Lawrence Wright. His piece is a cracker – a must-read for political junkies and all who are fascinated and frightened by the absurdities of recent US politics.

Our history posts reprised our old favourite, A Brief History of the Rise and Fall of the West, whilst we examined the nature of civil wars in A House Divided. Ottoman Redux poses a hypothetical; what if The Ottoman Empire has sided with Britain, France and Russia in World War I? In the wake of Christopher Nolan’s blockbuster movie, Deconstructing Dunkirk looked at the myths surrounding the famous evacuation. On the seventieth anniversary of the birth of India and Pakistan, we looked at this momentous first retreat from Empire with three posts: Freedom at Midnight (1) – the birth of India and Pakistan, Freedom at Midnight (2) – the legacy of partition, and Weighing the White Man’s Burden. Rewatching the excellent sci-fi drama Westworld – one of the televisual gems of 2017 –  we were excited to discover how the plays of William Shakespeare were treasured in the Wild West. This inspired our last post for the year: The Bard in the Badlands – Hell is empty and the devils are here, the title referencing a line from The Tempest.

Happy Birthday, Indiaekkent

Our continuing forest fight saw us return to Tolkien’s Tarkeeth, focusing this time around on fires that recalled Robert Plant’s lyrics in Ramble On: In the darkest depths of Mordor. The trial in Coffs Harbour of the Tarkeeth Three and the acquittal of two of our activists were chronicled on a series of interviews recorded by Bellingen’s Radio 2bbb, whilst other interviews were presented in The Tarkeeth Tapes. On a lighter note, we revisited our tribute to the wildlife on our rural retreat in the bucolic The Country Life.

And finally to lighter fare. There was Laugh Out Loud – The Funniest Books Ever. Poetry offerings included the reblog of Liverpudlian Gerry Cordon’s selection of poetry on the theme of “undefeated despair”: In the dark times, will there also be singing?; a fiftieth anniversary tribute to Liverpool poets Roger McGough, Adrian Henri and Brian Patten, Recalling the Mersey Poets; and musical settings to two of our poems, the aforementioned Oh, Jerusalem, and E Lucevan Le Stelle.

And there was music. Why we’ve never stopped loving the Beatles; the mystery behind The Strange Death of Sam Cooke; Otis Redding – an unfinished life, and The Shock of the Old – the Glory Days of Prog RockLegends, Bibles, Plagues presented Bob Dylan’s laureate lecture. We reprised Tales of Yankee Power – how the songs of Jackson Brown and Bruce Cockburn portrayed the consequences of US intervention in Latin America during the ‘eighties. And we took an enjoyable journey into the “Celtic Twilight” with the rousing old Jacobite song Mo Ghille Mear – a piece that was an absolute pleasure to write (and, with its accompanying videos, to watch and listen to). As a Christmas treat, we reblogged English music chronicler Thom Hickey’s lovely look at the old English carol The Holly and the Ivy, And finally, for the last post of this eventful year, we selected five christmas Songs to keep the cold winter away.

Enjoy the Choral Scholars of Dublin’s University College below. and here are Those were the years that were : read our past reviews here:  2016   2015 

In That Howling Infinite is now on FaceBook, as it its associate page HuldreFolk. Check them out.

And if you have ever wondered how this blog got its title, here is Why :In That Howling Infinite”?

See you in 2018.

 

 

Mo Ghile Mear – Irish myth and melody

     Sé mo laoch, mo Ghile Mear,
    ‘Sé mo Chaesar, Ghile Mear,
    Suan ná séan ní bhfuaireas féin
    Ó chuaigh i gcéin mo Ghile Mear

The song begins as the camera focuses on the face of the singer. A soft and confident tenor, he gently leans into a long-gone poet’s Gaelic verse. The camera pulls back to reveal a phalanx of young people behind him. They are dressed plainly. The lads in dark suits and open-neck, white shirts, and most sport five o’clock shadows. The lassies in dark dresses, blouses and pants. They join the soloist, quietly at first, but rising soon in unison. A bodhran kicks in, sharp and deliberate. The young folk stand still, yet their heads nod almost imperceptibly to the bodhran’s driving beat, and the song lifts off and soars. The camera pans across the choir, focusing on their faces, and particularly, their eyes – almost all of them clear and blue. The joy in the eyes, their smiles, and their voices is there for all to see and hear. Their voices rise, and then gradually fall, as if to glide to a gentle landing. The choir hums softly as the singer gently repeats the last line. Ó chuaigh i gcéin mo Ghile Mear – “since my darling went away”,  And it is done.

Mo Ghile Mear is a paradoxical, quixotic song that is at once romantic and political. If you have but a drop of Celtic blood in your veins or a rebel heart in your breast, you will fall under its spell.

Variously translated as “my gallant hero”, “my gallant star”, and “my dashing darling”, Mo Ghile Mear is a Jacobite love song that is as much about politics as about romance. Inspired as it was was by the Jacobite Rising against Protestant England’s rule in 1745, romance and politics do indeed unite in heroic, insurrectionary failure.

it was written in Gaelic by poet Seán Clárach Mac Domhnaill after the battle of Culloden which dashed for two and a half centuries the Scots’ dreams of independence. Composed in the convention of Aisling (Gaelic for “dream” or “vision”) poetry, it is a lament by the Gaelic goddess Éire for Bonnie Prince Charlie, Charles Stuart, the “Young Pretender” to the Protestant Hanoverian English throne that once belonged to the Roman Catholic Stuart clan, and who after the bloody failure of the ’45, fled into exile in France. And that’s where he remained, although his last resting place is in the crypt of Saint Peter’s Basilica in Rome – an ironic ending for this could’ve been champion of Catholic hopes.

