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The Magic of Dylan Thomas

Paul Hemphill 1 Comment

2013 was the sixtieth anniversary of the death peerless Welsh poet Dylan Thomas, one of the many famous artists who departed this planet in New York’s Chelsea Hotel.  The following piece by Peter Craven is a beautiful tribute, illustrating the magic of Dylan Thomas’ poetry. And listen, pray, to the man himself reciting his poems.

Welsh poet Dylan Thomas did not go gentle into that good night
Peter Craven, Weekend Australian, 29 November, 2014

ACCORDING to legend, Bob Dylan took his name from him and he was a kind of rock star: Dylan Thomas, the Welsh poet who gave to the people of Wales — and to that part of the world that reveres what they stand for — a poetry of such reverberating bardic magnificence that he became a popular poet long after the age of popular poetry was over.

Thomas, who died, reportedly of alcohol poisoning, in New York at 39 in 1953, has his centenary this year and for the Welsh there has been no ­tomorrow.

Michael Sheen (the Welsh actor who played Tony Blair and David Frost) has been doing Under Milk Wood, Thomas’s great dreamscape of a radio play, in New York with Kate Burton — daughter of Richard Burton, who first did it on the BBC and even made a film of it with Elizabeth Taylor as Rosie Probert and Peter O’Toole as Captain Cat.

And in Wales they’ve been reading every jot of verse that Thomas ever penned. Distinguished Welsh actors such as Jonathan Pryce have been part of the mass recital and even that northerner, Ian McKellen, old Gandalf himself, has been dragooned into the celebration as if that rhapsodic sense of wizardry could encompass an entire world.

And he was a wizard, Thomas. I remember a lifetime ago lying in the dark of my parents’ bungalow as a young teenager listening to the black graven voice of Burton as he recited:

In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms …

It was a poetry made out of mouthfuls of air, as poetry must be, and it was also full of a rich kaleidoscope of imagery, and that seemed to make perfect sense because the emotional thrust was clear from the power of the rhetoric that sustained it.

This was a poetry that was deeply traditional in its sound patterns. It had a romantic grandiloquence and an alliterative richness, a reckless audacity of effects that was a bit like that priestly poet who had anticipated modernism, Gerard Manley Hopkins.

And, of course, it’s that lassoing effect of poetry as a language of the gods that can encompass a universe of feeling and imagining. It can intoxicate itself with language but see the world with a radiant clarity as a consequence of the intoxication. That makes people surrender to Thomas, the way when they are young they surrender to the first stirring of ­desire, that strange sense of body and soul coming together at the prospect of love.

If that sounds a bit much for mere poetry to achieve, listen to the lilting lyricism of Fern Hill:

Now as I was young and easy under the apple boughs
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes …

It’s poetry of almost total sensuous suggestion and it is saturated with the feeling of sap and possibility. In one way, it’s a poetry that seems to embody the idea of youth even though it is constantly talking about shadows and spectres of mortality. Indeed, Fern Hill ends with a great splash of verbal colour, and an intimation of how the erotic glory of the world, the sense of it as a many-shaped thing of wonder, is inseparable from the pang of transience.

Thomas led an irregular life and before he died in New York’s Chelsea Hotel he told someone he had had 18 consecutive whiskies in a bar. It couldn’t have been quite true but it had a poetic truth because Thomas and his wife Caitlin hit the bottle like a destiny.

Part of Thomas’s fame came from the fact he had a tremendous histrionic gift as a reader of poetry. He read in a very posh-sounding voice with a kind of conscious grandeur that gives a less sinewy sense of his music than Burton does, but has a majestical quality that many people find mesmerising. His reading style tilts towards the preacherly with its Welsh undertone as part of the incantatory quality. But, then, some of his greatest poetry projects a religious vision, which is why Thomas’s poems have become hymns for a modern world that may not know what it believes but has a deep sense of the resonance and the ­afterglow of belief.

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

The language is magical in the way it creates, with a fierce flaming elegiac power, the refusal to accept the fact of death. And the fact the perspective is not Christian — we know the darkness does overcome — makes the poem a tremendous affirmation of the heroism of life in the face of death. It’s a poem with a reckless bravery and that urging to “rage” — that impossible, nearly preposterous imperative — sits in such tension with “the dying of the light” that the effect is very poignant.

Some people sneer at Thomas, sometimes in reaction to their own earlier infatuation with him. His poetry enthrals the mind (and heart) long before you know ­exactly what is being said or meant. Is that a disqualification for greatness? Isn’t it a version of what TS Eliot meant when he said that poetry communicates before it’s understood?

If you want the organ notes of elegy, the sombre power that comes from the breath of death on the backs of our necks, and at the same time the sense of the resurrection as always now, try this:

You can, if you like, say the trick is all in the one great line, the line Thomas uses as his refrain, and that he creates a decorative web around it.

And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost
love shall not;
And death shall have no dominion.

But that’s not quite the effect of the poem when it is read aloud. If you listen to Burton recite it, for instance, you get a sense of rushing soliloquy, of confusion and conflict and spectacular profusion, resolving itself in the refrain, which becomes like a religious affirmation, a faith in what seems impossible, a refusal to be conquered by something that cannot fail to conquer.

This is compatible with a believer’s position or an atheist’s, because when it comes to poetry we all suspend disbelief. And Thomas’s poetry is such a headlong act of faith in the act of creating poetry that it presents this spectacle — it, in fact, dramatises it — with a sort of breathtaking self-confidence that goes a long way to explain why his poems seem so genuinely bardic, why the Welsh have taken to them like anthems. And also perhaps, commandeering the tragic fact of his early death, why it makes a kind of sense that Thomas died so young.

If your schtick is to give your audience another piece of your heart over and over, you will burn yourself out or you’ll have to change your art.

God knows what Thomas would have done if he had lived. “It was my 30th year to heaven,” he wrote in Poem in October, which with its wonderful sense of the self roaming like a god is one of the greatest lyrical poems of the 20th century.

My birthday began with the water
Birds and the birds of the winged trees flying my name
Above the farms and the white horses And I rose
In a rainy autumn
And walked abroad in shower of all my days.

It was his 30th year to heaven and he already wrote like an angel and he was already talking as if he were in the presence of his own tombstone.

It’s the hugeness of the gift that makes people back away from Thomas and makes them deny his achievement, partly because the mesmerism of his ­manner can create fear of the highest claims.

It makes sense, of course, that there was reaction against the rhetoric of poetry associated with the “New Apocalyptics”, as Thomas’s admirers called themselves and that was partly a reaction against the battering ram of rhetoric the world had suffered with Hitler and Churchill and World War II.

People were sceptical of majesty in poetry. They remembered that the “terrible beauty” of Yeats had been a landing field for a fascist politics. But how unfair to mix Thomas up with this.

Under Milk Wood is the most successful piece of poetic drama of a postwar period haunted by the idea. It has extraordinary brio, and the way Thomas manages to create this surrealist brew of poetic hocus-pocus with choruses of schoolkids and scolding old women and blind, mad Captain Cat and dead lovers, all within a circumambient poetic idiom that is at once rich and grounded in earth, is pretty stunning when you remember that it is also a credible evocation of a village in Wales.

It’s no wonder the Welsh have taken Thomas as their red dragon and their prize dreamer. He was an incomparable poet. He did not go gentle into that good night; he lived hard.

But when it comes to the kingdom of poetry, death shall have no dominion.

 

The Grand Old New Imperial Hotel

Paul Hemphill 5 Comments

As I relate in my earlier post, ‘Amazing Grace – There’s Magic In The Air‘ : “from the Jaffa Gate, we look out from our balcony in the Imperial Hotel, a late 19th Century mix of trash and treasure, five-star history, and ten-star views”.

Planning our 2014 visit to Jerusalem (we were there in May 2014) I wanted to book a hotel that was both historical and conveniently close to The Old City. I also fancied the idea of staying in a pilgrim hotel so we could witness at first hand the excited comings and goings of the faithful (see my post ‘Messianic Carpet Rides‘). The New Imperial Hotel, just inside the Jaffa Gate, was just the ticket. And we struck solid gold! Stepping down from the Nesher bus on the road outside the famed Walls of Jerusalem and  the Citadel (see: Once in Royals David’s Citadel), we looked up towards the Jaffa Gate and there, right above us was the imposing facade of the New Imperial Hotel.

The Jaffa Gate, in the western wall of the Old City (not to be confused with the ‘Western Wall’ or ‘Kotel’ so revered of Judaism), has traditionally been one of the busiest entrances to Jerusalem. Its Arabic name is Bab al Khalil (Gate of the Friend) a reference to Abraham, forefather of both Arabs and Jews. The wall bears the inscription in Arabic: “there is no god but Allah, and Abraham is the friend of Allah”. Topographically the Gate provided the easiest access, so it’s approaches provided a most convenient camping ground for the many invaders who sought to conquer the city. These included Greeks, Romans, Arabs, Frankish Crusaders, Turks, and finally, the British. Caliph Omar Ibn al Khatab entered through this gate after Jerusalem’s capture by the Muslims in 638AD. As did General Allenby, commander of the British forces which captured Jerusalem in December 1917.

Just inside the wall, there were fields of winter wheat until the late nineteenth century; and in summertime, the empty fields became dumping grounds for carcasses of donkeys, camels and horses. The Turkish authorities moved this ‘cemetery’ outside the wall, and what was forever the main thoroughfare, became the location for important commercial institutions, including the Banco de Roma, the Anglo-Palestine Bank, and the German bank of Johannes Frutiger, the Austrian Post Office, The Thomas Cook Tourism and Travel Company, and the studios of a number of Jerusalem’s famous photographers.

And also, several hotels catering for the growing tourist industry, including the Mediterranean Hotel (now called The Petra), and in 1884, the Grand New Hotel, built on land owned by the Greek Orthodox Patriarchate. According to the Thomas Cook Tourist Handbook in 1876, the Mediterranean was “the best in Jerusalem”. Travelers were however wont to damn the Med with faint praise, and soon began to write about the really new, really ‘grand’ hotel with great facilities, round arched windows, high roof pedestals topped by Grecian urns, imposing entrance staircase, and balconies looking right out over Omar Ibn al Khatab Square. See the pictures below from the end of the 19th Century,  showing the square in all variety of citizenry and costume.

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The place comes with a history. During construction, builders uncovered what was believed to be the Pool of a Bathsheba. It was said that Uriah’s wife was bathing thereon when spied upon by a randy King David. David subsequently sent Uriah off on a suicide mission to clear the way for his own passions. The historical record is confused here. Leonard Cohen and the painter Jean-Léon Gérôme apparently got it wrong. They both placed her up on the roof. The Bible says he saw her from the roof.

The view from the rarely frequented roof terrace of the New Imperial itself, whilst not quite as picaresque as the vision that tempted the poet king, offers a splendid vista of the cupolas of the Church of the Holy Sepulcher and the Dome of the Rock – not to mention a fine peek at the battlements of the Citadel. On the western side, we look out over West Jerusalem and what was the old Arab neighbourhood of Mamilla, now totally rebuilt with a lux shopping mall, the rectangular bulk of the King David Hotel, once the HQ of the British military and bombed by Irgun terrorists in June 1946, and the iconic YMCA tower.

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Anyhow, there is still an ancient cistern beneath the hotel. And also, part of the second wall. There are Roman tiles signifying the HQ the Roman Tenth Legion, and part a column erected by the legion, bearing a votive inscription honouring Emperor Augustus’ Legate, Marcus Julius Maximus. It stands there today as a pedestal for a street lamp, in the mews near the hotel front door and right in from of Versavee Restaurant and Bar, where the writer and his companions ate good Jerusalem fare and downed Israeli wine and Taybeh Palestinian beer.

Roman Colomn outside the New Imperial Hotel

Roman Column outside the New Imperial Hotel

Had the hotel been there in Biblical times, what events we might have witnessed from our balcony. King Herod, the ostensibly psychotic master builder of Bible infamy dwelt opposite as he planned his Second Temple (Herod might have murdered most of his nearest and dearest, but he was fitted up for the massacre of the innocents!). So did Pontius Pilate. If one accepts the narrative of Simon Sebag-Montefiore,  in his Jerusaelm : The Biography, we could also have watched the last journey of Jesus of Nazareth. It was but a short distance from the Citadel where he was condemned and Golgotha where he died: cross the square, turn right at the New Imperial, left just past the Med, and straight on to the Hill of the Skull (where the Church of the Holy Sepulcher now stands). The present Via Dolorosa runs from the site of the Antonine Fortress, on the northern edge of the Haram ash Sharif, to The Church, its course set by custom and customers from Byzantine days. But, the wrong side of town! (See Nova Via Dolorosa).

I digress…From rom our hypothetical balcony, we could watch the comings and goings of the conquerors: the entry of the Roman Titus’ legions; Omar Ibn Al Khatab entering al Quds on foot; the arrival of the First Crusade at the Gates of Jerusalem; the exit of the crusader garrison and the Christian inhabitants when the city fell to Salahuddin (portrayed in Ridley Scott’s Kingdom Of Heaven).  And thence, Mamlouks, Seljuks, and Ottomans. The last Kaiser, Wilhelm II, stayed at the hotel on his visit to the Holy Land in 1898. His bust still sits in the entrance hall. This is when The Grand became the New Imperial! Kaiser Bill came in style. No walking for him. The wall between the Jaffa Gate and citadel was torn down and its moat filled in on orders from Sultan Abdel Hamid II to enable the Kaiser and his wife and their huge entourage (looked after in grand style by Thomas Cook Tourism & Travel) to motor into the Old City (again, read Sebag-Montefiore’s  amusing account).

Twenty years later, General Allenby and his British Army marched through the gate. The good general entered on foot just like old Omar. It would be fun to imagine that he made his proclamation of the liberation of Jerusalem from one of those balconies (probably the big one in the centre, which now serves the office of the present proprietor Walid Dajani); but the reality is that he marched right past the hotel, veered right, and ascending the imposing steps of Kings David’s Citadel, deliver his oration there (although he may have indeed lodged at the New Imperial during his brief sojourn). He spoke of how the Holy City had now been freed from the Turkish yoke, and that, safe in the bosom of His Majesty’s forces, the Palestinians, in all their diversity, Jews, Christians and Muslims, would enter a new era of health, wealth and happiness. If he was aware of the nefarious dealings of Messrs Sykes and Picot, and the arrangement made by Lloyd George and Chaim Weizmann, he did not let on. He left the best news for the politicians to reveal a while later, and for the world to agonize over ever since.

So we enter the Twentieth Century, with its momentous political upheavals, the hotel having several changes of management but remaining largely unchanged, with its balconies, and its grand entry staircase. Walid Dajani’s father, Mohammed, took a “protected” tenancy” of the hotel from the Greek Orthodox Church in 1949, In the 1950s and 1960s, the hotel housed a small cinema, and its elegant ballroom was a favourite Palestinian wedding venue. It was damaged during the 1948 war, and during the 1967 Six-Day War, it was used as a base by Israeli troops, then returned to the Dajani family, the tenants of the property. It is, as far as we know, still owned by the Greek Orthodox Church, a status that ten years ago gave rise to a curious controversy about its future status, and in 2019, to a High Court appeal of its sale, and that of The Petra Hotel, to a shadowy right wing Jewish group – see the link below.

And thence to the present, with Sayyid Dajani greeting us like long-lost relatives, “ahlan wa sahlan bil Quds”.

Postscript

Such was our sojourn at the New Imperial in May 2014 – and our enjoyment of our room and its tiny balcony overlooking Omar Ibn Al Khattab Square, that we stayed there again for a month in 2016, booking the same room with its spectacular view of the comings and goings of all the tribes of Israel. In the warm evening, we’d sit in the roof garden directly across the street from King David’s Citadel with a good bottle of Israeli wine. Gazing on its towers, ramparts and gardens, we’d sense its story in our souls. We’d watch present generations passing beneath its walls, and the young folk dancing on the ramparts, all part of the passing parade of humanity that has lingered by and upon these ancient stones.

© Paul Hemphill 2014.  All rights reserved

Dancers promenade at the Son et Lumière

See also in In That Howling Infinite, A Middle East Miscellany

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https://howlinginfinite.wordpress.com/2014/06/07/amazing-grace-theres-magic-in-the-air   http://www.iaa-conservation.org.il/Projects_Item_eng.asp?subject_id=10&site_id=3&id=112  http://www.academia.edu/3677136/The_Mediterranean_Hotel_in_19th_Century_Jerusalem                    https://www.timesofisrael.com/greek-church-to-appeal-against-sale-of-old-city-hotels-to-right-wing-group/

 

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Chanson – living next to Jim

AsidePaul Hemphill 1 Comment

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Paris has a myriad of attractions for history tragics. For me, there are three ‘must sees’ that are at the top of the ‘out there’ list. Les Catacombes de Pariss are one. The folk cabaret Au Lapin Agile is another. and the third is La Cimetière du Père-Lachaise, the most famous cemetery in the world.

For the dear departed, Père Lachaise is the best address in Paris. Some 300,000 people reste ici. A cavalcade of French cultural and political history, with a few foreign entombments, including the playwright Oscar Wild and Doors front-man and zeitgeist icon Jim Morrison.

CHANSON

I

Summer is the worst time – there never is a good time.
They come from all across the world just to visit him.
A lot has come and gone since nineteen seventy one,
But I’ve never ever gotten used to living next to Jim.

Why do they come and queue for a man they never knew
Who had gone to meet his maker before most of them were born?
I guess that it’s the fame, or the magic of a name,
Or a spirit never tamed, that brings them here to mourn.

The Poles will throw a party for their Chopin, and the arty
Bring flowers, poems and candles, and others’ wine and bread,
Why do young folk come to rave ‘round an ancient rocker’s grave?
Don’t they know how to behave in the presence of the dead?

It’s the best address in town, but I think I’d rather be
With Karl and all the comrades up in Highgate Cemetery.
Though there’s nothing to compare with this famous cemetaire,
There’s not much love to spare between the Lizard King et moi.

Pourquoi? Dites moi! Je vous dis que…

Living near the great is highly over-rated.
They stand upon my headstone just to get a better view.
If I was recreated, I’d sooner be cremated
And scattered on the river or some quiet avenue.

II

Yes, Père Lachaise is the most famous cemetery in the whole wide world. Therein recline some of the most famous names in French history and culture. And imports like Oscar Wilde and Jim Morrison. Edith Piaf, Marcel Marceau, Delacroix and Gericault, The man who built the Suez Canal, and Antoine Parmentier who popularised the heath benefits of the humble potato. Maria Callas’ ashes were there until some Greek stole her urn and scattered her on the Aegean Sea.

C’est vrai! C’est l’esprit de mort! Et maintenant, l’encore:

III

The singers, and the dancers, and the actors, and the chancers,
The rebels and the statesmen, and the fallen communards,
Napoleonic Generals and politicians’ wives.
The poets and the dreamers, all those other famous lives.

The writers, and the waiters, and those great large format painters,
Deportee commemorations, Oscar’s winged androgenoid,
The names no one remembers, and the ones no one forgets,
But Jim’s here with empty coke cans and the smell of cigarettes.

And, summer is the worst time – there never is a good time.
They come from all across the world just be with him.
A lot has come and gone since nineteen seventy one,
But I’ve never ever gotten used to living next to Jim.

From:  In That Howling Infinite – Poems of Paul Hemphill, Volume Five

© Paul Hemphill 2013. All rights reserved

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Yuri The Storyteller … we’ll sure miss the old bastard!

Paul Hemphill 5 Comments

No man could kill him – but his heart did. Anon

My old friend and Huldrefolk founder member, George Hofsteters, Yuri The Storyteller, passed away peacefully in his sleep yesterday morning, 9th July 2014.

Passing strangest is Yuri’s passing. He had such a life force. He was a force of nature, even, the kind of person you’d think would outlive us all. And it was ironic that he who raged so long against the establishment should go so quietly into the night. I would have expected a contrarian like Yuri to have been lynched by a mob of irate god-botherers.

Yuri’s departure brought me back to the dying decades of the last century, when the shadowy and iconoclastic HuldreFolk appeared out of nowhere with their unique combination of stories and songs, and then almost as suddenly, disappeared into the mists of memory.

I was playing at the celebrated Three Weeds Folk Club in Rozelle in the spring of 1983, performing a cover of Roman poet Meniscus Diabetes‘ popular song Roman Holiday.  I was distracted by a cackling in the front row; and there was Yuri, laughing his head off. After my set, we got together and swapped notes on life, the universe and everything. Fate would have it that celebrated bandurist Victor Mishalow was also on the bill that night. And Yuri and I were enthralled by the magic of the Carlingford Cossack’s grand instrument.

Yuri told us he was a Russian Storyteller, and that he was performing at the Humanist Society the following Tuesday. “Come along and play some songs and tunes”, he said. And so we did. Yuri enthralled us with his spirited rendering of Alfred Noyes’ The Highwayman.  And it was there, in Shepherd Street, Surrey Hills, that HuldreFolk was born. Over the next two years, HuldreFolk, named for the mythical and mystical ‘hidden people’ of Icelandic legend, played throughout Australia.

One such occasion was the very first time I visited Coffs Harbour, a seaside graveyard with lights on the mid north holiday coast of New South Wales, sometimes known as the Costa Geriatrica (as fate would have it, we now live in the forest some forty clicks away from there). Looking for a parking space outside the venue, Yuri cut into a space ahead of a car that had already bagged that spot. A few minutes later, the occupants of the car approached us, looking mean and moody. Tall, broad and hairy, they looked like bad news. Yuri was unperturbed. “My mate Paul is a black belt in karate”, he chirped …

On a return visit to Coffs Harbour, he and Victor Mishalow got a gig performing on the back of a flatbed truck in the mall for a smattering of disinterested passers-by. When they’d finished, the organiser asked Yuri how much they wanted, “Two hundred dollars”, Yuri said. Before the paymaster could reply, Yuri added: “Each!” And they got it.

Yuri could be a proper bastard sometimes.

Although HuldreFolk pursued their own paths and projects, during the following decades, they would pop up in unexpected places, like their namesakes, in ones, twos, threes, and on occasions with guest HuldreFolkies. Their last outing as a trio was in October 2007 at the North By Northwest Poetry And Folk Club. Google the videos on YouTube.

Such was his energy, after a series of concerts, I’d need several months away from him to recover. Whenever we had to do a road trip, Yuri would tell jokes non-stop – it was as if they were on a loop. Once he’d finished his repertoire, he’d automatically start again.

Whenever HuldreFolk worked together, their collaborations were creative and at times, crazy.

Listen to Victor’s haunting bandura arrangements behind many of Yuri’s stories, the bravado of ‘The Ballad of Boreslav’ and the wackiness of ‘The Song Of The Volga Shearers’. Back in the day when I was performing ‘I Still Call Mongolia Home’, ‘Brave Goliath’, and ‘Roman Holiday’, Yuri would say: “There has never been as song about the Spanish Inquisition. Why don’t you write one”. Or, “How about a song about the Vikings?” The rest, of course, is hysterical.

We would always introduce George as “The One And Only Yuri The Storyteller”. Watch him on You Tube reciting the epical ‘McArthur’s Fart’ or the poignant ‘Claudy’, and telling the magical story of ‘The Algonquin Cinderella’ or the faerie ‘Green Lady’, and you will see that he really was.

Goodbye old friend.

Blast from the past

On 28th October 2013, Yuri posted on the HuldreFolk Facebook page:

Hi, Amigo!

You’ve done a great job on the Huldrefolk page, I’m with you 100% and will support at every opportunity. Could not be on your side more if I was Eddie Obeid. Now here comes the ‘but’. It’s only a tiny elephant in a big room.

It’s been quite a while since we’ve trod the boards together. Obviously neither of us will get the applause or the audiences we once had and sensibly, we should be content to let someone else drive the celebrity bus. We once had the opportunity to be bigger than the Kingston Trio and Tiny Tim together, but the choices that were made ensured we would never be plagued by the paparazzi. Yet I do believe we have influenced others with the idea we once spearheaded. Story, song, music are being metamorphosed in countless variations. I’m glad we had something to do with that.

Today, however, I’m puzzled at why one would go to the trouble of going to the ‘Pet Cemetary’ of entertainment to resurrect on social media a tired old dinosaur that is hardly remembered, let alone noticed by all but a small coterie of moth eaten folkies whose perception of “Macarthur’ is deemed akin to ‘high culture’. Traditional folktales, I’m afraid, will always belong in the musty archives and forgotten bookshops. They are a relic. Fossils belong in museums. But then, being the sentimental bastard that my nature dictates me to be, I hope you get something nice and rewarding for your efforts. If it’s sentiment before oblivion, light the fuse. Cheers!

Yuri’s race had less than a year to run when he penned this piece.

In many ways, he was right – a cruel man but fair, as they say.

But what times we had!

 

Amazing Grace : There’s Magic In The Air

Paul Hemphill 5 Comments

“If I forget thee, Oh Jerusalem!”

Jerusalem, The Golden. The Arabs call the city ‘Al Quds’, “The Holy’. It was deemed sacred from pre-history. Iconoclast scholars suggest that Jerusalem was actually the holiest place in Islam, and that like Islam itself and the Prophet, Mecca and Medina were retrofitted to suit the conqueror’s narrative. A city of the mind as much as of this earth, it haunts the prayers and dreams of three faiths, and to this this day, it is coveted and contested. “The air above Jerusalem”, wrote Israeli poet Yehuda Amichai, “is filled with prayers and dreams, like the air above cities with heavy industry. Hard to breath”. Arthur Koestler wrote: “The angry face of Yahweh is brooding over the hot rocks which have seen more holy murder, rape and plunder than any other place on earth”. Perhaps it is because Jerusalem is mankind’s number one hot spot! “There’s this thing that happens here, over the hell mouth”, says Buffy, “where the way a thing feels – it kind of starts being that way for real. I’ve seen all these things before – just not all at once”. More Jews have probably died violently in Jerusalem than in the Holocaust. And countless folk of other faiths have likewise perished.

Paul Hemphill, A Brief History Of The Rise And Fall Of The West

Jerusalem is all about faith and passion, and there is no city on Earth that people get more passionate about. The light is luminous. In high summer it almost shimmers. The very air is full of prayer and politics, passion and pain, and the rocks and stones virtually sing a hallelujah chorus of history. I am not a religious person, but I cannot help getting excited by the place –  although I do not transcend to transports of delight and delirium.

These include a group of mental phenomena involving the presence of either religiously themed obsessive ideas, delusions or other psychosis-like experiences that are triggered by a visit to the city of Jerusalem. It is not exclusive to one particular religion or denomination, having affected Jews, Christians and Muslims from many different countries and backgrounds. In The Simpsons episode The Greatest Story Ever D’ohed, the Simpsons travel to Israel where Homer is afflicted with the syndrome, the illness and its effect on Homer being one of the plot’s central themes. In The X-Files episode Revelations, agents Scully and Mulder try to subdue a man afflicted with a form of the syndrome.  read all about in Messianic Carpet Rides

It is Shabbat in Jerusalem, and there’s magic in the air.

This morning, Enya wafting across the square in front of the Imperial Hotel. This afternoon, a Gregorian Chant rendering of REM’s “Losing my religion”. This evening, Haredim hustle through Omar Ibn Al-Khatab Square just inside the Jaffa Gate on the way to the Kotel, and the walls in Royal David’s Citadel are alive with Son et Lumiere, a weird blend of classical and faux movie music, retelling the ageless story of this ageless old town.

The Kotel, or Western Wall, is open to all, twenty four seven. Women now have their own section – a hard-fought for innovation. And Jews of all courts and communities share the space without rancour, each tribe differentiated by their interpretation of the Holy Torah, and by their garb, as determined by the fashion codes of 18th Century forebears in Eastern Europe and Mitteleuropa, heedless of the Mediterranean climate.

This, the only variable remnant of the Herodian Great Temple, is Judaism’s Holiest Place. And down below, in the tunnel, one can now actually walk the wall’s fundament (and view the biggest house-brick in history). This too is now a sacred site, the more holy the closer one gets to the location of the long-destroyed Holy of Holies. Tucked away in in a courtyard in the heart of the Arab Quarter is yet another, tiny remnant called appropriately The Little Wailing Wall. It’s location, up a narrow deserted alleyway is one Jews where do not venture. We had the space all to ourselves.

Immediately above the Kotel, on Temple Mount, is the Islam’s third holiest, Al Haram ash Sharif, the “noble sanctuary “. It is said that the Prophet alighted here on his night journey to Jerusalem on Borak, the winged horse with a human face, conversed with Abraham, the father of the three faiths, and thence, ascended to Paradise. Revisionist historians suggest that Jerusalem may indeed have been the primary Islamic city, sacred from times long forgotten, until Mecca and Medina were retrofitted to suit the conquering Muslims’ desert narrative.

Non-Muslims can enter the Haram for strictly limited times (three hours a day, on five days of the week), and then, only through the Maghrebi (or Western) Gate, which ascends like an unsightly concertina from the right of the Kotel Plaza. Admittedly, the Haram custodians are wary of would-be desecrators and of Jewish religious elements seeking to pray on the Mount (haram!), and set precedents for the rebuilding of The Temple. But they do themselves and Islam no favours when the other People Of The Book permit pilgrims of all persuasions and passions to enter their precincts.

And passion is the name of the game.

On the Church Of All The Nations, at the foot of The Mount Of Olives, pious of all nations prostrate hysterically across the stone where Jesus wept and prayed in the Garden of Gethsemene. There is bliss in the Filipino pilgrims choraling ‘Amazing Grace’ in the Basilica of St. Anne. There is ecstasy In The Church of the Holy Sepulcher, an Escher jumble of chapels and chalices. Russian pilgrims, most of them babushkas, led by a priest in black, and looking like they have just come in from their villages on the steppe, clutch their many wooden crosses and clamour at the penultimate Station Of The Cross. A young man dressed like Jesus sits in a terry-towel habit of white, beard and hair looking for all the world like the Jesuses in ‘GodSpell’ and ‘Super Star’. Groups gather in clumps, cabals, and covens and read the Word to each other. A kind of ecclesiastical book club with only one book.

Over the centuries, The Church, as it is called, has seen much biffo and bloodshed as three faiths butted each other for dominance. At times, knives and guns have been drawn. The Ottomans sent in troops at one time to restore order, and they didn’t pussyfoot around. They used their weapons and scores of faithful were killed. Nowadays, there is the occasional dust up with monks from the opposing teams going at each other with baskets and brooms. There is a ladder below the middle window that has not been moved for three hundred years because no one can agree as to which faith can remove it. The right hand door was sealed up several hundred years ago to control (and charge for) pilgrim access. Nowadays, entry is free.

It’s that centuries old conflict between the three custodian faiths, the Roman Catholics, the Greek Orthodox, and the Armenians. They each have their own chapels within the church. The Greek’s have the glitziest. Historically, the first two have always been the strongest, backed by the French and the Russians respectively! It was one of the many causes of the bloody and arguably unnecessary Crimean War. Russian influence prevails still with state-supported legions of pilgrims who throng the Via Dolorosa. The Ethiopians now have a small presence. They have be given a tiny little chapel ON THE ROOF!  And there is a rival Tomb of Christ just outside the Old City walls in Arab East Jerusalem , patronized mainly by Protestants. But that is another story.

You know you are near the the Church of The Holy Sepulcher because the aroma of frankincense and candle wax hits you before you reach the it. The Pope arrives for a flying visit next week, so there are banners and all manner of preparations taking place to greet His Holiness. Outside the church of churches, still the basilica that the crusaders restored to Christendom in a welter of blood and violence, shops hawk kaffiyehs, kippas and headscarves, icons, crucifixes and menorahs. Jerusalem is economically ecumenical. And the patronage of pilgrims unites the divided sects of the Old City in a common purpose that prevails regardless of the political impasse, positions, and non-negotiables that divide their political and pastoral leaders.

At the Jaffa Gate, we look out from our balcony in The grand old New Imperial Hotel, a late 19th Century mix of trash & treasure, five-star history, and ten-star views. The Kaiser slept here in the days when Germany had an emperor. His bust sits in the entrance hall (on the floor, strangely enough, but nothing is surprising in this Fawlty Towers of a hotel). The old gate was demolished to let him and his entourage pass through. He didn’t want to walk like Omar al Khatib did when he first entered al Quds and claimed the city for Islam. British General Allenby walked too, and may have even stood on this same balcony in 1918 when he addressed Jerusalem and declared it liberated from Turkish rule. He left the the best news for the politicians to reveal a while later, and for the world to agonize over ever since.

And meanwhile, back in the now: Jaffa Gate, Shabbat.

The pilgrims are still flowing though like schools of fish, with matching hats, and happy, awestruck faces. Filipinos and Brazilians, Indians and Americans. And in a poignant sort of irony, Germans. Gloria in excelsis Deo! Tourists and backpackers amble through in daggy dress, maps and cameras in hand, all mini-back-packs and sun hats. Why do tourists dress so badly? And why in bright reds and blues that make them stand out so in photographs! Thank god for Photoshop!

Jews of all sects walk by all day and all night, in a myriad of hats and coats, the men in their devotional array, their ladies in plain garb. Young men walk out in groups of black, locked in serious discourse, young women, in many shades of sober fashion, yet all striving somehow for an individual voice. Young folk don bright plumage regardless of the chains of faith. Young soldiers ramble by, a hotchpotch in khaki and beige, half with handbags and sandals, clutching their mobile phones, and half with weapons and in army boots. A reminder that this is at once a land of fable and also one on constant alert. And just to prove this, on occasions, noisy groups of stotting teens with Israeli flags gallivant through the Old City, and one time, semi-automatics, “trying it on” with the ever vigilant Border Police who endeavour to keep the peace on this here frontier. Unmarked white vans, and incongruously, horse floats, are never far behind to foil these attempts to mark territory.

Yes, Jerusalem is all about faith and passion, and there is no city on Earth that people get more passionate about.

© Paul Hemphill 2014.  All rights reserved

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Read more about Jerusalem in In That Howling Infinite: Oh, Jerusalem, A Middle East Miscellany, and A Short History of The Rise and Fall of The West

Cha … Cha … Changes

Paul Hemphill 3 Comments

There would be later times (1965, 67, 69…) but I remember the first time. 1962. Having hitched through Europe and arriving in Istanbul. That special feeling. From Sultan Ahmed looking across the Bosporus towards the East, unknown roads and places and in the far distance a very vague idea of India…. Istanbul as a gateway to other worlds and new adventures….I was a young man drifting and dreaming, there were no guidebooks and I had not met anybody who had done the journey or heard stories from the road ahead….. The world was open, and I was ready….
Torben Huss, photographer

Haydarpasha Gan, late November 1972.

The last station on the line, and the end of Asia, after a twenty four hour train journey across Anatolia, from Teheran, including a wintry ferry ride across Lake Van, in the East, in the company of an idiosyncratic and proselytizing German pastor and a Pakistani student. The student and I quickly converted to Lutheranism just to shut him up.

There were no bridges across the Bosphorus in those days. Just the ferry that met the train to take us across to the Golden Horn to Eminou. And thence, a walk up to Sultanahmet, with the address of a doss house given to me by someone I’d met in Meshad near the Persian-Afghani border. A space on a floor for a few lira a night.

And then several weeks in Istanbul on two dollars a day, sleeping on the floor at what today would be called a backpacker’s hostel, broke and waiting for money to be sent from England. Weeks spent wandering the streets, wondering at the mosques and markets, getting stoned (dangerously in those days – remember ‘Midnight Express’?) in the Hippodrome, and dining cheaply morning, noon and night at the Pudding Shop.

Forty years on, and naturally, things have changed in many ways. Haydarpasha is closed for renovations and a rail link crosses the Bosphorus by undersea tunnel. There are now are two impressive suspension bridges.

Asian Istanbul, more of a sleepy suburb then, with some fine buildings scattered along the shore, is now a metropolis in its own right. And Istanbul is a city of thirteen million people.

The Pudding Shop is now world-famous on account of its hippie credentials and sells all kinds of good Turkish tucker, but a shadow of its former simplicity. Where once there thronged ragged and rangey adventurers on their journey east or west, tourists of all nations gather en masse.

The Pudding Shop 1969

Turkey in general, and Istanbul in particular, is now the place to be and the town to see – in these troubles times, it is a safe ‘Middle Eastern’ holiday destination, and a big cross on the cruise map. Almost every day, a fleet of giant liners ties up on the Yesilkoy quay. And their cargo soon materializes in Sultanahmet to view the BIg Four: the Blue Mosque, Aya Sofya, Topkapi Seray, and the Grand Bazaar. No time for the simple grandeur of the Sulaymaniyah Mosque, the other-worldliness of Byzantine Emperor Justinian’s vast underground cistern, or the aromatic gorgeousness of the Spice Bazaar down by the quays of Eminou.

Though no longer the exotic, half-east-half-west departure lounge for the old hippie trail, Istanbul is still a contradiction of past and present, trash and treasure, modernity and medaevilism. The dialectic is still evident, and maybe more so, between the ever changing now and the ever-present then, in the forever magical monuments and mosques, in the contrast between the modern young Turks in their western gaberdine and the many muhajibiin and well-covered conservatives.

Scratch Istanbul’s surface, and you will find a tangle of medieval streets and 21st Century traffic jams, bad drivers, and worse pavements. Walkers watch out!

And there is a poorer, working class, and even rural Istanbul. Suburbs just off the tourist map, where old men gather outside chai shops smoking, chatting and playing cards, and where women are rarely seen – when they do, most are covered.

Many Turks have come in from rural areas, and are still clad in traditional garb. There are now hundreds, maybe thousands of Syrian refugees in Istanbul now, seeking shelter from the storm in their sad and devastated homeland, and other Arabs fleeing the bitter winter that has followed the Arab Spring. Some rent apartments for their families, others beg in the streets.

As we walked along the highway that boarders the ancient walls and the Bosphorus, a speeding car hit an elderly Syria as he was crossing the dangerous road. We and his distraught family rushed to his aid, and mercifully he was unharmed but in shock, and did not want an ambulance. We placed him in a the comfortable position and I advised the young men with him in Arabic to keep a watch over him and to watch his eyes.

In contrast to these wandering souls, well-heeled Gulf Arabs arrive with too much money and too little taste. Istanbul is viewed as more stable, cosmopolitan, and naughty than tense and tenuous Beirut, and these wealthy visitors often seek to buy property here.

All the contrasts and contradictions are presently being played out in the politics and economics of this modern Turkey, and in the street protests, tear gas, and riot gear across the Golden Horn, up the hill around Taksim and Gezi Park, and across the suspension bridge. Partisans of Prime Minister (now presiden) Erdogan bump up against the Gulenists, followers of an exiled but influential dissident, and against the ever-ardent bearers of Kemal Ataturk’s torch. Folks still revere him as the Father of The Turks, but times change, some say, and so then must Ataturk, although the old man must spin some in his revered grave.

People say that Turkey is a divided nation right now. And this is manifested in accusations of creeping Islamization, counter-accusations of occidental decadence and depravity, allegations of corruption and cronyism, and street violence and police brutality. Back into November 1972, Military Rule was the norm, and dissent was silenced. Turkey was Asian, and Middle Eastern. Now the country still straddles east and west, coughing the European Union with much leas enthusiasms than hitherto or and presenting as the go-between ‘twixt The West and and Iran, and with the volatile lands to the south.

For better or ill, how things have changed.

© Paul Hemphill 2014.  All rights reserved

Torben Huss, Eminonu 1965

For other posts about Turkey in In That Howling Infinite, see: People watching in Sultanahmet, Sailing to Byzantium, Ottoman Redux – an alternative history and The Watchers of the Water  

People Watching In Sultanahmet

Paul Hemphill 3 Comments

‘If you know your history, then you know where you coming from. Then you wouldn’t have to ask me who the ‘eck do I think I am’. Bob Marley, Buffalo Soldiers.

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People watching in Sultanahmet on a wet Saturday afternoon in Spring.

It’s very like people watching in Newtown, Sydney.

The history of Istanbul, of Turkey, of the Turkish people, is written in the faces of the passersby. There is no pure Turk, just as there is no pure Arab, Jew, Slav, Celt, or Caucasian. Indeed, you see them all passing by. And it has been raining these past two days. The umbrella sellers are making a killing with their see-through parapluies. Everyone, tourists and locals alike are sporting them.

The weekend is promenade time. Families parade up and down, past the pastry and kebab shops, the hawkers and the hustlers. Young men sidle by with their girls, girls walk out with their honeys. Groups of girlfriends, and boy-groups gather and gaggle and gossip. Western folk and eastern folk. This is where east and west meet, literally, figuratively, ethnically, and yes, geographically. And it is written on the faces and in the garb of the perambulating populace.

Sunday in the park

Muhajibabes in beautiful scarves (the Great Bazaar is chocka with wonderful day cashmeres and pashminas – there is no excuse for drabness). “Mandy, Mother of Brian” in vast and bulbous black. Ladies in full cover, some dark and exotic, and mysteriously alluring, and others that make me think that they are doing us all a favour (non-PC, but there you go). I just saw a clown with green hair and a red nose. Fashionistas and paysans. And the many, many ordinary folk, old, young, and babes in arms, enjoying the weekend. All oblivious to the feral dogs and cats that roam through these parts.

There are no pubs on every corner. There are no rows of wine bars. There are no ice-cream and yoghurt shops (though we did find a good bar just across from the square in front of Hagia Sophia).

Oh, it makes you wonder.

For other posts about Turkey in In That Howling Infinite, see: 

 

Sailing to Byzantium, Ottoman Redux – an alternative history, Cha-cha-cha-changes and The Watchers of the Water  

Bombs and Babies

Paul Hemphill 3 Comments
The Atlantic, Sept 9th 2016

Syrian children have been subjected to “unspeakable” suffering in nearly five years of civil war, with the Government and its allies responsible for countless killings, maiming and torture, and the opposition for recruiting youngsters for combat and using terror tactics in civilian areas, according to the first United Nations report on the issue.   See:  http://www.un.org/apps/news/story.asp?NewsID=47077#.UvKrOWKSzE0

Reports and pictures out of Damascus and Aleppo of the use of barrel bombs, and sarin and chlorine gas on civilian neighbourhoods, I am reminded of Chaim Nachman Bialik’s poem, Al haShehita (On the Slaughter), about the Kishinev Pogrom in the spring of 1903:

And cursèd be he that saith: avenge this! Such vengeance for blood of babe and maiden Hath yet to be wrought by Satan.

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In A Short History of The Rise and Fall Of The West, I wrote of how, in Pity The Nation, his tombstone of a book about Lebanon’s civil war, and Israel’s intervention therein, the redoubtable journalist Robert Fisk writes of a Lebanese doctor, Amal Shamaa: “I had to take the babies and put them in buckets of water to put out the flames. When I took them out half an hour after, they were still burning. Even in the mortuary, they smouldered for hours”. “Next morning”, Fisk continues, “Amal Shamaa took the tiny corpses out of the mortuary for burial. To her horror, they again burst into flames”. Such is the effect of phosphorous shells on mortals. Made in America, used on Arabs, by Jews. But it happens anywhere and everywhere, inflicted by anyone on everyone.

What’s Bob Got To Do With It?

Paul Hemphill 4 Comments

 

Or, ‘How I  came to  write songs and play guitar’

I was in love with Dusty Springfield. In the drear tea-time of my adolescent soul, I worshiped her truly, madly, deeply. Tiny girl, big hair, panda eyes, hands moving like a beckoning siren. I just had to hear “da da da da da da” and then “I don’t know what it is that makes me love you so…” and I was hers for the next two and a half minutes. Until…

It was one of those beautiful late-spring evenings that you would get in the England of youthful memory. The evening sun poured through the gothic stained glass windows of the school library – it was one of those schools. A group of lower sixth lads, budding intellectuals all, as lower sixth tended to be, gathered for a ‘desert island disks” show-and tell of their favourite records.

Mine was Wishin’ and Hopin” by you know who. Then it was on to the next. Clunk, hiss, electric guitar intro, and: “My love she speaks like silence, without ideas or violence, she doesn’t have to say she’s faithful, but she’s true like ice, like fire…” I was gone, far gone. So was Dusty.

I bought a guitar. A clunky, eastern European thing. I tried Blowin’in the Wind, but what came out was unrecognisable. My dad said he’d break it over my head. One day, that tipping point was reached. It sounded indeed like Blowin’ in the Wind, or something similar. I was away, and the rest, as they say, was hearsay.