Bonny Prince Charlie had many romantic and rousing songs written about him. But in reality he wasn’t the dashing, gallant leader that the songs portrayed and that the Scots and their Celtic Irish allies yearned for – most certainly not the Caesar of this song. He was an indecisive and vacillating leader, who thought himself much cleverer and popular than he actually was, and when the going got rough, he got going – and left the the Scots and Irish who supported him with blood and treasure to the tender mercies of the Sassenach foe.

And yet, the songs live on to this day, most notably in The Skye Boat Song, Will Ye No Come Back Again. The old and well-recorded favourite Óró sé do bheatha ‘bhaile has also been associated with the Jacobite cause as Séarlas Óg (“Young Charles” in Gaelic). The poet Padraig Pearse, leader of the doomed intifada we know as the Easter Rising of 1916, added new verses, and so the song entered the rebel canon.

Mo Ghile Mear differs from more conventional Aisling poems in which the poet is asleep or otherwise minding his own business when he experiences a dream or vision of a fair maid. In this cerebral wet dream, the poet personifies Éire – Ireland, the country itself – as a woman who once was a fair maiden but is now a widow. Her husband, the “Gallant” whatever is not dead but, but he is far away. As a consequence the land is failing and nature itself is in decline.

Popular since the 18th century, song has come to international attention in our own drear times – largely due to a host of recordings, and accompanying You Tube interest.

Iconic chanteuse Mary Black presents the song as a gentle, sad air. Sting famously recorded it with the renowned Celtic ensemble The Chieftains, and they give an understated and fair account of themselves, although the reinvented English lyrics turn “Our Hero” into a dashing cavalier”, swords and harps and all, far removed from original dream song. It is an easy song to overcook,  but Sting managed to resist the temptation. Not so that be-kilted posse Celtic Thunder who ramp up the Celtic bombast, reinventing the English lyrics as a curiously anachronistic, latter-day “rebel song” – “Hail the Hero”, the Battle Hymn of the Irish Republic, with a massive Irish flag waving o’er them all. What would The Minstrel Boy have thought about this?

Then there is the overreach of the much-loved and very popular, kitsch-laden, outings of Celtic Woman, invariably staged to maximum visual effect and capacity audiences at fantastically photogenic Irish castles. These handsome, well-dressed colleens do not crimp on the gowns, choirs, drums and bagpipes. Their Gaelic rewrite, transforms our “dashing darling” into a lovelorn mariner, replete with waves and tides, sails and sunsets. The ladies’ latest outing, with a relatively new lineup, sustains the razzmatazz with the eponymous “gallant star” resurrected as a martial beacon for “freedom’s sons”. It would seem that maritime motif of the girls’ original rendering was superfluous on an album that included My Heart Will Go On, from that damp, tear-jerking,   blockbuster, “Titanic”. Oh, Danny Boy, the pipes the pipes are calling!

That such liberties are taken with the lyrics is no big thing, however. Old Seán Clárach would probably agree that his original Aisling poem would be a wee bit archaic in this day and age, and that the undefeated despair, hope and longing of Éire’s dream were no longer relevant in a free, democratic and relatively prosperous (that is, post GFC) Ireland. He would no doubt have updated his verse, just as Padraig Pearse did with his song in 1916, substituting a 16th Century Irish pirate, the “great sea warrior” Gráinne Mhaol for the foreign born Charlie (so the ladies of Celtic Woman were not that far off-track with their nautical rewrite after all). But this mythologizing of Ireland’s heroes too often comes across as self-reverentially corny.

Cynics might blame the atmospheric, anthemic stadium rock of Bono and U2 for this commercialization of Irish music. Others blame Enya’s symphonic, new age outings once she put  behind her the Connemara mist and moodiness of her Clannad siblings. But I reckon that hitherto timeless, soulful and folksy Irish music has been like this since the Riverdance crew first stamped their collective hard shoes during the intermission of the Eurovision Song Contest and stole the show. But most Irish folk blame Michael Flatley, as the authoritative Waterford Whisperer made clear.

Meanwhile, in my opinion, the most sensitive, beautiful and indeed, rousing rendition of Mo Ghile Mear is the one described at the head of this post. No naff English lyrics are required. The original words of the Gaelic poem resonate powerfully through the hall.

It is sung by the Choral Scholars of University College, Dublin, an amateur, mostly acapella bunch of Irish students. These young folk formally audition for a scholarship with the ensemble. There is little glamour or artifice, no fireworks or vocal gymnastics. Plainly dressed, they look like folk you would pass on the streets of Dublin or Galway. Mark Waters, the portly lead singer would never get a gig in an Irish boy band, but wouldn’t look out of place in a church choir. The drama is achieved by inflection, modulation and tone, the lighting and way the choir is physically arranged in an eerily martial wedge, their only movement being that almost imperceptible nod of their heads in time with the lone bodran’s beat as the song builds momentum.

Listen, and listen again. It is a gem.

For more on Irish history and Irish songs if rebellion, see; The Boys of Wexford – memory and memoir, and: , Irish Rebel Music, and A Selection of songs of ’98.

And here are the Choral Students again:

 

TheChoral Scholars of University College, Dublin

Here is  Brendan Graham’s achingly beautiful song Orphan Girl with the  Choral Scholars featuring  Abby Molloy. Sung from the perspective of one of Ireland’s famine orphans, on the eve of her inspection, which would decide whether she could travel to Australia, to escape the workhouse which had become her life.

 

And here are the recordings I referred to above. Enjoy.: