Cross the Green Mountain – Bob Dylan’s Americana

Things fall apart. The centre cannot hold.
WB Yeats, The Second Coming

Recently, I’ve been enjoying very much the Definitely Dylan podcasts produced and narrated by broadcaster Laura Tenschert, a board member at the Institute of Bob Dylan Studies at the University of Tulsa, Oklahoma (and yes, you’ve read it right – the Bobster is now a legitimate focus for the academy). With an enchanting Celtic lilt, she brings a fresh, and indeed very original perspective in her exploration of Dylan’s work. Listen, do!

This week, the New York Review of Books published an essay by one of Laura’s Institute colleagues, addressing Bob Dylan’s lyrical narratives of American history. Across the six decades of his career, Bob Dylan has mined America’s past for images, characters, and events that speak to the nation’s turbulent present. And Sean Wilenz discusses in some detail the chronological development of Dylan’s historical songs from With God on Our Side, to Bob Dylan’s 115th Dream, to Blind Willie McTell, to Tempest, and the to the history overload of his latest album of original songs Rough and Rowdy Ways, and most specifically in Murder Most Foul. But what caught my  attention, was Cross the Green Mountain.

Now, I’ve been tangled up in Bob Dylan for near on sixty years. Neither a fanatic nor a completist, I bob (yes, I know – bad pun!) out and back in. And sometimes I miss stuff. I missed Blind Willie McTelI, and it is now one of my Dylan favourites. I missed Love and Theft, but caught up with great pleasure – Mississippi is a gem! And I deliberately ignored his take on The Great American Songbook. Diana Krall does it better and she’s also a hot pianist and gorgeous.

And I missed Cross the Green Mountain, which he wrote for the soundtrack of Ted Turner’s American Civil War film Gods and Generals. Though based on a successful book, the film sank without trace. Ted was a Civil War aficionado – he joined the serried ranks of Civil War recreationalists in the epic, hours-long Gettysburg – in the forlorn hope that was Pickett’s Charge, the denouement of that harrowing two day battle. Bob’s song ended up in one of his many Bootleg releases.  Here is a truncated version featuring footage from Turner’s film. You can listen to the the complete song together wit Sean’s essay, below.

It is a remarkable song, drawing on a multitude of theological, literary, and historical sources. Sonic ally, it seems to me to reflect the mood and ambiance of the 1997 album Time Out Of Mind, and specifically It’s Not Dark Yet, and also, 2001’s Love and Theft. A blog called Waxing Lyrical describes it thus.

Cross the Green Mountain is truly one of Dylan’s finest creations. It is astonishing and maddening that such a towering achievement was initially hidden away on a soundtrack, and even despite it’s release on “Tell Tale Signs: The Bootleg Series Volume Eight” is yet to receive anywhere near the attention a lyric of this calibre deserves. In twelve remarkable verses, Dylan essays a civil war history, a visionary history of humanity and a grimly insightful summation of the likely path ahead for us all. It’s a strange, sad species that would choose maintaining a grip on destructive reality, but it is our world; and in Dylan’s hands it is brought into stark focus, and seems all the more revealing of our true nature because of it, as in charting our dreams, our strife and our struggles, he shows that the best and worst of who we are, who we were and who we can be are all strands of a single thread. An elegy, a tribute and a lament, this song is beautifully hewn tale of tragedy that reaches far beyond its overt themes and into the hearts and minds of all who seek to walk a clearer path in a confusing world.

In the his NYRB essay, Sean Wilentz writes:

“Not a shot gets fired; no bugles blare; you can’t tell one army from the other. The song dwells upon soldiers in a ravaged land just before the fog of war descends or just after it’s started to lift. Walt Whitman, who spent three years in Washington hospitals tending to mutilated, sick, and dying troops, wrote in his notebook, shortly after Robert E. Lee’s surrender at Appomattox, that “the real war will never get into books.” Dylan tries to get some of that real war into his song”.

And he concludes his review of Bob Dylan as a historian thus:

“It’s hard not to tremble in these dystopic days in American history—days when everywhere you look, the center seems undone—peering out from East Thirty-Eighth Street and Chicago Ave in Minneapolis, or from wherever you happen to have spent the plague year, all the way to the US Capitol, desecrated and bloody. These are days of schism, of evil for evil, when it’s unclear whether we’ll ever reverse the long decay diagnosed in “Murder Most Foul,” or whether, as may be the fate of life on Earth itself, it’s just too late: desire and destiny have already been dismembered, and it feels as though America is back on the cross, with only the slimmest chance that wisdom or redemption will follow. As much as to the past, Bob Dylan’s historical vision speaks to this, our moment.”

Don’t even hear the murmur of a prayer
It’s not dark yet but it’s gettin’ there

It’s a gloomy conclusion. For many, however, the glass is half full rather than half empty. As Paul Simon sang In American Tune, “we come in the age’s most uncertain hour and sing an American tune”. But he also added: “you can’t be forever blessed”.

The United States of America is more than North and South, Red and Blue. There are probably more than two Americas: North, South, Black, White, East and West Coast, and the Mid West; the heirs of the Mid 19th Century Know Nothings, nativists and immigrants, and indigenous, and more. It is the country of Trump and his carpetbaggers and of the tele-evangelists, the bitter and twisted, revanchist and retro America, the dangerously blinkered and overconfident America driven by its creation myths of manifest destiny and American exceptionalism. But it is also, the America of Martin Luther King, the Freedom Riders, Barack Obama and Alexandria Ocasio-Cortez and her Quad compadres. It is Walt Whitman’s America and the America of Herman Melville and John Steinbeck. It is the America of Clint Eastwood, Martin Scorsese and Woody Allen. It is Leonard Bernstein’s America, Paul Simon’s America, Woody Guthrie and Bob Dylan’s America.

As Leonard Cohen said, America is “the cradle of the best and the worst”.

But outsiders do indeed look at America today and shake their heads in wonder.

I have prayed for America
I was made for America
It’s in my blood and in my bones
By the dawn’s early light
By all I know is right
We’re going to reap what we have sown
Jackson Brown, from Lives in The Balance

Both the NYRB and Waxing Lyrical articles are republished in fill below.

Also in In That Howling InfiniteLegends, bibles, plagues – Bob Dylan’s Nobel lecture; Blind Willie McTell – Bob Dylan’s Americana; Still tangled up in Boband Tales of Yankee Power

Bob Dylan, Historian

Sean Wilentz, New York Review of Books, June 19, 2021

This essay is adapted from a keynote lecture delivered at a conference to honor Bob Dylan’s eightieth birthday, “Dylan @ 80,” convened by the Bob Dylan Institute at the University of Tulsa, Oklahoma, May 24, 2021.

Bob Dylan performing at a SNCC voter registration drive, Mississippi, 1963

Two American presidents, William McKinley and John F. Kennedy, bite the dust on Rough and Rowdy Ways, Bob Dylan’s latest record (his thirty-ninth studio album, released last year), and a third, Harry S. Truman, pops up on the next-to-last track, on Mystery Street off Mallory Square in Key West, where Truman had his winter White House. Elsewhere on the album, we cross the Rubicon with Julius Caesar; and on the beautiful song “Mother of Muses,” three Union senior officers from the Civil War as well as two great commanders from World War II (one American, one Soviet), clear the way for Elvis Presley and Martin Luther King Jr. This is not the same phenomenon as the appearance of Ma Rainey and Beethoven, emblems as much as people, in “Tombstone Blues” on his 1965 album Highway 61 Revisited: Bob Dylan brings a different kind of history to bear on this album, though hardly for the first time in his writing. Mystery Street doesn’t actually exist—it’s the one spot in the Key West song that’s imagined—but it is at the center of everything in that liminal paradise, just on Dylan’s horizon line. Once you get to the Mystery, it seems, you’ll find History dwelling there.

This in itself is highly unusual, as few songwriters if any have exhibited Dylan’s historical knowledge, let alone his historical consciousness. In Dylan’s case, though, history is only one branch of knowledge and creativity that absorbs him: whether it’s a Juvenal satire or a picture at an exhibition or a recording of Robert Johnson, Dylan responds by breaking things down, trying to understand how they work and what makes them different from everything else. As the critic Greil Marcus recently noted, it’s helpful to think of Dylan as a scholar, as well as craftsman. Do so and we might better understand how his art works.

But what difference does history—and more specifically, American history—make to Dylan’s work? Dylan has long populated his songs with historical characters, as well as characters from the territory where history shades into legend, and his work is never too far from the larger American mythos emanating from its rough and rowdy past, with its gamblers, prophets, false prophets, and outlaws, from Billy the Kid to Lenny Bruce. In his 2004 memoir Chronicles, Dylan writes, convincingly, of reading deeply in history books once he’d reached Greenwich Village, and of how figures such as the antislavery and civil rights congressman Thaddeus Stevens, who had “a clubfoot like Byron,” made a deep and lasting impression on him.

Dylan has also often seemed to depart from the mental clatter of the present, by living according to a time-warped calendar, in which the Galveston flood or the great Mississippi flood or the sinking of the Titanic have only just happened. Long ago, he has said, he discovered in folk songs a parallel universe of old-fashioned virtues and actions; and in time, that universe became real, so that if someone asked what was happening, the answer was (to take another assassination) that President Garfield had been shot down and there was nothing anybody could do, just as Bascom Lamar Lunsford sang it. “All of this was current, played out and in the open,” Dylan writes, of his Village days. “This was the news that I considered, followed and kept tabs on.” It’s hard to listen to the last two decades of Dylan’s compositions especially and not hear him living in some version of that time warp and pulling his listeners into it, too.

How does he go about it? Well, for one thing, he studies. For a historian, it was fascinating, even thrilling to read, in Dylan’s memoir, of the young rising artist’s visiting the New York Public Library and researching in American newspapers from the Civil War era on microfilm to help calm his mind. Of course, it may never have happened: although I can attest to the book’s spiritual accuracy about the Village in the early Sixties, the author of Chronicles also fabricates, which tells you something about Dylan and his relationship with history. (Indeed, I’m not entirely certain whether he really first encountered Thaddeus Stevens in the early Sixties, when most historians portrayed Stevens as a deformed, vindictive radical, or if he only discovered him later.)

Still, Dylan builds his fantasies from facts, and it was exciting to read of his carefully studying primary historical sources, as assuredly he does. Such was the routine until the Internet made microfilm largely obsolete—and the thought of an ambitious Bob Dylan’s seeking inspiration by threading one of those strips of film into one of those plastic or metal reels on one of those archaic machines, then turning a knob or pressing a lever, trying to keep everything in focus, just as we once did, felt like a kind of validation of his work and, I suppose, of mine. That Dylan remains fascinated with documents from the nineteenth century was affirmed recently by the historian Douglas Brinkley, reporting on Dylan’s research into the details of the gruesome Sand Creek Massacre of Cheyenne and Arapaho in 1864.

What Dylan takes from the past obviously isn’t the same as what the average historian does; the differences and the similarities are equally important. Dylan is no stickler for the kind of factual accuracy that the historian’s craft demands but that the songwriter’s safely ignores. When someone asked E. L. Doctorow if Emma Goldman and Evelyn Nesbit ever met, as they do in his novel Ragtime, Doctorow replied, “They have now.” That’s the spirit Dylan works into his songs.

“A songwriter doesn’t care about what’s truthful,” he told an interviewer in 2012. “What he cares about is what should’ve happened, what could’ve happened. That’s its own kind of truth.” Yet to discover and express that kind of truth requires knowing as much as you can about what actually happened, as much as any historian might hope to. This is surely the reason, I imagine, why Dylan pressed Brinkley for all that he knows about what happened at Sand Creek (which turns out to have been be much less than Dylan had already learned from his studies.).

A trained historian commonly dives into sources with a particular topic or line of narrative in mind and can block out the rest. Dylan, though, can get disoriented and nearly overwhelmed by the unexpected. “The issue of slavery wasn’t the only concern,” he writes in Chronicles of the 1850s. “There were news items about reform movements, antigambling leagues, rising crime, child labor, temperance, slave-wage factories, loyalty oaths and religious revivals. You get the feeling the newspapers themselves could explode and lightning will burn and everyone will perish.”

Once over his bewilderment, though, Dylan soon surpasses most historians in quickly building a syncretic sense of the whole. For example, Civil War–era America, as he says he discovered it a century later, was an unrealistic, grandiose, immensely suffering land, riven by clashing comprehensions of time itself. Enlightenment ideas of liberty and equality, the Declaration of Independence, checks and balances, everything Americans supposedly prided themselves on—indeed, reason itself—could carry you only so far. “After a while,” he continues, “you become aware of nothing but a culture of feeling, of black days, of schism, evil for evil, the common destiny of the human being getting thrown off course.” Shine a light on that America, he writes, and “you could see the full complexity of human nature,” in a place that did not at all resemble the America of the Sixties, “but yet it did in some mysterious and traditional way. Not just a little bit, but a lot.” A reasonable man tracking unreason, Dylan offers a summary metaphor, more pithy and powerful than any historian would ordinarily use: “Back there, America was put on the cross, died and was resurrected.” As important is where Dylan later claimed that perception took him: “The godawful truth of that would be the all-encompassing template behind everything I would write.”

That shows how seriously Dylan takes history. And looking back at some of his major efforts at historical perception, from his early songwriting through Rough and Rowdy Ways, it’s plain that his use of history has matured and become more sophisticated and nuanced over the decades.

A mural by Brazilian muralist Eduardo Kobra in downtown Minneapolis, Minnesota, 2020 Brian Peterson/Star Tribune via Getty Images

Dylan debuted his first obviously historical song, “With God on Our Side,” written when he was twenty-one years old, at Town Hall in April 1963. Although it became something of a favorite over the next couple of years, most famously as performed with Joan Baez, it fell out of his repertoire in 1965, and has remained largely untouched ever since. A sanctimonious lecture about American sanctimony—a counternarrative to what he portrays as the false one the history books tell us—the song is in keeping with an easy iconoclasm, asserting that the American history you’ve been fed is a pack of lies designed to glorify war and conquest. That easy iconoclasm is very much with us amid today’s social and political turmoil, but many of the feelings, as well as observations, inside that song are long out-of-date, stuck inside the high cold war, ban-the-bomb period of American antiwar protest, when every day felt as if human existence was on the brink of superpower thermonuclear annihilation. (In 1989, just as the Berlin Wall was falling, the Neville Brothers recorded an updated version of the song that substituted a new verse about Vietnam for the original one about World War II and the Holocaust. It didn’t catch on.)

As a songwriter’s history lesson, “With God on Our Side” is barely coherent. It has a point to make about the US military’s slaughter of the Indians, and maybe another about the futility of World War I. About the Spanish–American War, though, all it can is say is that the war had its day, whatever that means. It doesn’t know what to make of the Civil War, by which, a historian might point out, the US Army and Navy, with upward of 200,000 Black recruits, nearly half of them formerly enslaved, killing and dying to the strains of “Glory, Glory, Hallelujah,” effectively brought about slavery’s abolition—something the emancipated reasonably regarded as a godly outcome. The song’s most graphic, unsettling line concerns not American war crimes but Nazi Germany’s eradication of the Jews. The song’s final betrayal, of Jesus by Judas Iscariot, though assuredly timeless, invokes absolute evil in ways that reduce American history into foreshortened fable.

What can be said on behalf of the song is that it expresses an outrage, utterly innocent of tragedy, which encapsulates the first two critical lessons anyone needs to learn about American history alongside its achievements and promise: first, that the deadly gap between reality and the nation’s proud, sometimes messianic professions has, at its worst, been real and too often wide; and second, that America the beautiful also has some twisted roots planted in dark and bloody ground. “With God on Our Side” is a preachy song that Dylan had to outgrow, but without its historical foundation, there would have been much less for him to grow on.

“Bob Dylan’s 115th Dream,” written less than two years later and released on his fifth album, Bringing It All Back Home, is no less a protest song than “With God on Our Side,” but the similarities end there. One of the first efforts in Dylan’s shift from folk to rock, it is seemingly a song about what used to be called the discovery of America, and it is as rollickingly uplifting and zany as its predecessor was sententious and leaden. The recorded version opens with a carefully edited false start, but the musicians regroup for a six-and-a-half-minute roller-coaster ride, more joyful than scary, a display of clackety exuberance that brushes the guardrails yet stays on course. Dylan has written of how much, in his early New York years, he came to admire the frenzied comic work of the downtown artist Red Grooms, and “Bob Dylan’s 115th Dream” sounds like a Red Grooms composition put to music. That Dylan has thought to perform it publicly only six more times since that recording session fifty-odd years ago might signal that, unusually for him, he’s decided he likes the recorded version well enough that there’s little to be gained from revisiting it.

Unlike “With God on Our Side,” “Bob Dylan’s 115th Dream” puts us in a real, if also fantasized, historical place—“I think I’ll call it America,” Captain Ahab/A-rab announces early on from his ship as the place comes into view. The song gives us a couple of actual historical names and events—but, as in a dream, the names slip: A-rab’s ship starts out as the Mayflower then morphs into the Pequod; and at the end, when A-rab and the crew prepare to shove off back to sea, they spot the Niña, the Pinta, and the Santa Maria sailing their way, to discover an America that’s already been discovered. And so, as the names slip, time does, too.

The song’s protagonist, one of A-rab’s men, was already familiar to Dylan listeners from an earlier song, the Chaplinesque figure, assumed to be a traveling salesman, forever getting in and out of jams in “Motorpsycho Nitemare” (of which “Bob Dylan’s 115th Dream” is a rewrite, with the identical melody). But this time, the maybe salesman is a hipster sailor traveling across a historical landscape where it’s sometimes 1620, sometimes 1851, sometimes 1492, but always 1965 as well—and could just as easily be America today, which is really the point. From the start, when A-rab, momentarily transformed into Peter Minuit on Manhattan, sets about writing deeds, building a fort, and buying the place with wampum, America’s history collapses into stories of sharp dealers and confidence men, with a handsome ambiguous male waitress dressed in a powder-blue cape, and an undertaker who’s only interested if you’re dead, and people demanding not “Ban the Bomb” but “Ban the Bums” along what Peter Stuyvesant knew as the Bouwerie—an America that always has been and always will be: a newfound land that is frantic, exasperating, jumbled, and irrational beyond the point of absurdity.

Eighteen years later, in 1983, Dylan wrote what some have considered a historical masterpiece.“Blind Willie McTell” is as allusive as “With God on Our Side” is didactic, and as spare and exact as “115th Dream” is rambunctiously ramshackle. It’s another traveling song, but this time, the road is time, starting in a condemned Southland soaked with martyrs’ blood, moving back to the closing-down of a nighttime country tent show, then further back to slavery days and the Civil War, then up to the present via a chain gang and rebel yells, ending with the traveler on the road, his mind on the recurring, punctuating presence of Blind Willie McTell, the Georgia songwriter and bluesman who made his name recording in the 1920s and 1930s. The song offers a lesson about human greed and corruption, envisaged inside Southern history, born of slavery’s whips, the Middle Passage, and Sherman’s March to the Sea, yet with a trace of redemption, or, at any rate, of enduring beauty, and heard as sung and played in a blind black man’s blues.

I’ve sometimes seen “Blind Willie McTell” described as an updated protest song, intended to chart the continuing tragedy and suffering of Blacks in the American new world, and that’s there to be heard in the version recorded nearly forty years ago. But Dylan famously had doubts about the song in 1983 because he didn’t think it was finished, which is why it didn’t appear on Infidels, and, although it’s now esteemed, even beloved among Dylan’s songs, he’s struggling with it still. In contrast to “With God on Our Side” and “115th Dream,” he’s performed it frequently in concert (more than two hundred times since 1997), but over the years, the song has changed and continues to. None of Dylan’s work is fixed, but some songs are less fixed than others, and “Blind Willie McTell” is one of those—though even so, as with every song he alters, the original version never disappears. It is a matter of multiplication, not substitution.

Dylan’s current version of “Blind Willie McTell” eliminates the verse about burning plantations and slavery’s ships; and the chain gang and the rebel yells are gone, too. The song now confines itself historically more or less to McTell’s own time, or maybe as far back as the 1880s; and the verse that is now one of the two remaining historical verses, involving a woman and a fine young handsome man, notes that “Some of them died in the battle/Some of them survived as well,” leaving both “them” and the battle they fought to the listener’s imagination.

I can’t say why Bob Dylan has struggled with the song or why the struggle has led him here, but just as history seriously rendered has ironies and ambiguities as well as certainties, so a master of ambiguity has made this historical song more ambiguous, the suffering less specific, less singular, and less explicit, yet leaving nothing easy about it; while the “power and greed and corruptible seed” that the singer sees everywhere taint us all.

Ironies, more than ambiguities, mark what was, until recently, Dylan’s most ambitious and dedicated work of history: “’Cross the Green Mountain,” written nearly twenty years after “Blind Willie McTell” as part of a film soundtrack, one bright spot in an otherwise abysmal Ted Turner movie about the Civil War. In a mournful arrangement notable for Larry Campbell’s keening fiddle, and written in the style Dylan showcased two years earlier on Love and Theft (released, as luck had it, on September 11, 2001), it is a song of war that the precocious author of “With God on Our Side” could scarcely have imagined writing, yet with a curious possible connection to that older song.

Not a shot gets fired; no bugles blare; you can’t tell one army from the other. The song dwells upon soldiers in a ravaged land just before the fog of war descends or just after it’s started to lift. Walt Whitman, who spent three years in Washington hospitals tending to mutilated, sick, and dying troops, wrote in his notebook, shortly after Robert E. Lee’s surrender at Appomattox, that “the real war will never get into books.” Dylan tries to get some of that real war into his song.

Two striking verses, both reworkings of relatively obscure Civil War poems, spring cruel ironic traps, with a touch of Ambrose Bierce’s spirit, as well as Whitman’s. The first, containing a line lifted from an Ohio-born Confederate poet, relates the moment of the death of “our Captain,” “killed outright he was by his own men.” The second, a condensed rewrite of one of Whitman’s lesser-known poems, relates a mother’s initial shock at receiving a letter that her son has been severely wounded, shock relieved by the letter’s assurance that he has survived and is recovering in a hospital bed—“but,” the narrator encroaches, “he’ll never be better, he’s already dead.”

The living God’s presence pervades “’Cross the Green Mountain,” as something real and not an instrument for warmongering propaganda. But as the song’s cruel ironies dramatize, God’s ways are as inscrutable as His purposes. In that inscrutability, there is an important restatement of “With God on Our Side,” with a twist and a much deeper resonance. There is no godly side in “’Cross the Green Mountain”—Dylan certainly chooses no sides, either in the poetry borrowed or the stories related. And while we know that both Northerners and Southerners prayed to the same God and proclaimed He was on their side, in the song, at least, the Almighty picks neither.

Instead, Dylan writes of “an avenging God,” to whom all must yield—but whom or what, exactly, is God avenging? Abraham Lincoln, in his second inaugural address, began at one point to indict blasphemous Southern justifications of slavery—slavery, which he called the fundamental cause of the war—but he stopped short, lest he turn pharisaical, remarking, “Let us judge not that we be not judged.” Lincoln ventured, rather, that God had inflicted terrible carnage on both the North and the South, as both sides had shared in “the wealth piled by the bond-man’s two hundred and fifty years of unrequited toil.” Dylan, who has certainly read Lincoln’s address, is chiefly interested in other aspects of the war, but his invocation of God the Avenger, smiting “the land of the rich and the free,” squares with Lincoln’s.

Just past sixty years old when he recorded “’Cross the Green Mountain,” Dylan has, over the two decades since, seen the world in which he started out crumble to dust, and watched fiercely urgent events he wrote about in traditional forms pass into history. He was drawn, early on, to the ballad form, not simply as the source of mythic archetypes like John Henry and Stagolee but also as a means of rendering deadly incidents of injustice that touched him. He has lived long enough now for his once-current ballads to become as ancient-seeming as the original ones that inspired him. Give or take a few years, today we stand as distant in time from the killings of Emmett Till, Medgar Evers, and Hattie Carroll as Dylan stood, in 1963, from the killings of William “Billy” Lyons in “Stagolee,” Albert Britt in “Frankie and Albert,” and Delia Green in “Delia.” Longevity has similarly shaped Dylan’s most recent approaches to history, as he has inhabited old ballads about monumental catastrophes from well before his time and invented new ones about catastrophes he remembers well.

Other songwriters’ ballads about the sinking of the Titanic, in 1912, form a subgenre all their own, with a dozen or more different compositions, of which Lead Belly’s “The Titanic” and the campfire favorite “It Was Sad When That Great Ship Went Down” are among the best known. Of all these, Dylan’s “Tempest” (from the album of the same name, released in 2012) is by far the longest, its melody and some of the lyrics lifted from the Carter Family’s “The Titanic,” recorded in 1956. Dylan must have thought the Carters’ version unfinished, and he supplied the missing material, including a couple of time-warp cameos by Leonardo DiCaprio, borrowed, in turn, from James Cameron’s overblown movie. There is a recurring tragic note of a sleeping watchman, but otherwise, the song is a plain yet progressively riveting account that turns to horror: a chaos of floating dead bodies, flooded cabins, and exploding engine rooms, at times resembling a Civil War battle in which, as Dylan sings of the sinking ship, “Brother rose up against brother/In every circumstance/They fought and slaughtered each other/In a deadly dance.” The song offers vignettes of unreflective heroism alongside vignettes of betrayal, human nature in all its complexity amid the disaster.

And so, finally, eight years after that song—that is, in the plague year of 2020—Dylan’s historical quest brought him to the venerable presidential assassination genre with the song “Murder Most Foul” on Rough and Rowdy Ways. He would have known the traditional songs “Charles Guiteau” (about James Garfield’s assassin) and “White House Blues” (about William McKinley’s death) no later than when he first listened to Harry Smith’s Anthology of American Folk Music, released in 1952, in which both appear. Around the same time, he would also have heard Bascom Lamar Lunsford performing “Mr. Garfield” on Lunsford’s Smoky Mountain Ballads album, which had been released by Folkways in 1953.

Long-mislaid manuscripts from late 1963, rediscovered and later obtained by Graham Nash of Crosby, Stills, and Nash in 1989, show that Dylan was deeply affected by John F. Kennedy’s assassination, scribbling lines that included what would become the central image in “Chimes of Freedom.” His only public reaction at the time of that event consisted of his notorious, bungled, confrontational remarks three weeks later, upon receiving a civil liberties award, about seeing something of Lee Harvey Oswald in his own alienated self. He later denied that Kennedy’s killing had stunned him: If it had so affected him, he asked, why hadn’t he written a song about it? Today, just at the point when his songs from 1963 are passing from memory into history, he has written “Murder Most Foul” as a kind of incantatory ballad.

Kennedy’s murder inspired an important song in 1966, perhaps Phil Ochs’s finest, “Crucifixion,” even if its starry imagery, recalling Whitman’s elegy to President Lincoln, at times whirls a little grandly. (Ochs suggested his song was not only about JFK but about Dylan himself, also.) Like Ochs, Dylan presents Kennedy as a lamb led to ritual slaughter. Dylan, however, wishes for little imagery: although the song warps time and constructs its own truth, “Murder Most Foul” is as literal as can be, as literal as the Zapruder film (the footage that is described by the song’s narrator as ugly, vile, and deceitful, but which he has watched thirty-three times or more, trying and failing to make sense of what happened). Unlike the older assassination songs, which focus on the assassin or the deed’s aftermath, “Murder Most Foul” dwells on the actual killing, one cold fact after another feeding the tale, to the point at which Kennedy himself—though, in reality, his head would have just been shattered by the assassin’s bullet—describes falling into his wife’s lap, realizing in a flash he’s been caught in a trap.

The song begins by describing the assassination as a coolly calculated conspiracy, with Kennedy, like Julius Caesar, murdered shamelessly, mockingly, in the broad light of day. The singer then calls upon a mysterious wolfman to howl about the evil deed, when suddenly the song jumps from 1963 to 1964 and the Beatles’ arrival in the US, and then moves ahead in time to the rise and fall of the hippies’ Aquarian Age. Yet the irrepressible evil deed just as suddenly intrudes, uncontained; time slips, bits and pieces from the assassination story swirling around and piling up and blotting out the rest.

The Who’s Acid Queen flashes but swiftly disappears into the song’s most horrible couplets, placing us inside the presidential Lincoln at the fatal instant. We then encounter what seems like an odd reference to Patsy Cline, which in turn refers to Lee Harvey Oswald as a “patsy,” no longer a fellow alienated young man as Dylan had pegged him in 1963 but a fall guy.

Then, out of nowhere, the mysterious wolfman reappears, and he’s none other than the famous rock-and-roll disc jockey Wolfman Jack, crazed, shouting, speaking in tongues, just maybe a prophet, and it’s radio request time, and thence begins the better part of the entire second half of Dylan’s longest song ever, a six-hundred-word cascade of callouts, from Nat King Cole to On the Waterfront’s Terry Malloy to Etta James to Charlie Parker, some of the best of what America has had to offer the world (plus Beethoven’s Moonlight Sonata), tilting to the years since World War II. As in “Blind Willie McTell,” redemption or at least beauty glimmers out of a monstrousness that one of the song’s characters suggests has marked the arrival of the Antichrist. Yet nothing seems to work, and as the requests rampage, the fatal day returns to the song like a revenant, one more time. The perfectly timed bullet left the nation forever changed, forever conflicted, forever haunted: “Play ‘Love Me or Leave Me’ by the great Bud Powell,” the song concludes, Dylan’s voice combining elements of fear, resignation, and menace, “Play ‘The Blood-Stained Banner’—play ‘Murder Most Foul.’” The song becomes a part of the mercurial history it has just related, a history from which there seems to be no escape.

Dylan has studied the events closely, right down to the minute when Lyndon B. Johnson got sworn in. He connects Dealey Plaza with different layers of American culture, from the horror franchise Nightmare on Elm Street to the legendary Dallas barrelhouse and red-light district from which the traditional song “Deep Ellum Blues” takes its name, two miles from the old Texas School Book Depository sitting at 411 Elm Street. He sees the assassination as a ripping point, not a tipping point, when the three Graces died and when the nation, its soul torn away, began “to go into a slow decay.” With the full story unknowable, never to come out—“What is the truth, where did it go/Ask Oswald and Ruby—they oughta know”—“Murder Most Foul” is in part about the nation’s calamitous failure to come to terms with what happened. You don’t need to buy into the song’s conspiratorial set-up, reminiscent of Oliver Stone’s paranoid fantasy film JFK—which might even appear to be a symptom of the cynical nihilism that the assassination unleashed and that has poisoned the nation—in order to find its larger point deeply moving, the point about reckoning and failing to reckon with the dreadful moment in November 1963, when the fall of America began.

More history appears in the songs that precede “Murder Most Foul” on Rough and Rowdy Ways. In “Mother of Muses,” which sounds inspired by something he’d seen in the Nobel Prize medal that he finally picked up in 2017, Dylan looks back in honor to the military he’d denigrated in his 1963 song, when he sang about “the names of the heroes/l’s made to memorize/With guns in their hands/And God on their side.” “Goodbye Jimmy Reed” weaves subtle references to the dead bluesman into a juxtaposition of holiness and sex that is at least as old as the tent show in “Blind Willie McTell.” The awful killing of President McKinley as rendered by Charlie Poole’s slightly macabre 1926 recording of “White House Blues”—not the shooting itself, which the song barely mentions, but McKinley’s unexpected death from gangrene eight days later—is the entryway to Dylan’s “Key West (Philosopher Pirate),” a dreamlike song about a divine paradise, way down at the end of the line.

Bob Dylan performing in Hyde Park, London, England, July 12, 2019
Dave J Hogan/Getty Images for ABA

Thus, then nearing eighty, Dylan concluded his latest meditations, with American history all over the place. It turns out that Dylan was being straight in Chronicles, if not necessarily about every detail of what happened in 1961, then about a deeper truth in all that followed: if the songs have been, as he has said, his lexicon and prayer book, the American past has come to serve as his template for viewing, in a multitude of ways, an explosive culture of feeling, a place where human nature is visible in its full complexity. In his historical view, this is an America utterly different from our own and yet, in some mysterious and traditional way, not so different at all.

Along with the raging mayhem of history, there has been, also, a powerful elegiac quality to Dylan’s recent songwriting in this vein: a backward glance over traveled roads that appears elsewhere in his recent output, especially in the paintings of American cityscapes and byways in his “The Beaten Path Series,” first exhibited in 2016. That quality, which pervades Rough and Rowdy Ways, actually dates back many years, before Chronicles, and is tied to a feeling that a time is soon coming, if not already here, when truth will be erased and, with it, traditional songs and even history itself. Then, he intimates, anything that came before the here-and-now will be time out of mind. “Look out! there wont be songs like this anymore, factually there arent any now,” he wrote in his liner notes to World Gone Wrong, back in 1993. It’s become a late autumnal feeling in his work—call it November-ish, while recalling that November 22, 1963, was a hot, sunny day in Dallas—a feeling that speaks to a wider condition that has built to this very moment.

It’s hard not to tremble in these dystopic days in American history—days when everywhere you look, the center seems undone—peering out from East Thirty-Eighth Street and Chicago Ave in Minneapolis, or from wherever you happen to have spent the plague year, all the way to the US Capitol, desecrated and bloody. These are days of schism, of evil for evil, when it’s unclear whether we’ll ever reverse the long decay diagnosed in “Murder Most Foul,” or whether, as may be the fate of life on Earth itself, it’s just too late: desire and destiny have already been dismembered, and it feels as though America is back on the cross, with only the slimmest chance that wisdom or redemption will follow. As much as to the past, Bob Dylan’s historical vision speaks to this, our moment.

Sean Wilentz is the George Henry Davis 1886 Professor of American History at Princeton. His most recent book is Richard Hofstadter: Anti-­Intellectualism in American Life, The Paranoid Style in American Politics, Uncollected Essays, 1956–1965, the first in a multivolume edition of Hofstadter’s work that he is editing for the Library of America. (July 2021)

‘Cross the Green Mountain by Bob Dylan – A Lyrical Examination

In a lifetime of writing and performing music, Bob Dylan has constructed a considerable body of work comprised of innumerable songs that speak to individual listeners in distinct yet profound ways. It is my belief that Dylan’s song writing abilities have only increased with the passing years, and that the some of the songs he has composed since his creative “rebirth” in the late 1980’s are equal – if not superior – to anything he wrote in the halcyon days of his youth. I think that whilst his earlier lyrics captured the desired spirit of a generation – which ultimately catapulted Dylan to the forefront of public consciousness – in a more powerful and immediately persuasive manner, I think that in reaching maturity, Dylan has even more to say; and his breadth of understanding of history, contemporary society and his craft has allows him to  articulate lyrics that are considerably more controlled than the lyrics of youth, but that don’t compromise the extent to which evocative imagery and alluring ambiguity operate as key components of his style.

Songs such as “Dignity”, “Series of Dreams”, “Ain’t Talkin” and “Not Dark Yet” are magnificent songs that contain lyrics of the highest calibre. It is the depth and complexity of ideas and feeling that render them works of such stark beauty. They also typify Dylan’s current style of ambiguous and resonant simplicity, as opposed to the unrestrained, passionate imagery of earlier times. Each of these songs deserves fulsome analysis, if only to ensure time is actually given over to enjoying them. But it is “’Cross the Green Mountain – Dylan’s contribution to the largely unwatched civil war film, “Gods and Generals” – that in my opinion sits on par with his finest ever lyrics. It is a bold, rich, evocative and ultimately redemptive exploration of conflict on earth. It may take the American Civil War as an inspiration, but the implications of the themes it contains transcend historical connections. It certainly seems to have been designed to encourage listeners to forge meaningful connections between events, peoples and concepts; the very kinds of connections that I would argue that Dylan views as necessary to avoid the kind of bloodshed that he evokes so poignantly.

The song opens with a multilayered invitation to an experience grounded in reality and reflection, via the allusion to dreams and flood. The framing of the ensuing narrative with the context of “monstrous” dream lends the entire lyric a reflective and meditative air. The image of something rising out of the sea seems an image readily associated with the Boxing Day Tsunami of 2005; an event contemporaneous with the song’s origins.

The final lines of the opening stanza attain a level of authoritative ambiguity that Dylan sustains throughout the lyric; the ominous notion of something rising Leviathan-like out of the sea – a kind of vengeful force. But what is interesting is why a vengeful force would strike a land rich and free; intriguingly, the “otherness” of ‘something’ obscures motive, and Dylan’s selection of “rich” as opposed to brave suggests some uncomfortable possibilities.

The image of a “merciful friend” in the song’s second verse conjures an image of death as saviour or one capable of offering release from struggle or strife; but Dylan blurs this redemptive distinction through the placing the image within a question, and then transfers the narrative from the present to the future tense in a manner that accentuates doubt and emotive resonance, rather an any kind of reassuring certainty.

The concluding lines of the second verse are amongst Dylan’s very best. He twists the Shakespearean sentiment of parting as sweet sorrow into a subversive rejoinder, where in death, the departed meet. In the context of a lyric penned as an accompaniment to a civil war dramatisation, one wonders of whom Dylan is thinking when he “thinks of the souls in heaven who will meet”, as the notion of those on opposing sides meeting and accepting each other in death is a tragic counterpoint from which to consider lives lived and lost in brutal conflict.

The apocalyptic imagery of burning altars in the first couplet of the song’s third verse acts an horrific counterpoint to the battleground imagery of advancing troops in its second. Significantly, Dylan moves fluidly, if mysteriously, from either side of the rather abstract conflict that he recounts, so that listeners cannot easily align themselves to the conflict’s heroes. His shifting, elegiac and compassionate narrative dissolves the hero-villain dichotomy into something far more human, and more tragic.

The notion of a foe having crossed over from the other side is mordant and obtuse, an image that, in the context of far-reaching flames most strongly evokes the notion of the devil walking amongst man. It’s a disconcerting image, as is the notion of those soldiers with “more brave blood to spill”, whose sacrifice is simultaneously poignant and pointless, driven both by honour, desperation, and bloodlust. No wonder the flames fall wide, and that the foe has crossed over; it is as though the actions of man have enlarged hell itself.

The shift from foe to God in the fifth verse is startling; suggesting perhaps that an  “avenging God” and the foe could be one and the same. The wide streets and dim lines seem oddly redolent of the chartered world of Blake’s “London”; a comparably savage mediation on troubled times. It segues poignantly into one of those eminently quotable Dylan lines sagely reminding us that “lessons of life can’t be learned in a day”. In this context, the grey world seems a neglected pot of wisdom, unwisely discarded.

It’s here that again the boundaries between historical account and contemporary reflection blur darkly. And the fact that our narrator listens while he “stands” is a fascinating detail. Within lies the possibly that this is an act of remembrance, and that the music from a far better land is that of the past, or of Heaven. It’s curious that the natural tendency is to extrapolate forward or backwards in order to locate the better land, even though it may be a lateral leap that is required. Perhaps inevitably, Dylan has drawn upon the innate ethnocentrism inherent in all cultural examinations. The important question that remains all but unanswered is the source of the superiority of the better land; but the return to conflict and loss in the following verse gives a world-weary clue.

The death of the Captain seems drawn with the broad brush-strokes of an oil painting; the lament for what horridly would be termed today a “friendly fire” death seems a poetic tragedy, reclaimed in this context from the self-serving euphemism of the ‘friendly fire’ cliché. There is also, buried within these lines subtle allusion to rebellion and to mutiny; and the “great” is as much an affectation as it is affection. Again, Dylan has selected imagery that is readily interpretable, but with multiple, frequently contradictory possibilities.

In the following stanza, where a seeming time of judgement draws inexorably closer, the “unknown world’s” nature can be simultaneously seen from opposing sides: one on hand it is the hellish uncertainty subsequent to an annihilated world, but on another, it is the world beyond the vicious vices of mankind, where even virtue – perhaps no longer needed in Dylan’s utopia – exists only as memory. The “happy year” images makes the former more plausible than the latter, but both readings exist on an implicit level, and it is the latter interpretation’s presence that shades the deathly imagery of the lyric with such profound melancholy.

The assertive declarative tone of the lyric’s eighth verse is fascinating yet elusively troubling. The notions of blasphemy are disturbing, as is the persona’s exhortation of loyalty to truth and right, in spite of blasphemy being on “every tongue”, which logically must include its own. The irony is resolved only through an embracing of the kind of pluralism that accusations of blasphemy logically preclude through their very existence.

The hectoring self-righteousness of the persona at this point seems satirically designed to induce a knowing inscrutability, one that ultimately coheres with the lyric’s weary blend of compassion and indifference to those involved in the central conflict, albeit in a rather opaque manner. The stated fealty to “truth and to right” seems to be advocating a kind of declarative autonomy fused with an ambiguous incarnation of faith or

fidelity, whereby the writer has simply conveyed things as they are, which serves, bewilderingly, to obfuscate the meaning and message of the lyric still further, behind yet another layer of possible interpretations.

The next verse is one of Dylan’s finest ever creations. It delves further into an exploration of the relationship between purpose, perspective and meaning, with the command to “serve God and be cheerful” seeming both logical and ludicrous in equal measure, in that it may be the only sane choice, in spite of an insane context of war.  The choice to link the instruction to serve with being cheerful is fascinating, in that being cheerful can be read as either the end product of serving God, or a second (necessary or tautological) instruction. Depending on how this enigmatic half-line is read, it is either comforting, cynical or something else again. And yet, the concluding, tense-defying “look upward beyond” with its otherworldly overtones seems to yolk together an existence both earthly and spiritual into a single decree, startling in its fusion of futility and its lack of stated alternatives.

These words connect with the following line via one of Dylan’s better employments of the technique of enjambment, as two distinct meanings emerge from within lines that are distinctly (and rhythmically) complete. The notion of looking upward “beyond/the darkness that masks the surprises of dawn” is a surreal subversion of night and day imagery, as the song (and particularly the music)’s somnambulant creep staggers through a world of dark, disturbing visions; and, rather than emerge into a clear, comforting world, it is the night that becomes the place of certainty – underscoring its allure – thereby reinforcing the notion that our day’s actions are little more than an illusory defence against the true darkness and the empty anxieties of each new day.

In this context, the men’s position within the “green grasses of the bloodstained world” seems strangely logical; as though our day’s delusion will inevitably hold sway over other possibilities. At a stroke, Dylan gently, implicitly endorses the notion that reality is little more than smoke and mirrors, but to set it aside is akin to abandoning consciousness, which is as unfathomable in war time as it is in peace time.

The tenth verse is almost unbearably poignant, with its evocation of a world where ghosts permeate every pore of existence. With a deft shift in emphasis, Dylan’s directs the reader/listener’s gaze from the stars above – and their heavenly associations – to a world where the living are “walking in dreams, whoever you are”. Walking in the dreams of the living, including one’s own. And even more powerfully, walking in the dreams of the dead. It’s a startling image of the spirit world; one that simultaneously decries the futility of war, whilst painting the entirety of existence as a sacred place. The final couplet is tightly focused, suffused with sense of stifled grief that comes in acknowledgement of all that must needs be unspoken in times of tragedy and loss,  both in terms of the loss of human lives in conflict and in the loss of human possibility that inevitably comes from clinging to the coldly familiar and shunning the bright unknown.

The lyric’s penultimate verse is its most personal, with the tantalising personal touch of a wounded soldier and his mother, where the solider lives on – if only for a fleeting, tragic moment – in the illusion of a letter that lists him as wounded, rather than deceased. It’s a deftly cutting dramatic touch, positioning the reader/listener to feel – apart from sympathy for the mother and her son – that the real tragedy is the delusion.

It’s at this point that the narrator detaches from his worldly reportage, signified initially by notions of being “lifted away”, but ultimately realised in its shift to a collective first-person point of view. Here, Dylan pulls off the astonishing narrative trick of rendering the present and future into the past tense, and acts as the conscience and consciousness of the entirety of humanity. In it, two key understandings are offered: that the fate of humanity rests of the surrendering of fear – or perhaps the fear of fear – and the embracing of the uncertainty and weakness inherent in change and growth; and secondly, that the past, present and future are tangible, malleable and extant, and that the world we inhabit is a stranger, darker, more beautiful and more tragic reality than our limited perspectives allow us to see.

“’Cross the Green Mountain” is truly one of Dylan’s finest creations. It is astonishing and maddening that such a towering achievement was initially hidden away on a soundtrack, and even despite it’s release on “Tell Tale Signs: The Bootleg Series Volume Eight” is yet to receive anywhere near the attention a lyric of this calibre deserves. In twelve remarkable verses, Dylan essays a civil war history, a visionary history of humanity and a grimly insightful summation of the likely path ahead for us all. It’s a strange, sad species that would choose maintaining a grip on destructive reality, but it is our world; and in Dylan’s hands it is brought into stark focus, and seems all the more revealing of our true nature because of it, as in charting our dreams, our strife and our struggles, he shows that the best and worst of who we are, who we were and who we can be are all strands of a single thread. An elegy, a tribute and a lament, this song is beautifully hewn tale of tragedy that reaches far beyond its overt themes and into the hearts and minds of all who seek to walk a clearer path in a confusing world.

They say artists hold a candle to the world so we all can see it a little more clearly. On this occasion Dylan’s light is searing, and we can see just how rocky are our surroundings, and just our precarious our footing. But certainty – however daunting – must eventually hold sway over delusion. It’s just that reality might be a little more complex – and considerably less tangible – than we would like it to be.

Bob Dylan – ‘Cross the Green Mountain

I crossed the green mountain, I slept by the stream
Heaven blazing in my head, I dreamt a monstrous dream
Something came up out of the sea
Swept through the land of the rich and the free.

I look into the eyes of my merciful friend
And then I ask myself, is this the end?
Memories linger sad yet sweet
And I think of the souls in heaven who will meet.

Altars are burning with flames falling wide
The foe has crossed over from the other side
They tip their caps from the top of the hill
You can feel them come; more brave blood to spill.

Along the dim Atlantic line
The ravaged land lies for miles behind
The light’s coming forward and the streets are broad
All must yield to the avenging God…

The world is older, the world is grey;
Lessons of life can’t be learned in a day.
I watch and I wait and I listen while I stand
To the music that comes from a far better land.

Close the eyes of our Captain; peace may he know.
His long night is done; the great leader is laid low.
He was ready to fall; he was quick to defend;
Killed outright he was, by his own men.

It’s the last day’s last hour, of the last happy year
I feel that the unknown world is so near
Pride will vanish and glory will rot,
But virtue lives and cannot be forgot.

The bells of evening have rung
There’s blasphemy on every tongue;
Let them say that I walked in fair nature’s light,
And that I was loyal to truth and to right.

Serve god and be cheerful, look upward beyond
Beyond the darkness that masks the surprises of dawn
In the deep green grasses of the bloodstained world
They never dreamed of surrendering; they fell where they stood.

Stars fell over Alabama, I saw each star;
You’re walking in dreams, whoever you are.
Chilled are the skies, keen in the frost
The grounds froze hard, and the morning is lost.

A letter to Mother came today;
Gunshot wound to the breast is what it did say.
But he’ll be better soon; he’s in a hospital bed.
But he’ll never be better. He’s already dead.

I’m ten miles outside the city and I’m lifted away
In an ancient light at the start of day
They were calm, they were blunt we know them all too well,
We loved each other more than we ever dared to tell.

 

Rhiannon the Revelator – In the dark times will there also be singing?

In the dark times will there also be singing?
Yes, there will also be singing. About the dark times.
Bertolt Brecht, motto to Svendborg Poems, 1939

Brown girl in the ring, raise your voice and sing

Rhiannon Giddens, a multifaceted singer, musician, folklorist and storyteller brings American history alive in her her drive to unearth the stories of forgotten people so that her audiences and listeners may remember them.

On Moon Meets The Sun, a defiantly joyous song, Giddens and her comrades of Our Native Daughters sing in the round over a polyrhythmic lacework of banjo and guitar, vowing not to let radical suffering diminish humanity. “You put the shackles on our feet, but we’re dancing”, she sings, “You steal our very tongue, but we’re dancing” “Ah, you sell our work for your profit, but we’re dancing,” she scoffs. “Ah, you think our home we have forgotten, but we’re dancing.” Then she recedes into the jubilant tangle of voices: “You can’t stop us now (We’ll be dancing). You can’t keep us down (We’ll be dancing)”. 

As Leonard Cohen sang, “that’s how the light gets in”. 

Songs of Our Native Daughters is at once a harrowing ride through early America’s darkness and also, a celebration of resilience and resistance. As  Rhiannon Giddens describes it:

“There is surely racism in this country — it’s baked into our oldest institutions – just as there is sexism, millennia old. At the intersection of the two stands the African American woman. Used, abused, ignored and scorned, she has in the face of these things been unbelievably brave, groundbreaking and insistent. Black women have historically had the most to lose, and have therefore been the fiercest fighters for justice — in large, public ways that are only beginning to be highlighted, and in countless domestic ways that will most likely never be acknowledged.” (NPR – First Listen to Our Native Daughters)

‘… slavery is not a historical event but rather an intrinsic, dominating, and ultimately destructive part of everyone’s day-to-day reality’ (CE Morgan’s “great American novel”)

When the day is done
The moon meets the sun
We’ll be dancing
When the day is done
The moon meets the sun
We’ll be dancing

You put the shackles on our feet
But we’re dancing
You steal our very tongue
But we’re dancing

Brown girl in the ring
Raise your voice and sing
Sing us solace
Sing us freedom
Hold us steady
Keep us breathing
We’ll endure this
You can’t stop us
And we’re dancing

You steal our children
But we’re dancing
You make us hate our very skin
But we’re dancing 

We’re your sons
We’re your daughters
But you sell us
Down the river
May the God
That you gave us
Forgive you
Your trespasses
We’re survivors
You can’t stop us
And we’re dancing

When the day is done
The moon meets the sun
We’ll be dancing
When the day is done
The moon meets the sun
We’ll be dancing

Like the rabbit
We won’t bend to your will
Like the spider
The smallest will still prevail
The stories of our elders
We find comfort in these
We smile to the sky
We move to stay alive
And we’re dancing

You steal our work for your profit
But we’re dancing
You think our home we have forgotten
But we’re dancing

Step into the circle
Step into the ring
Raise your voice and sing
Sing freedom
Sing freedom
You can’t stop us now
You can’t keep us down
We’ll be dancing

When the day is done
The moon meets the sun
We’ll be dancing
When the day is done
The moon meets the sun
We’ll be dancing

You can’t stop us now (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t stop us now (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t stop us now (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t stop us now
You can’t keep us down
You can’t stop us now (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t stop us now (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t keep us down (We’ll be dancing)
You can’t keep us down (We’ll be dancing)

Quasheba, Quasheba
You’re free now, you’re free now
How does your spirit fly?
Blood of your blood
Bone of your bone
By the grace of your strength we have life

From the Golden Coast of Ghana
To the bondage of Grenada
You kept the dream of hope alive
They burned your body
They cursed your blackness
But they could not take your lights

Raped and beaten, your babies taken
Starved and sold and sold again
Ain’t you a woman, of love deserving
Ain’t it somethin’ you survived?

Quasheba, Quasheba
You’re free now, you’re free now
How does your spirit fly?
Blood of your blood
Bone of your bone
By the grace of your strength we have life

You dreamt of home, you dreamt of freedom
You died a slave, you died alone
You came from warriors who once built empires
Ashanti’s kingdom carries on

You were forgotten, almost forsaken
Your children founded generations
Your strength sustained them
They won their freedom
Traced their roots to find you [waiting?]

Quasheba, Quasheba
You’re free now, you’re free now
How far your spirit’s flown
Blood of your blood
Bone of your bone
By the grace of your strength we are home

Blood of your blood
Bone of your bone
By the grace of your strength we are home
By the grace of your strength we are home
We are home
We are home
We are home

Also in In That Howling Infinite,  Soul Food – music and musicians, a collection of posts on matters musical, My Country ’tis of thee, a collection of posts on american history, politics and music, Blind Willie McTell – Bob Dylan’s Americana, and The Sport of Kings – CE Morgan’s “great American novel”

Postscript

I am reminded of  Pete Seeger’s adaptation of the old Baptist hymn:

 My life flows on in endless song
Above earth’s lamentation.
I hear the real, thought far off hymn
That hails the new creation
Above the tumult and the strife,
I hear the music ringing;
It sounds an echo in my soul
How can I keep from singing?

and of Leonard Cohen’s Anthem

I can’t run no more
With that lawless crowd
While the killers in high places
Say their prayers out loud
But they’ve summoned, they’ve summoned up
A thundercloud
They’re going to hear from me

Here is the wondrous Éabha McMahon of Celtic Woman:

 
 
 

Arguments of Monumental Proportions


Our historical memory is a motherland of wishful thinking. Ulrich Raulph

There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind…The opening of the film Gone with the Wind

The past is another country – they thought things differently there; and if the past shapes the present, the present also shapes the past.

With the spread of Black Lives Matter protests around the world, in response to the murder of George Floyd by a Minneapolis police officer, the defacing and destruction of monuments to dead and dubious white men is back in vogue – not that the practice has ever actually gone out of style.

Fallen Idols

There is a certain historical irony that the statue of a 17th century slave trader (and on account of his wealth, philanthropist) Edward Colston has been consigned to the watery depths of Bristol Harbour from whence his ships sailed. He’d built his fortune as an influential member of the Royal African Company, a private company which branded its initials on the chests of some 100,000 men, women and children before shipping them to the Americas and the Caribbean. Thousands never made it, tossed into the ocean after drawing their last breath in the filth below decks. Ted and his fellow slavers have a case to answer. In the hundred years after 1680, some two million slaves were forcible removed from their homes in West Africa to the work camps of the West Indies. By 1750, the numbers of slaves had reached over 270,000 per decade, and by 1793, Liverpool handled three fifths of the slave trade of all Europe.Historian Peter Ackroyd wrote in his History of England: “No more than half of the transported slaves reached their destination; some plunged into the sea and were said to hike up their arms in joy from the brief sensation of liberty before they sank beneath the waves”.

Bristol owed its past prosperity to the slave trade – as did Liverpool. The statue had stood in the city centre for 125 years with a plaque that read: ‘Erected by citizens of Bristol as a memorial of one of the most virtuous and wise sons of their city’. Streets and buildings were also named after Colton though most townsfolk have probably never have heard of him. 

Activists have drawn up a hit list of 60 monuments in the United Kingdom that “celebrate slavery and racism”. London mayor Sadiq Khan paves the way for the legal removal of many of historic statues in the British capital and the changing of street names. Slave owner and West India Docks founder Robert Milligan has already been taken down. On the same day, Belgium’s bloody King Leopold, whose rule of the Congo – it was his private property – became a byword in colonial barbarity, was removed from his plinth in Brussels 

As an Aussie and a Brit of Irish parents, and as a history tragic, I find the long running monuments furore engrossing. Statues of famous and infamous generals, politicians and paragons of this and that grace plazas, esplanades and boulevards the world over, and their names are often given to such thoroughfares. They represent in visual and tangible form the historical memory of a nation, and as such, can generate mixed emotions reflecting the potentially conflicted legacies and loyalties of the citizenry. 

It is about the control of history – and who controls it. We all use history, incorporating perceptions of our national story into lessons that guide or confirm our present actions and outlooks. Our history is written not only in scholarly narratives, but also, in commemorations, in statues, flags and symbols, in the stories that children are taught about their country and their community from their earliest school years, and in the historical figure skating  they are taught to remember and honour. History, it is said, is written mostly by the victors  – but not always. So the inevitable tensions between different versions of the past fosters tension and conflict, and grievance and offense in the present. Particularly in onetime colonialist and settler countries, and the lands these once ruled and exploited.

Juxtaposing controversial British statuary, and those of American Civil War generals, against the empty plinths of the former People’s Republics of Eastern Europe, and the images of the toppling of the statue of Saddam Hussein, I have always contemplated our own monuments to reputed bad boys past. 

There are statues of Lord Protector Oliver Cromwell all over the place in England where his legacy is still debated. He stands authoritatively outside the Houses of Parliament and is remembered as one of the godfathers of that institution. And yet, when he died, and the monarchy he deposed restored, his body was disinterred and hanged. In Ireland, for so long “John Bull’s other island”, however, he is reviled. He did, after all, march through the land with “fire and fury”, to borrow Donald Trump’s hyperbole, and killed quite a number of Irish folk. In my southern Irish mother’s day, people would put his picture upside down, facing the wall. This may be apocryphal, but whatever.

Oliver Cromwell, Parliament Square

A statue of Lord Nelson stood in O’Connell Street, Dublin until March 1966 when the IRA blew him up, celebrated by the Clancies in the song below. The IRA also blew up that other famous English mariner, Lord Louis Mountbatten, inveterate pants-man, victor of the Burma campaign and facilitator of Indian Independence). It wasn’t that Horatio had inflicted anything unpleasant upon the Irish, but rather his renowned Englishness that earned him the TNT. And yet, in the wake of intermittent US monuments barnies, beady British eyes were always focusing on the admirable admiral and his ostensible racism (not a word in use at the turn of the eighteenth century) and support for the slave trade. After Colston’s dip in Bristol harbour, it won’t be long before Horatio is harangued – not that anyone actually believes that Nelsons Column should be evicted from iconic Trafalgar Square, and it would be damn difficult to paint-bomb his myopic visage. The British attachment to Lord Nelson is long and strong. In Birmingham, my hometown, the city centre around the Bullring has been refurbished, redesigned and reconstructed numerous times during my lifetime, but the immortal mariner and his battleship stand still on their plinth of honour – as in the featured picture.

The ongoing controversy in England over statues of Cecil Rhodes, colonialist and capitalist, and ostensibly an early architect of apartheid, still rages with respect to his African legacy, with many demanding that he be demolished. his statue in Cape Town, South Africa, was removed after extensive protests in  2015. as As I write, Cecil may not survive the week. There is a statue in Parliament Square, close to Cromwell and Winston Churchill (who some also abhor), of South African soldier and statesman Jan Smuts. His Boer War (on the enemy’s side) and segregationist sympathies were outweighed by his military and diplomatic record in service of the British Empire, and to date, none has called for his eviction. Perhaps he will be spared as he did not have a pariah state named for him, as it was with Cecil. Nor was he associated with the apartheid regime as it was decades before his time – although this wouldn’t satisfy some iconoclasts. But most likely, he is safe because most folk have never heard of him.  

Cecil Rhodes, Cambridge University
Winston Churchill gets a paint-job

I have heard mumblings, however, of doing for General Smuts, and also for his Parliament Square neighbour Sir Winston Churchill, who has now been graffitied. Now, he might have saved Britain from Hitler’s hoards, but he did not like the Irish, nor Indians (and Pakistanis for that matter), and said some gross things about Arabs and Jews. And we Aussies, and Kiwis too, still blame him for the disastrous Dardanelles campaign – although he did give us our indefatigable and untouchable ANZAC legend and a long weekend. And whilst on the subject of the Middle East, an equestrian Richard the Lionheart stands close by. He did dastardly things to tens of thousands  of locals – Muslim, Christian and Jew – during the Third Crusade, almost a millennium ago. Watch out, Dick and Dobbin! 

Richard the Lionhearted

Lord Baden-Powell, the founder of the world scout movement, of which I was a relaxed and comfortable member for half of the sixties, sits on the seafront in Poole, Dorset, under twenty four hour CCTV protection. In a 2007 poll, he was voted the 13th most influential person in the UK in the 20th century. But critics say that he held racist views, and in 2010 declassified MI5 files revealed he was invited to meet Adolf Hitler after holding friendly talks about forming closer ties with the Hitler Youth. If old “bathing towel” as he was once affectionately called by us Boy Scouts, becomes persona non grata, what will become of Baden Powell Park in Coffs Harbour, our regional centre? It sits behind the Dan Murphy’s liquor mart, one of the town’s most popular retail outlets, and provides an opportunity for our discussion to segue DownUnder.

Dark deeds in a sunny land

In this strange, copycat world we live in, politicians and activists call for the removal of statues of our Australian founding fathers for the parts they played in the creation of our nation. In his challenging revisionist history of Australia, Taming of the Great South Land, William Lines tells us that if we look up the names of the worthies who’ve had statues, squares, streets and highways, building and bridges, parks and promontories, rivers and even mountains named after them, we will uncover a dark history of which few are aware. Try it sometime; you’ll be surprised.

There has inevitably been much fuss about Captain James Cook, the renowned and courageous navigator who “discovered” the place two hundred and fifty years ago (notwithstanding that the Aborigines, Javanese, Dutch, Portuguese, and French had been here first). His “discovery”, many argue, led to genocide and the dispossession of our First Peoples (Columbus no doubt also gets more than pigeons shitting on him!). And also, there’s Lachlan Macquarie, fifth and last of the autocratic governors of New South Wales, who laid the economic and social foundations of the new colony. He is in the cross-hairs as responsible for initiating the ‘frontier wars‘ and for ordering the massacre of Aborigines. 

The captain, his chopsticks and his lunch.
James Cook, Whitby, Yorks
Lachlan Macquarie, Hyde Park,Sydney

Inevitably, right-wing politicians, shock-jocks and  commentators, came out swinging, venting against political correctness and identity politics, defending what they see as an assault on our “Australian values”. When Macquarie got a paint job three years back, for a moment it seemed that our intractable history wars” were on again – the “whitewash” brigade versus the “black arm-band” mob. Statues were vandalized, voices raised and steam emitted as opposing sides took to their hyperbolic barricades. But once the graffiti had been removed from the statues of Cook and Macquarie in Sydney, and The Australian got it off its chest with a week of broadsheet history and a swag of indignant opinion pieces by the usual suspects, things appeared to have calmed down. 

But not for long, perhaps.

All sorts of emotions, hopes and fears lie behind our various creation myths. No matter the source of our different “dream-times” we are all correct in one way or another. People wheel out the wise old “blind men and the elephant” story to illustrate how blinkered we are; but in reality, if those blind men were given more time, they would have expanded their explorations and discovered a bigger picture.

For more on our Aussie worthies, see, for example, from The Guardian, on Australia, Statues are not history, and regarding former Soviet monuments, Poles Apart – the bitter conflict over a nation’s history.

And, in In That Howling Infinite, read also: The Frontier Wars – Australia’s heart of darkness, and America’s Confederate legacy, Rebel Yell 

Land of the fearful – home of the heavily armed

Vladimir Lenin once remarked that “there are decades where nothing happens and there are weeks when decades happen”. As the leader of the Russian revolution, he was a bit of an expert on sudden upheavals following long stasis. We are living through such weeks now.  The worldwide reaction to the death of George Floyd under the knee of a Minneapolis police officer has all the hallmarks of one of those momentous weeks.

Predicatively, such outbursts of outage, where peaceful protests are often accompanied by mayhem and wanton destruction, are a magnet for opportunists of all persuasions. It’s a revolutionist’s dream. Lenin called moments like this a “revolutionary situation”. Most self-respecting Bolsheviks and Nazis never let such volatile circumstances go to waste. One mob’s crisis was always some other mob’s opportunity – I’m talking in the Aussie vernacular here, by the way, a ‘mob’ is a bunch of folks, or livestock, sheep or roos, mainly – and not necessarily a Pythonesque “wabble of wowdy webels ”  – although the featured photograph would suggest this this might indeed be so. The smiling chappie with the brolly looks like he was doing a Hong Kong “umbrella revolution”. Maybe He was just an accidental tourist caught in the camera’s gaze. But his nonchalance belies the seriousness of America’s turmoil.

David Kilcullen, Australian author, strategist and counterinsurgency expert refers to these agents provocateurs as ‘accelerationists’. In the following article, He writes of how the rise of militias and armed protesters across the US is sometimes seen as a fringe right-wing issue, but argues that it is much broader. Armed groups have formed across the political spectrum, reflecting divisions in American society that the coronavirus and it’s social and economic impacts have exacerbated. There are, he says, “already hundreds militias of varying political complexions across the country. Donald Trump is as much a symptom as a cause of America’s toxic polarization. Thus, far from being a purely right-wing phenomenon, rifts within US society that are most stressed by the coronavirus — urban versus rural interests, racial and class tensions, state overreach versus anti-government militancy, far left against alt-right, “collectivist” coastal elites versus rugged individualists in “flyover country” – align with pre-existing grievances. And heavily armed ­actors across the spectrum are poised to exploit them’.

Kilcullen writes: “One reason for the overemphasis on right-wing extremism  is that analysts often characterized armed actors as “hate groups”. It is absolutely true that the intense hatred from right-wing extremists dwarfs most other groups. But the focus on hate is a misunderstanding of what drives violence in internal conflicts … the worst atrocities are driven not by hate but by fear. Fear of other groups, encroachment of those groups into one’s territory and collapse of confidence in government’s ability to impartially keep the peace are the key factors that provoke communal violence. Hate follows and rationalizes fear, not the other way around. And fear of the coronavirus, alongside the demonstrable inability of government to keep people safe, is driving today’s growth in armed militancy”.

Commentators on the left and right have for a long time now been discussing the the prospects of a second American civil war; and its has been particularly talked up during the reign of the incendiarist in chief. in the White House. but Kilcullen begs to differs, suggesting a less dystopian but nonetheless disturbing outcome:

“In ‘contested areas’ – where the territories of left and right-wing militants overlap – we can expect violence irrespective of the outcome. Whether it spreads will depend on level-headed political leadership – and today’s hyper-partisan coronavirus debate offers little hope of that. If violence does spread, it will not be a re-run of the American Civil War. Rather, given the multiplicity of groups involved, their geographical overlap and loose structure, we can expect something much more diffuse”.

In the land of the fearful, the home of the heavily armed, matters can very easily spiral out of control get out of hand. Conflict resolution expert and mediator Lawrence Susskind encapsulated it thus: when two sides are locked into an apparently intractable conflict, “you must engage the constructive middle. When you lose the constructive middle, extremists on all sides are empowered” (from 51 Days at Waco, Paul Hemphill September 2003 – see below ). When the going gets tough, the mild get going. As the indestructible but fictitious Agent Jack Bauer, said between 11 and 11.14 am in the turn of the millennium series 24:

If you bring in the CTU (Counter terrorism Unit), they could screw up and there’d be another Waco”.

See also, Salon’s piece on the subject of America’s militias,  Soldiers of the Boogaloo -the far rights plans for a new civil war and the Washington Post’s  What is antifa and Why does Donald Trump want to blame if for the violence in the US?

For other posts on world politics in In That Howling Infinite, including several articles by David Kilcullen, see: Political World – thoughts and themes. 

Home of the hateful, fearful and heavily armed

David Kilcullen, The Australian, 30th May 2020

The rise of militias and armed protesters across the US is sometimes seen as a fringe right-wing issue, but it is much broader. Armed groups have formed across the political spectrum, worsening divisions the coronavirus has exposed in American society.

Protesters, some heavily armed, are out in force to demand reopening of the economy. The husband of one leader posted a Facebook video this week expressing his readiness to take up arms against the government to prevent a “new world order” being imposed through lockdowns.

Protesters in Lansing, Michigan, during a rally earlier this month organised by Michigan United for Liberty to condemn coronavirus pandemic stay-at-home orders. Picture: AFP
Protesters in Lansing  during a rally earlier this month organised by
Michigan United for Liberty to condemn coronavirus pandemic stay-at-home orders. AFP

As I write, there are 1.7 million coronavirus cases in the US and more than 100,000 deaths. The little county where I live — only a half-million people, in a part-urban, part-wilderness area of the Rocky Mountains — has a death toll higher than Australia and New Zealand combined. And this is one of the safe places, positively benign compared with hot spots such as New York or New Jersey with deaths in the tens of thousands.

Second to its health impact, the economic crisis wrought by ­government-imposed lockdowns has grabbed the most attention: 40 million Americans were forced on to the dole in the past 10 weeks. The job market, strong until mid-March, has fallen off a cliff. A flood of bankruptcies is sweeping US business; analysts expect a wave of municipal bankruptcies as tax ­revenue collapses. Congress has committed $US2 trillion ($3 trillion) in crisis spending, even as public debt nears $US30 trillion, or roughly 120 per cent of gross domestic product. If the first wave of the coronavirus tsunami was its health effect, the second — economic devastation — may be worse. But there is a third wave coming: the possibility of armed conflict towards the end of this year, when the combined health and economic impacts of the crisis will peak amid the most violently contested presidential election in memory.

READ MORE :President vows to send in army|Trump faces a dangerous test|Race riots spread after death of unarmed black man|Why the US is in serious trouble

There were already many militias of varying political complexions across America — one pro-militia website lists 361 groups across all 50 states. Membership surged after the 2008 financial crisis, then accelerated as thugs from both political extremes fought each other with baseball bats, ­bicycle chains and pepper spray in the streets of Washington, DC, Seattle, Portland and Detroit. The deadly “Unite the Right” rally in the normally sleepy university town of Charlottesville, Virginia, in August 2017 brought the danger home to many Americans, but the trend was longstanding.

Rioting among groups such as Antifa (on the anarchist left), Patriot Prayer and the Proud Boys (on the alt-right) and mass demonstrations by issue-motivated groups such as Black Lives Matter, ­Extinction Rebellion and the Women’s March kicked into high gear after Donald Trump’s election.

Far-left militias such as Redneck Revolt and the John Brown Gun Club emerged, copying the methods and military-style weapons of right-wing militias while opposing their politics. Both far-right and far-left armed groups were at Charlottesville, with ­cadres of gun-carrying militants guarding protesters on both sides and a third-party “constitutionalist” militia, the Oath Keepers — composed mainly of military and law-enforcement veterans — standing by as self-appointed umpires.

In the west, a separate rural militia movement had already coalesced around “sovereign citizen” groups that rejected federal authority. Despite media portrayals of its leaders as racially motivated, in fact the sovereign citizen ideology is neither left nor right in a traditional sense — it might better be described as a form of militant libertarianism with roots in the self-reliant cowboy culture of the old west. In April 2014, a dispute over grazing rights in Nevada triggered an armed stand-off between militia and federal agencies including the Bureau of Land Management and the FBI. This dispute — over federal attempts to impound the cattle of a rancher named Cliven Bundy — brought hundreds of militia members from across the country to Nevada where they surrounded federal agents, trained weapons on them and forced them to back down.

The 2014 stand-off ended in a bloodless militia victory, but almost two years later Bundy’s son Ammon led an armed occupation of the headquarters of a federal wildlife refuge in southeastern Oregon. This time, things went the other way. The occupation prompted a six-week siege by federal and state agencies in January-February 2016. It resulted in the death of LaVoy Finicum, a charismatic Arizona rancher whose killing, captured on government aerial-camera footage that appears to show him with hands raised in surrender before being shot, made him a martyr.

Though Trump is as much a symptom as a cause of America’s toxic polarisation, the passions he inspires among friend and foe alike have exacerbated it: during the 2016 election campaign, ­Arizona militias mounted armed patrols to support his border wall. In response, Redneck Revolt held a heavily armed show of force in Phoenix, Arizona, later posting a YouTube video showing members shooting semiautomatic rifles at targets displaying alt-right symbols. A few months later, Antifa convened an “anti-colonial anti-fascist community defence gathering” near Flagstaff, Arizona, that included weapons training and coaching in anti-police tactics. Today, far-left and far-right groups operate within close striking distance of each other in several border states and in “contested zones” including the Pacific Northwest, parts of Michigan, Pennsylvania, Virginia and the Carolinas.

A Youtube still of Neo-Nazi group Atomwaffen Division training outside Seattle.

A Youtube still of Neo-Nazi group Atomwaffen Division training outside Seattle.

The pandemic — and the grievances inspired by heavy-handed responses to it — have brought these tensions to a head. Camouflage-clad militia sporting semiautomatic rifles and body ­armour and riding in military-­surplus trucks joined an armed protest against the governor of Pennsylvania in April. Similar protests took place in Ohio and North Dakota. A week later demonstrators, some carrying AK-47 rifles, swarmed into the state ­capital in Lansing, Michigan, to confront politicians.

A racial edge also emerged: a week after the Lansing incident a group of African-Americans, armed with AR-15 rifles and automatic pistols, mounted a show of force outside the Michigan State Capitol building to support a black member of the legislature. Class inequities, which track closely with racial disparities here, have prompted socialist groups — notably Antifa but also traditionally nonviolent Trotskyist and anarchist networks — to arm themselves for an incipient revolutionary moment.

In Minneapolis, the killing by white police officers of an unarmed black man, George Floyd, brought thousands of protesters on to the streets for several nights of rioting, with multiple buildings and cars burned and shopping malls and restaurants looted. By Thursday, militarised police were on the streets firing tear gas and rubber bullets against vociferous opposition. At least one person has been killed in the riots and the Minnesota National Guard is expected to join the police in attempting to restore order.

Thus, far from being a purely right-wing phenomenon, rifts within US society that are most stressed by the coronavirus — urban versus rural interests, racial and class tensions, state overreach versus anti-government militancy, far left against alt-right, “collectivist” coastal elites versus rugged individualists in “flyover country” — align with pre-existing grievances. And heavily armed ­actors across the spectrum are poised to exploit them.

One reason for the overemphasis on right-wing extremism, I believe, is that analysts often mis­characterise armed actors as “hate groups”. It is absolutely true that the intense hatred from right-wing extremists dwarfs most other groups. But the focus on hate is a misunderstanding of what drives violence in internal conflicts.

As Stathis Kalyvas demonstrated a decade ago in The Logic of Violence in Civil War, the worst atrocities are driven not by hate but by fear. Fear of other groups, encroachment of those groups into one’s territory and collapse of confidence in government’s ability to impartially keep the peace are the key factors that provoke communal violence. Hate follows and rationalises fear, not the other way around. And fear of the coronavirus, alongside the demonstrable inability of government to keep people safe, is driving today’s growth in armed militancy.

Like Iraq, like Somalia

To me, current conditions feel disturbingly similar to things I have seen in Iraq, Lebanon, Libya, Somalia and Colombia. Indeed, the theory of guerrilla and unconventional warfare fits today’s situation all too well.

If we visualise an armed movement as a pyramid, then the thousands of protesters on the street (and the tens of thousands who support and sympathise with them but stay home) represent the mass base. A smaller group of organisers and support networks (physical and virtual) plays an auxiliary role further up the pyramid. The armed, gun-toting element is smaller still, but higher in skill, weaponry, organisation and motivation. It’s worth remembering that almost three million Americans served in Iraq and Afghanistan, coming home familiar with urban and rural guerrilla warfare to a country where 41 per cent of people own a gun or live with someone who does.

A militia group with no political affiliation from Michigan stands in front of the Governor’s office after protesters occupied the state capitol building on April 30.
A militia group with no political affiliation from Michigan stands in front of the
Governor’s office after protesters occupied the state capitol building on April 30.

The US has no national firearms register, so only estimates are possible, but analysts believe around 100 million firearms are in private hands in the US, and hundreds of billions of rounds of ammunition. Given widespread com­bat experience from the war on terror, this reservoir of military potential sets the US apart from any other Western democracy.

The pandemic has seen a surge in gun purchases, with background checks spiking to their highest number. Many of these are first-time buyers from the ­pro­gressive end of politics, who traditionally shun firearms and have little knowledge of weapon safety.

Racial war, class war

More worrying, on left and right, are underground groups including so-called “accelerationists”. These tend to be small, secretive and far more violent than the militias or mass movements. They follow a decentralised command-and-­control philosophy known as “leaderless resistance” that was pioneered by far-right groups in the 1980s but has since been taken up by terrorists across the political spectrum, including jihadists. Their goal is to accelerate the collapse of a social order they see as doomed, by bringing on a racial war, a class war or both.

Underground networks operate using a clandestine cell structure, and communicate via the deep web and tools such as Telegram or RocketChat, secure-messaging apps that have become havens for extremists as more open channels, including chat rooms such as the neo-Nazi forum Iron March, have been shut down.

Language policing on social media has not only pushed accelerationist groups underground; it has created a whole new language.

The term “Boogaloo” is widely used for the coming civil war. Variants — coined to avoid Twitter censors — include “The Big Igloo” or “The Big Luau”, the last explaining why Hawaiian shirts are popular among militias. Memes from television (“Winter is Coming”, “Cowabunga”) are popular, as are meme-based references such as “Spicy Time” or acronyms such as BAMN (“by any means necessary”) and BFYTW (“because f..k you, that’s why”). Some call the urban guerrilla aspect of the Boogaloo “Minecrafting”: Twitter threads seeming to discuss the game may actually refer to the coming conflict — context is everything. Some discussion hides in plain sight on social media: more open, practical and gruesome conversations are left to the deep web, Telegram or neo-Nazi sites such as Daily Stormer, which ­resides on the orphaned former Soviet “.su” internet domain as a way to avoid censorship. Doctoral dissertations could be written on the kaleidoscope of visual symbols used by groups, left and right, to signal allegiances.

Accelerationism has a long history on the Marxist left and among environmental activists such as Earth Liberation Front or Earth First! It has since been embraced by right-wing extremists including 2019 Christchurch killer Brenton Tarrant, whose manifesto included environmentalist ideology and was celebrated by neo-Nazi ecoterrorist group Green Brigade.

Other right-wing accelerationist groups include Atomwaffen ­Division (which has a presence in Australia) and The Base, a white-supremacist group founded in mid-2018 whose name is a play on al-Qa’ida (“the base” in Arabic). FBI agents targeted The Base after its members allegedly sought to ­attack a massive pro-gun rally outside the Virginia State Capitol building in Richmond in January. In a classic accelerationist move, they planned to infiltrate the rally, start shooting both protesters and law enforcement officers, provoke a massacre and thereby convert a peaceful ­(albeit armed) demonstration into a militant uprising.

A heavily-armed young man poses for a photo with his assault rifle during the protest at the State Capitol in Salem, Oregon on May 2.
A heavily-armed young man poses for a photo with his assault rifle
during the protest at the State Capitol in Salem, Oregon on May 2.

The group’s leader, until recently known by his nom de guerre “Norman Spear”, was unmasked in January as Rinaldo Nazzaro, a New Jersey native based in St Peters­burg, Russia, from where he directed cells in Maryland, Delaware and New Jersey. There is no public evidence of any relationship between Nazzaro and Russian intelligence, though his presence in Russia triggered speculation in the media and within The Base itself. But this highlights another risk factor for 2020: the possibility of foreign interference astride the upcoming presidential election.

A new cold war

The US and China are fast descending into a new cold war, as recriminations over the pandemic heighten conflicts that were already acute. Each is seeking to improve its military position against the other: the Chinese navy has ramped up activity in the South China Sea, for example, while US forces mounted more incursions into the area in the past three months than in all of last year. China’s history of sponsoring agents of influence in the US and other Western countries (including Australia) and its track record of cyber-espionage and technology theft make it a reasonable assumption that some (with or without official backing) may be considering ways to exploit America’s internal tensions. Indeed, it would be intelligence malpractice if they were not.

Likewise, Iran — which lost Qassem Soleimani, head of its Revolutionary Guards covert action arm, the Quds Force, to a US drone strike in January — has been on a path of military confrontation with the US for years. A ­series of incidents in the Middle East and the increasing pain of US economic sanctions motivate Tehran to create internal distractions for the US, relieving pressure on itself. The regime has a history of sponsoring lethal covert action inside the US — most recently in 2011, when Quds Force members recruited a criminal gang in an ­attempt to assassinate the Saudi ambassador by bombing an upscale Washington, DC, restaurant.

Again, there is no public evidence of such activity at present, but ­Iranian operatives watching the US today would be remiss not to consider it.

If interference does occur, US armed groups probably would not know it. Just as members of The Base were dismayed to discover their leader living in Russia, militant groups in the US — many of which are patriotic, albeit opposed to the current character of government — would likely spurn any overt foreign approach. But anonymous funding, amplification of online messaging, offers of training or equipment through “cut-outs” such as tactical training companies or non-government organisations, or “false flag” operations (where agents of one organisation pretend to belong to another) would allow ­hostile foreign actors to inflame tensions.

It is, of course, impossible to say with certainty whether significant violence will occur this year. All we can conclude from the available evidence is that the risk is real and growing. We can also make some judgments about where and when violence might break out and what form it might take.

Given the pandemic health crisis, widespread economic disruption over the northern summer, then a predicted second wave of infection in October-November, peak compound impact — when the combined health, economic and security effects of the coronavirus will be at their worst — will likely run from late October until March-April next year, astride the next election and transition to the next presidential term.

Even without the virus, the election was already set to be a flashpoint; the combined health, economic and security effects of the pandemic could make it far worse. If Trump is re-elected, mass protests are a given, while factions within the militant left might undertake what they term “direct action”. As The Base’s targeting of January’s Richmond rally showed, street protests are fertile ground for provocations. If Trump is defeated, elements of the militia movement or street protesters might also engage in violence.

In “contested areas” — where the territories of left and right-wing militants overlap — we can expect violence irrespective of the outcome. Whether it spreads will depend on level-headed political leadership — and today’s hyper-partisan coronavirus debate offers little hope of that. If violence does spread, it will not be a re-run of the American Civil War. Rather, given the multiplicity of groups involved, their geographical overlap and loose structure, we can expect something much more diffuse.

Remember Colombia

Perhaps the best analogy is ­Colombia, which saw 10 years of amorphous conflict from 1948 to 1958, a decade known as La Violencia. Starting as rioting in Bogota — driven by pre-existing urban-rural, left-right, class and racial divisions — violence spread to the countryside as the two main political parties, the Colombian Liberal Party and the Conservative Party, mobilised rural supporters to attack each other’s communities. Local governments weaponised police to kill or expel political opponents. Extremists joined in and “conflict entrepreneurs” emerged to prolong and profit from the violence. In the end 200,000 people were killed, two million were displaced and the Colombian Army — after initially staying out of the conflict — eventually stepped in to end the violence, seizing control in a coup in 1953. External actors, including the Cold War superpowers, also interfered.

Colombia is not the only precedent. Last month marked the 25th anniversary of the Oklahoma City bombing, the deadliest domestic terrorist attack in US history. The bomber, Gulf War veteran Timothy McVeigh, claimed to be enraged by government over­reactions at Ruby Ridge (1992) and Waco, Texas (1993), which between them saw law ­enforcement kill 78 civilians including 26 children. He bombed a building that housed the federal agencies he blamed, along with a childcare centre. His comment after his trial — that the 19 children killed, of 168 dead and 680 injured, were “collateral damage” — highlighted his military mindset and intent to trigger an anti-­government uprising. There was indeed a huge rise in militia ­activity. But the callousness of McVeigh’s attack made most militias condemn him, and — by ­tarnishing the self-perceived righteousness of their anti-­government cause — undermined the movement he hoped to inspire. He was executed a few months ­before 9/11.

Protestors try to enter the Michigan House of Representative chamber.
Protestors try to enter the Michigan House of Representative chamber.

In retrospect, the risk that Ruby Ridge and Waco would trigger a terrorist backlash seems obvious. Analysts warned this year that extremism poses as much risk today as it did in 1995. Ahead of time, McVeigh’s attack was far harder to foresee and its specifics impossible to predict. But far from a fringe issue of neo-Nazi nut cases, the pandemic has made the risk of ­violence in 2020 far more widespread, larger in scale and more militarily serious than we might imagine. America may well be in a “pre-McVeigh moment”.

https://howlinginfinite.files.wordpress.com/2015/07/51-days-at-waco.pdf

The view from the grassy knoll – the resilience of conspiracy theories

Plots he has made, so ingenuous.
Dangerous follies and schemes
For he has stage-managed quite strenuous
Drunken prophecies, libels and dreams.
Lucifer, Paul Hemphill, after Shakespeare’s Richard II

Everybody who was alive when JF Kennedy was assassinated remembers where they were, just as we remember where we were when Neil Armstrong made that “great step for mankind”, and when we’d heard that the Twin Towers had been hit. And there is an almost universal consensus as to how, why and when these events occurred.

But many beg to differ, and cynical or suspicious, curious or just plan mischievous, they say “Ah, but …” and ascribe ulterior motives, describe oblique patterns, and maintain that they possess clear sight whilst the rest of us sport white sticks and dark glasses.

So, it was inevitable that some folk would some how find a link between COVID19, atmospheric chemtrails and the roll-out of the 5G telecommunications network. Before the coronavirus outbreak even began, 5G was being blamed for everything from cancer to infertility. Now, there are hints of deep state” plots and Illuminati plans to control population growth.

Many of the people spreading such theories are the same that share unfounded warnings about the dangers of vaccinations.​ indeed, folk who grasp conspiracy theories tend to go for the buy one, get five free deal – and the rest! Antivax, chem trails, JFK, 9/11, Apollo II, climate change, Illuminati, deep state, white replacement, the Rothschilds, George Soros, Satanic cults, black helicopters, Freemasons, Jews … Yes, it always come back to the Jews …

Although many common conspiracy theories flourished – some would say festered – in back streets and bedsits, the advent of social media has energized and amplified them. Facebook groups that act as petri dishes for new viral rumours to spread can be easily found by searching for ‘5G’ or ‘coronavirus’ on the social network.

Opportunistic political groups stir the pot, often for subversive and strategic ends. For example, RT, the Kremlin-backed broadcaster, has given a platform for 5G conspiracy theories long before coronavirus existed. The New York Times recently suggested that consistently reporting the “5G apocalypse” through its foreign media channels could all be part of a ploy to slow the roll-out of the technology so that Russia won’t be left behind.

Fear, suspicion, insecurity, resentment, powerlessness and a feeling that things are out of our control have much to do with it, rendering people of a bitter, misanthropic or nihilistic disposition – or a compendium of such traits – susceptible to unproven facts, untethered rumours, and in some cases, outright fantasy, and subscribing to alternative narratives, histories and universes.

In Contagion, a 2011 film about a deadly worldwide pandemic that has killed seventy million, a public health official retorts to a conspiracy theorist: “In order to get scared, all you have to do is come into contact with a rumour”.

Below, In That Howling Infinite provides links to three recent articles that endeavour to cast a light into the shadowy world of conspiracy theories and its inhabitants. But first, the irrepressible Sybil Fawlty’s excruciating exposition on fear and loathing:

“Old people are wonderful when they have so much life, aren’t they? Gives us all hope, doesn’t it? My mother on the other hand is a little bit of a trial, really. You know, it’s alright when they have the life force but Mother – well she’s got more of the death force really. She’s a worrier. She has these, well, morbid fears they are, really. Vans is one. Rats. Doorknobs. Birds. Heights. Open spaces. Confined spaces. It’s very difficult getting the space right for her really, you know. Footballs. Bicycles. Cows. And she’s always on about men following her, I don’t know what she thinks they’re going to do to her. Vomit on her, Basil says”.

Lies travel faster than facts

“Lies travel faster than facts and, perversely, efforts to debunk a conspiracy theory can end up reinforcing it …  Increasingly, authorities treat such misinformation contagion like their biological equivalent – proactively pushing out the right facts to inoculate people against unfounded theories or encouraging good information hygiene (such as checking sources) … such theories more as symptoms of a bigger problem, whether it be lack of transparency or a failure of communication … For most people, the more consistent and clear the messaging is from the people higher up, the better – even if that information is “we don’t know yet”.

How conspiracy theories about COVID-19 went viral, The Sydney Morning Herald

Never let the facts get in the way of a good story

“Conspiracy theories aren’t fueled by facts; they are fueled by attention. Twitter in particular, as the platform of choice for many national journalists as well as Trump, has become the perfect vehicle for conspiracy theories, misinformation and racist screeds to find massive audiences; messages grow from a few viral tweets, to a trending topic, to news coverage … When you ask experts about ways to limit the reach of racism and conspiracy theories on platforms such as Twitter, they’ll tell you to watch how it’s amplified: Sharing a meme to condemn it is still a share. Retweeting a racist tweet to shame its writer still gives the tweet more eyeballs … Even though many journalists and media organisations have gotten better at realizing that trending hashtags are often more representative of the weaponization of attention rather than a reflection of popular opinion, trending hashtags are still an effective tactic for courting news coverage of fringe ideas – even if that coverage is intended to debunk it”.

A dangerous cycle of conspiracy theories circulate around Donald Trump, The Sydney Morning Herald

The internet’s dark spaces

Christopher French, a professor of psychology at Goldsmiths, University of London explains in a Scientific American article. “As a species, one of our greatest strengths is our ability to find meaningful patterns in the world around us and to make causal inferences. We sometimes, however, see patterns and causal connections that are not there, especially when we feel that events are beyond our control.”

Voting for Brexit and Trump was found to be associated with a wide range of conspiratorial beliefs, with researchers uncovering that these groups are more likely to believe climate change is a hoax, vaccines are harmful, and that Illuminati-style groups rule the world. They also found that 33 percent of British and French people believe their governments are obscuring the truth about immigration and that many also supported a theory known as “the great replacement” which posits that Muslim immigration is part of a plan to make Muslims the global majority …

… As is the case with the Holocaust and the Second World War, as time passes, truth and fact often become distorted and replaced with myth and alternative stories to support new, disruptive thought. Although many common conspiracy theories flourished – some would say festered – in back streets and bedsits, the advent of social media has energized and amplified them. In the dark recesses of the Internet, all amplified by the likes of QAnon and 8chan which are only loosely tethered to reality, and para-State organs like RT which have more subversive and strategic motives.

How moon landing conspiracy theories influenced the far-right, The Independent

Read other posts about politics in In That Howling InfiniteA Political World – Thoughts and Themes

The Bard in the Badlands 2 – America’s Shakespearean dreaming

Two years ago, we published The Bard in the Badlands – Hell is empty and the devils are here,  a contemplation on the part played by William Shakespeare in the history and society of the American West – and more specifically in those original and excellent HBO series Westworld and Deadwood. It quotes Daniel Pollack-Pelzner  in Slate Magazine::  

“What these portentous allusions don’t seem to register … is the actual role that Shakespeare played in the American West…(Settlers) performed Shakespeare from Missouri to San Francisco in the Wild Frontier. Gold-miners queued up to land a plum part in favorites like the bloodthirsty Macbeth or Richard III. “Traveling through America in the 1830s, Alexis de Tocqueville observed “There is hardly a pioneer’s hut that does not contain a few odd volumes of Shakespeare. I remember that I read the feudal drama of Henry V for the first time in a log cabin.” An army scout in Wyoming traded a yoke of oxen for an edition of Shakespeare; mines named Cordelia, Ophelia, and Desdemona dotted the Colorado mountains. More recent evocations of this period link the Bard to territorial conquest…When the United States prepared to defend the newly annexed state of Texas from Mexico in 1846, Ulysses S. Grant was cast as Desdemona in an army production of Othello in Corpus Christi”.

President Abraham Lincoln used to love reciting, and was particularly enamoured of Macbeth, the play, not the disturbed anti-hero; ‘Nothing equals it’, he confided, “I think it is wonderful: he confided. John Wilkes Booth, his murderous nemesis, was also an aficionado. Booth, from an acting family, had a particular liking for Henry IV’s fiery and treasonous Geordie rebel, Hotspur, and was impressed in a less theoretical way by the regicidal Brutus in Julius Caesar.  

Whilst Shakespeare  and his plays attracted countless aficionados of high and low estate, he also found himself involuntarily conscripted into the young nation’s contentious race and immigration debates. eminent abolitionist and and former president John Adams believed that Desdemona was a “wanton trollop” for falling in love with a blackamoor”. Senator Henry Cabot Lodge opposed immigration and used the Bard as one of his weapons against the ‘Calibans” from Southern or Eastern Europe.

These are just a few examples of how The Bard of Avon popped up in at times in American history like a figurative and literary Doctor Who as guide, mentor, exemplar and even catalyst. in his new book, Shakespeare scholar James Shapiro informs us that when great (and small) things happened in the United States, someone, somewhere, was brushing up their bard – as the following review from The Times illustrates. These do not include, however, the present resident of 1600 Pennsylvania Avenue who “may be the first American president to express no interest in Shakespeare”. Or else, as the reviewer remarks, “maybe we’ll see a tweet soon revealing that at private school his Desdemona was accounted the most fabulous Desdemona ever seen”.

See other posts on American history from In That Howling Infinite: Blind Willie McTell – Bob Dylan’s Americana, Rebel Yelland The Bard in the Badlands – Hell is empty and the devils are here,.

Androids Dolores and Teddy enjoy the Westworld view

Deadwood’s wild bunch

The Bard in America’s Uncivil Wars

David Aaronovitch, The Australian, 14th March 2020

On May 10, 1849, outside the Astor Place Opera House in New York, more than 10,000 residents turned out to try to stop the great British Shakespearean actor William Macready giving an interpretation of Macbeth that they didn’t care for. The militia and the hussars were mobilized, artillery was deployed and in the ensuing riot more than a score died and twenty thousand were injured. This was arguably the most extreme event in the history of drama criticism.

This was just one example, according to Shakespeare scholar James Shapiro, of the way in which the playwright turns up at critical moments in American history as guide, mentor, exemplar and even catalyst. When great things happen in the US, someone, somewhere, is brushing up their Shakespeare.

In the case of the 1849 riots, the Bard was largely a pretext. The poor of the city were being roused by populists to attack the wealthy who exploited them, and the blacks and newer immigrants whom they despised. But the bard was a crowd magnet – on one turbulent night, ten thousand New Yorkers saw Macbeth in three separate productions.

Shakespeare in a Divided America

As Shapiro explains in his new book, Shakespeare in a Divided America, the theatre then was cheap and became a place where people of all classes gathered. The public battle about how to play Hamlet between Macready and the much more masculinist American actor Edwin Forrest was taken up by partisans as being a matter of tribal importance.

When demonstrations (including the flinging of animal carcasses on stage) led to Macready being invited to perform more safely in a new, smarter, more expensive venue — the Opera House — the “mob” took it amiss. So Shakespeare became a proxy for the war between the wealthy and cosmopolitan on the one hand, and the poorer and angrier on the other.

Indeed, it was a contention of more sophisticated exponents of American nationalism and nativism that Shakespeare was more like the Americans than like the British. His spirit was more authentically represented by those pioneers who left England for the New World than by the descendants of those who remained.

Certainly it is true that some of our best, most popular Shakespearean scholars have been American, and Shapiro is one of them. Readers who have invested in his two books about seminal years in Shakespeare’s creative life, 1599: A Year in the Life of William Shakespeare and 1606: Shakespeare and the Year of Lear, know what a lucid, lively joy he is to read.

And his dissection of the controversy over whether the Elizabethan Mr S wrote his own plays, Contested Will, settles the issue for any sensible reader.

Shapiro is the erudite tip of an American iceberg. He tells us that there are no fewer than 150 summer Shakespeare festivals in the US. I looked them up and decided that the Fairbanks Festival in Alaska looked particularly committed.

This enthusiasm is not universal, however, for, as Shapiro points out, the present incumbent “may be the first American president to express no interest in Shakespeare”. Or maybe we’ll see a tweet soon revealing that at private school his Desdemona was accounted the most fabulous Desdemona ever seen.

This was a fate narrowly avoided by Ulysses S Grant, who as a young officer was slated to play opposite Othello in an army production. His Civil War boss, Abraham Lincoln, though never called to act a part on stage, adored Shakespeare, had a particular affection for Macbeth and would recite long and apposite chunks when he felt moved to.

It was ironic, then, that his murderous nemesis, the actor John Wilkes Booth, was also an aficionado. Booth, from an acting family, had a particular liking for Henry IV’s Hotspur and was impressed in a less theoretical way by the regicidal Brutus in Julius Caesar. Indeed, he was playing as Mark Antony opposite his brothers to 2000 playgoers in a large theatre on lower Broadway in 1864 when Confederate sympathizers set fire to the building next door, hoping the flames would spread. Had the plot worked, it would have been the biggest death scene in theatre history.

Booth’s murder of Lincoln was animated by Lincoln’s promise to give limited suffrage to American blacks. And Shapiro writes a brilliant chapter on how Othello was interpreted in the first part of the 19th century as America’s original sin of slavery began to dominate the nation’s politics.

He focuses on the writings of the former president John Quincy Adams, who in 1836 published an essay on The Character of Desdemona. In it Adams wrote of Desdemona that “when Othello smothers her in bed, the terror and the pity subside immediately into the sentiment that she has her deserts”. Why?

As Shapiro tells us, two years earlier Adams had been at a dinner in Boston with the visiting British actress Fanny Kemble. According to her journals, he told her much the same thing, “with a most serious expression of sincere disgust that he considered all her misfortunes as a very just judgment upon her for having married a ‘n***er’ ”. Kemble had married a Texan slave owner. And she noted the Southern hypocrisy about “amalgamation”, given that, as she now knew, “throughout the South a large proportion of the population is the offspring of white men and coloured women”. One of those instances in which British bluntness punctures US social hypocrisy.

This isn’t a long book and it’s easy to read, elegant, to the point and with well-chosen quotes. Other chapters range from how the character of Caliban informed immigration debates in the early 1900s, to the way in which the screenplay of the movie Shakespeare in Love was watered down because of concerns about positive gay themes and Will’s unpunished adultery.

Possibly my favourite chapter convincingly links the musical Kiss Me Kate (based on The Taming of the Shrew) to the post-war situation of American women. During the war, when Rosie was a Riveter, American women went into occupations previously only held by men. And they liked it.

With those men due back from serving abroad, social psychologists and marriage experts expected trouble. Their answer was clearly that women needed to go back into the home and re-become pliant wives.

That many didn’t meekly accept their lot may be measured in the soaring divorce rate, and possibly in the hugely increased incidence of domestic violence. And it’s at this point that one of America’s most successful Shakespeare-inspired productions, Kiss Me Kate, appears, first on stage and then on film. In the film, one of the most famous scenes is when Petruchio puts Kate over his knee and “spanks” her. It’s even on the poster (see the featured image).

This spanking scene, though it had never occurred in any of the previous productions of The Taming of the Shrew, was by now common in US movies. Shapiro tells us there were five films featuring men spanking grown women in 1945 alone. Now Google the words of that most famous song from the show and you’ll see that Brush Up Your Shakespeare is practically a hymn to wife-beating. Someone really should tell the President.

David Aaronovitch is a columnist at The Times.

Shakespeare in a Divided America, James Shapiro Faber, $39.99

 

Clouded Vision – no peace, no plan, no Palestine, no point

After months of waiting, President Trump finally unveiled his peace plan for Israel and Palestine on 28th January 2020, to the delight of Israeli prime minister Netanyahu, the disgust of the Palestinians, and the bemusement of many. Amid the sound and the fury, most commentators apparently missed the point – or willfully chose to to do so – that it is not a “plan” as such, but a “vision”. The word is used some sixty times in eighty six pages that contain the political and economic framework. The remaining eighty pages, with an executive summary and copious tables and charts, more resemble a business plan, complete with SWOT analysis, than an actual peace proposal.

But a proposal is exactly what it is – not a plan per se, nor a diktat, as some have labelled it ; nor is it a mediation – as some have inaccurately described it. Rather, its authors claim, it is a basis for further negotiation – should anyone ever get around to talking together. In an excellent piece in Times of Israel, When a vision gets clouded (which I strongly recommend reading) blogger Wendy Kalman gets right to the point:

Both Israelis and Palestinians have long-standing negotiating positions but also must recognize that compromise is necessary to move forward. It is inevitable that each side will support and oppose aspects of this Vision. It is essential that this Vision be assessed holistically. This Vision presents a package of compromises that both sides should consider, in order to move forward and pursue a better future that will benefit both of them and others in the region.

A peace agreement will be forged only when each side recognizes that it is better off with a peace agreement than without one, even one that requires difficult compromises….

The role of the United States as facilitator in this process has been to collect ideas from around the world, compile them, and propose a detailed set of recommendations that can realistically and appropriately solve the conflict. The role of the United States is also to work together with other well-meaning countries and organizations to assist the parties in reaching a resolution to the conflict. But only the Israelis and Palestinians themselves can make the decision to forge a lasting peace together. The final, specific details of the Israeli-Palestinian Peace Agreement, must be worked out directly between the parties

I have read that many who object to the Vision because Jared Kushner and Jason Greenblatt did not consult with Palestinians. The PA cut ties with the White House after the Trump declared Jerusalem the capital of Israel in 2017. In June 2018, US officials said they’d meet with PA officials if invited. They apparently had not been, and with this policy in place for over two years, Abbas refused to take calls from the White House even last month. So, if the Palestinians refused to meet with US officials, they could not have been consulted”.

So, as Kalman suggests, people really ought to read the document rather than barrack for or  against it sight unseen and text unread. To this end, we would hope that has been published in Arabic and Hebrew by a neutral third party which would render it accurately and not redact the parts the Palestinian and Israeli Street may not like.

At first glance, the Vision appears solid enough for friends of Palestinian and critics of Donald Trump and Benjamin Netanyahu to suggest that it is a start, at least, the end of the beginning, rather than the beginning of the end. It ticks many boxes, holding out hope for lasting peace, a Palestinian State, normalized relations, and economic opportunity. But, considering the resources available to the authors, and the work that seems to have gone into the economic side of things, it is surprising for its lack of historical and political depth and indeed, accuracy, and for the number of elephants lurking mischievously and maliciously under the worn carpet. And it is these elephants that are disturbing – they whisper that all is not quite what it seems.

The Vision has a black heart insofar as it legitimizes Israel’s past actions, entrenches it’s control, and actually rewards its ongoing bad behaviour whilst giving Netanyahu the green light to commence annexations quicksmart – which he declared he would do until the US  pulled sharply at his reins, demanding that he wait the outcome of Israel’s elections in March – its third poll in a year.

The President has called his Vision a “win win”, but Israeli human rights watchdog B’Tselem has described the “Deal of the Century” as “more like Swiss cheese, with the cheese being offered to the Israelis and the holes to the Palestinians”, encapsulating a world view that sees Palestinians as perennial subjects rather than free, autonomous human beings.

On Al Jazeera on the evening of the White House presentation, Daniel Levy, President of the US/Middle East Project, former Israeli diplomat and veteran of past peace plans, pulled few punches:

“It is not an attempt to be viable or fair”, he said. “This is America taking an Israeli proposal and translating it into an American position. But it’s worse than that. It takes what ostensibly looks like what a model peace agreement might look like, and wraps into that an act of aggression, close to a declaration of war, on the Palestinians. It is not intended to advance peace. It’s intended to force the Palestinians to say no, to depict Palestinians as rejectionists, and to allow Israel to pursue, with greater pace and greater support, Israel’s unilateral plans. It’s a very dangerous, cynical and aggressive move”.

Regarding contentious but critical issues, like prisoners, refugees, and settlements , Levy continued, “Instead of putting it in the language of a peace agreement, they’ve put it through this supremacist, extremist and exclusivist grinder where there’s only one side that has to be paid attention to. It turns the entire logic of what peace should be on its head. Israel retains control everywhere. Israel agrees to take on itself not to do things it didn’t intend to do anyway, like this  question of Jerusalem … The Palestinians will be under increasing pressure. But bludgeoning them into negotiating won’t achieve peace. It’s taking a sledgehammer to peace efforts”.

He elaborated further 30th January in Don’t call it a peace plan in American Prospect magazine, adding: “In its outward appearance, the plan had such a familiar feel to it, like returning to a place of one’s childhood. But as I absorbed the words, nostalgia gave way to a feeling of having entered a topsy-turvy Alice in Wonderland. The language of peace had been cut and pasted, then put through a grinder, delivering an act of aggression dripping with the coarse syntax of racism. A hate plan, not a peace plan“ … A peace plan has to be predicated on both sides saving face, on both sides being able to declare some kind of victory. The plan announced is a 180-page hate letter from the Americans (and by extension the Israelis) to the Palestinians. Until one reads the entire document (and unless one knows the history of the conflict), it is hard to convey the depth of contempt and scorn this text displays toward Palestinians. It oozes colonialist supremacism”.

There has been commentary aplenty from pundits and partisans on all sides of the argument, many of whom will not have read the document but rather “take their instructions” from their various positions and paymasters. But anyone with a serious interest in the matter, whether by position, profession, or amateur passion, and certainly all with skin in the game, ought to read it, faithfully translated and unredacted. Because It is illuminating – and possibly even hallucinating.

One thing is for sure, it is humiliating. For the Israelis who been promised all they they could wish for – they should by embarrassed by its bias. For the Palestinians who are invited to drop their longtime demands – some of them perfectly reasonable and others, unattainable shibboleths – in return for buckets of cash and international good will. For America’s allies – including its Arab “partners in freedom”, who, reluctant to upset the truculent Trump, gingerly but optimistically posit the that the “vision” is a perfectly good springboard, opening offer, ambit claim or whatever to get long-stalled negotiations going (meanwhile, they are ever wary of a hostile backlash from their sullen, captive citizenry). And for America, so blatantly and cynically giving the thumbs up to what amounts to the occupation and dominion of a powerful country over a weaker one.

Many outside and within the Middle East condemn it because it is one-sided, supremacist and exclusivist – and just plain unfair. And for all it’s worthwhile bits and pieces, it is all of these. Saying that Palestinians should grab a good deal because there won’t be a better one, that they have only themselves to blame for their leaders, and that they never miss an opportunity to miss an opportunity, is to occupy the low moral ground whilst simultaneously eyeing the exit.

It has also been condemned as actually endangering Israelis. The US President has given his blessing to a potentially explosive policy that is not even popular with the Israeli public: polls show that most Israelis are not interested in annexation. This ostensible Israeli “win” offers Israel control over areas of the West Bank that most Israelis have never heard of, let alone lived in (according to the Israeli NGO Peace Now, less than 5% of Israelis live beyond the Green Line). And the price will be paid by the Israeli exchequer, the Palestinians, assorted NGOs, and the soldier boys and girls who will have to maintain order and carry the scars for the rest of town lives.

Reading the Vision, I identified contradictions and cul de sacs that appear to signal it’s true intent – that dark heart I referred to above. David Levy and  Yossi Klein Halevi touch on most of them and well merit close reading – but here are my own thoughts.

Distorted Vision

The first pages set the scene. Whilst careful not to spook the horses from get-go, they are anodyne and, indeed, simplistic in recounting the origins and the contemporary status of one of the most intractable international conflicts since World War 2 – very much Arab-Israeli Conflict 101 from  a moderately informed albeit partisan and pro-Israel American perspective. But as it gets down to the nuts and bolts, and formulates proposals for a just, equitable and lasting solution (or I assume that this is the intent of all this), it is as if the authors have got all the words and got all the notes but haven’t quite got the song. Put more bluntly, to quote Daenerys Targaryen they have come not to stop the wheel but to break it.

A Capital Idea

An immutable Palestinian demand since the Six Day War of 1967 has been that Jerusalem be the capital of an independent Palestinian State. Notwithstanding the US recognition as Israel’s capital, there was an understanding that if and when such a state eventuates, its capital would be in East Jerusalem. The Vision now proposes that the run-down town of Abu Dis, on the Eastern side of the Separation Barrier (the proposed border between Israel and Palestine) should be the Palestinian capital – in “eastern” but not “East” Jerusalem. It suggests also that the Palestinians can rename it Al Quds and then continues thereafter to refer to the prospective capital as Al Quds, as if saying it makes it so.

This demonstrates either an ignorance of history and of Jerusalem’s significance in both the political and spiritual space, or, worse, a contempt for it. Or both. Al Quds means “The Holy” in Arabic. It has been used to describe Jerusalem for centuries, and indeed, by all Palestinians today and by Muslims the world over. It is not some made-up moniker that can just be attached to Abu Dis like some clever #tag. If it was merely just a location for an administration, Ramallah already boasts a modern parliament building, multi-million dollar presidential palace, and the mausoleum of Abu Amar (Yasser Arafat to us), not to mention a burgeoning middle class and an accompanying building boom.

Soul searching

The casual treatment of the idea al Quds is more than lazy etymology. It is indicative of how the Vision skirts the reality of the deep spiritual belonging and the atavistic yearning that lies at the root of the two competing historical and political narratives: the millennia-old connection with The Land, Ha’Aretz, that is held by religious and secular Jews, Zionist and nationalist alike; and the deep, centuries-old – roots of Arab, Islamic and Christian history and culture in the land of Christianity’s birth. These can’t be distilled down to real estate deals, the involvement of disconnected outside parties, be these brokers honest or dishonest, the chialistic urgings of American evangelicals yearning for ”the End of Days”, and Iran hawks pushing for a Grand Alliance against Shiah Iran and its Arab proxies.

No Going Home

This shallowness is evident also respect to its treatment of refugees, and its cursory dismissal of the Right of Return of the refugees of 1948 and 1967 and their successors. It is not so much that this perspective is a false one. The Right of Return is a chimera, a dream dangled before their eyes by their leaders like a hypnotist’s show. And UN refugee status is a tired old delusion perpetuated by UNRWA to justify its existence and well-paid salaries, and the Arab League as a fig leaf for their pusillanimity. UNWRA’s definition was at fault from day one and whilst creating generational refugeedom, engendered false hope, unrealisable dreams, and a road-block to subsequent peace efforts. But it ought to be addressed sympathetically and not summarily swept off the table in like manner to the matter of Jerusalem.  “The Return” (al Awda) is deeply implanted in the Palestinian collective memory – as is “the key’, a a symbol, of a memory, of one day returning – to homes, villages, suburbs, towns, lives and livelihoods lost in al Nakba. These are rooted in the Palestinian conscience like a faith that cannot be denied, because denying it would mean uprooting the lynch-pin upon which modern Palestinian history and identity depends.

According to the Vision, Israel does not deem it justified to foot the bill for the refugees of al Nakba and al Naksa, the generation and their successors who are also registered as refugees in perpetuity under UNRWA’s questionable criteria. The onus will be upon Palestine and neighbouring Arab countries who have refused to recognize their own Palestinian refugees as citizens to sort this one out – with some goodwill and financial assistance from the international community. For, why indeed should the world continue to pay for Palestinian refugees? By way of explanation, the Vision notes that the international community is struggling to find sufficient funds to address the needs of the over 70 million refugees and displaced persons in the world today. And what’s more: “the State of Israel deserves compensation for the costs of absorbing Jewish refugees from those countries. A just, fair and realistic solution for the issues relating to Jewish refugees must be implemented through an appropriate international mechanism separate from the Israel-Palestinian Peace Agreement”. So, “upon the signing of the Israeli-Palestinian Peace Agreement, Palestinian refugee status will cease to exist, and UNWRA will be terminated and its responsibilities transitioned to the relevant governments”. End of story.

Let My People Go

All prisoners in Israel jails will be released on signature of a peace agreement commencing straightaway with minors, women, and seniors, then all others who meet Israel’s release criteria – but all must first sign an undertaking not to say or do anything that annoys Israel. Then there are those who Israel won’t and will never release. There is no mention in the Vision, neither in the historical preamble nor the detail, of a policy of indefinite detention that has seen tens of thousands of minors incarcerated. It is as if the fifty year old occupation and its punitive system of passes and checkpoints, of demolitions and administrative detention, and the civilian population’s continuing resistance to it have occurred in some parallel dimension.

Moreover, the refusal to acknowledge the emotional and psychological influence of the prisoners issue – which has impacted on the loves of thousands upon thousands of people who have passed through the penal system or are still enmeshed within it, and their families and friends, much like the dismissal of al Quds and al Awda, could be interpreted as negligence bordering on contempt.

Borderlines

A territorial swap gives Israel what is already controls – the fertile, strategic Jordan valley in return for two arid and barren strips of land at the fag end of the Negev Desert, bordering on the bleak and unforgiving Sinai, and a chunk of unutilized desert south-east of Hebron. Sure, Israel has a well justified reputation for “making the deserts bloom”, and the many towns, farms and vineyards of the Negev is testament to that. But chucking a bunch of money and technology at a brace of “development” zones strung along a dangerous and well guarded border hardly seems like a fair swap. Nor does a neat new network of highways between scattered Palestinian towns and villages, and segregated access to two Israeli ports (Gaza’s historically famous harbour will not be resurrected). Meanwhile, international boarders are the sole business of Israel, with the compliant assistance Egypt and Jordan.

The Triangle

This is an area originally designated as Jordanian in 1949, but were retained by Israel for military reasons. These communities largely self-identify as Palestinians, and they can now be Palestinians. – notwithstanding the fact that very, very few Israel Arabs would want to live in an Arab state, even if that state was Palestine. And indeed, residents commenced their protests immediately the proposal was mooted.

Freebie

“Every country spends a very significant sum of money on its defense from external threats. The State of Palestine will not be burdened with such costs, because it will be shouldered by the State of Israel. This is a significant benefit for the economy of the State of Palestine since funds that would otherwise be spent on defense can instead be directed towards healthcare, education, infrastructure and other matters to improve Palestinians’ well-being”. So, “don’t  worry, be happy,”

Gonna Build a Lego House

The US and Israel will not accept the establishment of a state of Palestine until the Palestinians attain certain standards of good governance. These include a constitution or another system for establishing the rule of law that provides for freedom of press, free and fair elections, respect for human rights for its citizens, protections for religious freedom and for religious minorities to observe their faith, uniform and fair enforcement of law and contractual rights, due process under law, and an independent judiciary with appropriate legal consequences and punishment established for violations of the law. They include also: transparent, independent, and credit-worthy financial institutions capable of engaging in international market transactions in the same manner as financial institutions of western democracies with appropriate governance to prevent corruption and ensure the proper use of such funds, a legal system to protect investments and to address market-based commercial expectations, and meet the independent objective criteria to join the International Monetary Fund. Palestine must establish civilian and law enforcement control over all of its territory and demilitarize its population. And it must also end all programs, including school curricula and textbooks, that serve to incite or promote hatred or antagonism towards its neighbours, or which compensate or incentivise criminal or violent activity.

Once these fortuitous conditions are established to the satisfaction of the US and Israel, “The United States will encourage other countries to welcome the State of Palestine as a full member in international organizations”. Whilst there is absolutely nothing wrong and indeed everything right with this wish-list, this world’s best practice if you will, of good governance – and as the Vision indeed states, no country, least of all Israel wants a failed state on its doorstep – the sad fact is that most countries in the world would fail these worthy and worthwhile criteria, including the Arab countries the US is looking to for support for its project.

Lucky Old Jordan

Whilst matters of borders and security are to be managed by Israel and the US, in close cooperation with Egypt and Jordan, Jordan cops much of the burden of the nation building project: “By virtue of territorial proximity, cultural affinity and family ties, the Hashemite Kingdom of Jordan is well placed to play a distinctive role in providing this assistance in fields such as law, medicine, education, municipal services, historic preservation and institution building. In a manner consistent with the dignity and autonomy of a future State of Palestine, the Hashemite Kingdom of Jordan will offer long-term, on-the-ground assistance in designing relevant institutions and procedures and training of relevant personnel. The objective of such assistance will be to help the Palestinians build strong and well governed institutions”. As noted above, the irony is that cash-strapped, authoritarian  Jordan – and indeed most nations in the Middle East – would find it hard to reach the standards of good governance now demanded by the US and Israel.

The Company We Keep

On the subject of less than perfect enablers and abettors, we’d like to thank … “Much appreciation is owed to the Kingdom of Saudi Arabia for its role in the creation of the Arab Peace Initiative, which inspired some of the ideas contemplated by this “Vision”. And acknowledgment too to Egypt, Jordan, and the UAE without whose cooperation and input, this “Vision” would not have been possible”. And yet, as the risk of bearing on a dead horse, none of these would seriously subscribe those qualities and qualifiers that would in the US and Israeli eyes render the prospective state of Palestine suitable to be admitted to the community of nations.

Who’s Country Is This Anyway?

And finally, after the prospective state of Palestine has met all the standards, criteria, qualifies and metrics (I did say the Vision read like a business plan), after neigbouring Arabs states have shouldered their various designated burdens, and the international community have coughed up much of the cash to pave the path to prosperity, all matters related to security and demilitarization, and based upon its own interpretation, Israel has the right to intrude, intervene, interfere, interdict, and otherwise involve itself in the affairs, interests, sovereignty and territorial integrity of the ostensibly independent State of Palestine.

I am reminded of what Hannibal Lecter says to FBI  Agent Starling when asking her what motivates serial killer ‘Buffalo Bill’: “He covets”, Lecter says. “That is his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? … We begin by coveting what we see every day … And don’t your eyes seek out the things you want?”

So, what now? 

A month has passed since that coopted corroboree in the Oval Room. To quote Rudyard Kipling, “The tumult and the shouting dies; the Captains and the Kings depart”. Israel’s elections are fast approaching, and are expected to be as inconclusive as the previous two, raising the prospect of a fourth – and continuing political paralysis. The world’s fickle focus has shifted to the coronavirus, China’s Belt and Road tilt at global  aggrandisement,  the bitterest of US elections, and Syrian Idlib’s cruelest of winters. The “deal of the century” has receded into the background noise. But it will not go away, nor will it’s apparent absence make hearts grow fonder.

Ha’Aretz nailed it with a headline: “Trump’s unreal deal: No peace, no plan, no Palestinians, no point”. And in Canada’s Globe and Mail, Israeli author and journalist Yossi Klein Halevi wrote’: “The Trump plan for Palestinian-Israeli peace will almost certainly go the way of all the other failed blueprints to resolve our 100-year conflict. With leaders across the Arab world backing Palestinian opposition, the plan will likely remain an American-Israeli conversation about peace – a wedding without the bride. And yet the release of the plan has had one bracing consequence: It has exposed deeply held myths among both Israelis and Palestinians”.

Some say that this deeply flawed, one-sided and duplicitous Vision was designed to fail, and peevishly contemptuous and prejudiced comments about the Palestinians by Jarred Kushner immediately after their immediate repudiation of his Vision appear to hammer home that conclusion. But should it indeed join previous plans on the garbage tip of barren and broken hopes, it doesn’t warrant or deserve a second coming. Presently, with the status quo effectively frozen, the Israel determines the rules of play. But it does put a ball in the Palestinians’ court. They really do need to get something happening outside the dominant and dominating US-Israeli paradigm that doesn’t involve violence, useless rhetoric and impotent willy-wagging as this just plays into their detractors’ hands. If they, the Palestinians, were able to get their act together (including acquiring half-decent leaders and achieving some of the governance performance indicators highlights in the Vision), they could do what Hawkeye and Trapper did in the uneven football game in Mash, the movie : steal the ball – and throw in a new one.

© Paul Hemphill 2020.  All rights reserved

In That Howling Infinite, see also:  Jerusalem, and A Middle East Miscellany

Al Mifta مفتاح

Author’s Note

Whenever I pen commentaries such as this, people ask why I rarely forward my own opinion on the issues I am presenting or discussing. On the contrary, I would argue that my views are fairly transparent in the subjects I chose to engage with, the words I use, and the vein in which I use them.

With respect to my numerous posts about Israel and Palestine, and the Middle East in general, I  come to my conclusions from a political science and sociology perspective – that’s where my academic experience came from – and a background in conflict resolution, supported by study and travel. If I do on occasions display any particular bias, it. originates in my longtime interest, understanding and affection for the history, politics and culture of the region, of its geography and archaeology, and  of its people of all faiths and nationalities that I make my observations.

I am presently working on a piece that encapsulates my thoughts on this complex and controversial subject. But meanwhile, here is a brief exposition.

I do believe that the systematic dispossession of almost a million Palestinians and the destruction of half of their towns and villages in 1948 is Israel’s original sin. It is the primal stain that colours and corrupts all that followed. And yet, if not for the actions, often daring, often brave, often questionable, and often deplorable, of the politicians and soldiers of 1948 – and of the generations that folllowed –  Israel would not exist today. This paradox is addressed sympathetically by Avi Shalit in My Promised Land, referred to above, and scathingly by ‘new history’ scholar Ilan Pappe in The Ethnic Cleansing of Palestine.   

The Occupation, fifty years old this year, which grew out of the unexpectedly total victory of June 1967, has taken on strategic, ideological and indeed messianic dimensions by many in the  Israeli government and political elite. It compounded the original sin, deepened the primal stain, released the demons of messianic fervour, and wounded Israel’s soul. The settlements locked the nation into the the colonialist project. With the close-call of the Yom Kippur War, the violence and murder of the first and second Intifadat, and present Palestinian jaquerie, Israel’s heart has not just hardened, it has become sclerotic.

I admit that I have always been sympathetic towards Israel – from my first visit in 1972. But it is not a blinkered viewpoint. I am deeply critical of Israeli politics and policies, and have no respect for many of its leaders.

Ayelet Shaked, the nationalist’s La Passionaria, and her boss Naftali Bennett do not not represent ALL Israelis! They hold extremist views just like we in UK, US, and Australia have parties and individuals with extremist views. But there are hundreds of thousands of Israelis who oppose the present government and long for justice and peace. And if – a very big “if” – Arab Israelis and the Israeli left could work together, they could obtain a majority in the Knesset and change Israel’s politics.

Yet meanwhile, Binyamin Netanyahu and his nationalist allies call all the shots, the Israelis continue to control and exploit the land, its people, and its resources, whilst varying degrees of annexation are on the cards. The settlements are an abomination, as are the policies and practices of the state and its occupying army, as described by Lyons and others. There’s no escaping these facts.

But I am likewise critical of Palestinian governance, politics and politicians. Hamas and the PA are on the nose in their respective fiefdoms, and if a moderate “third force” were to arise – and survive, because sure as hell, they would risk being murdered – Palestinians who just want a quiet, normal life, adequate services, and opportunities for their children, and Israelis who want likewise, might – just might – reject their extremist, dogmatic, entrenched leaders and reach some form of modus vivendi.

Palestinians themselves have to take control of their own lives, kick out their corrupt leaders, cease inculcating their children with hatred and jihadism, and use all that international good will and dollars to build a viable economy that can provide jobs, opportunities, and security, economic and physical to the people. Only this way will they be inoculated against cronyism, corruption and extremism. And yet, the dead hand of a moribund, patriarchal, conservative and ethnocentric culture holds them back –  but that is the subject of another, future discussion for In That Howling Infinite.

Today, the ‘powers that be’, defenders and beneficiaries of a status quo that looks more like a cul de sac, predominate over a dispiriting array of competing, clamouring factions, left, right, nationalist, secular, tribal, Haredi, and Islamist alike. New, young, brace, local voices in both Israel and Palestine, are not heard.

So what happens next?

I get that question too. And I am perennially reluctant to venture an answer beyond one that runs like “on the one hand…but then on the other”.  I inevitably fall back on Robert Fisk’s response to the same question with regard to the calamitous freezing over of the Arab Spring and the fall and rise again of the same old autocrats and tyrants: “my crystal ball is broken”. It’s a cop out, really, but just as cogent as that famous line in that UK spy drama Spooks: “What’s gong to happen to me?” “Bad things!”

One thing is for sure: as songwriter Warren Zevon sang, “the hurt gets worse, and the heart get harder”.

October 8th 2017

For more posts on Jerusalem, Israel and the Middle East, visit:
https://m.facebook.com/HowlingInfinite/
https://m.facebook.com/hf1983/

See also, my collection of posts about Jerusalem, and A Middle East Micellany

The Deal of the Century is designed to fail

“Trump’s peace plan has ­morphed from being a plan to promote peace between Israel and the Palestinians to a plan to help get Netanyahu re-elected in return for Netanyahu helping to get Trump re-elected,”  Martin Indyk

With the second Israeli election this year taking place this week, the Kushner Peace Plan, the US’ long awaited solution to the seventy year old – no, century old – conflict between Israelis and Palestinians, and put together by President Trump’s ingenue and arguably disingenuous businessman son-in-law Jared and his highly partisan, blinkered and thus discredited amigos. is about to finally be plonked down on the rickety and sloping negotiating table.One of them, Donald’s “special representative to the peace process’  Jason Greenblat has just this week left the room, which says heaps about his confidence in the project.

The “speculative” details are now well known, and it would appear that the “deal of the Century” will be DOA. The plan has been described as a a rewriting of the old story of the king’s new clothes. It will likely be rejected by both Israeli right-wing hardliners and a majority of Palestinians, but Israel’s leadership is likely to accept the plan only because they know that the Palestinians will reject it, allowing them to blame the failure of the Trump administration-brokered “peace process” on the Palestinians. It seems like the Us is going to an awful lot of trouble to get to exactly where things are now : stalemate and the potential for annexation.

There has been much excellent reporting on the so-called ‘deal of the century” (as in “mo one does deals like Donald’. ‘I’m finding Bel Trew’s reports from the Middle East very worthwhile and insightful, alongside her colleagues Robert Fisk and Patrick Cockburn.

The indefatigable Fisk takes the prize, but.

‘How many times can you fit a South Sea Bubble into a Bermuda Triangle?’

Whatever you might think of Robert Fisk or whatever side you take on the Israel-Palestine conundrum, he certainly pinpoints the strangeness of Jared Kushner’s “March of folly”. He was in fine form and in full flight whilst reporting on the recent Bahraini bash that launched the plan’s economic vision, he  was in fine form:

“Trump’s fey and vain son-in-law, a supporter of Israel’s colonial expansion on Arab land, set off with” Jason Greenblatt (who says “West Bank settlements are not an obstacle to peace”) to work out the economic underpinning of Trump’s “deal of the century” … Kushner recently went to visit some Muslim killer-states, some of them with very nasty and tyrannical leaders – Saudi Arabia and Turkey among them – to chat about the “economic dimension” of this mythical deal. Middle East leaders may be murderers with lots of torturers to help them stay in power, but they are not entirely stupid. It’s clear that Kushner and Greenblatt need lots and lots of cash to prop up their plans for the final destruction of Palestinian statehood – we are talking in billions – and the Arab leaders they met did not hear anything about the political “dimension” of Trump’s “deal”. Because presumably there isn’t one …”

Fisk continues: “This very vagueness is amazing, because the Kushner-Greenblatt fandango was in fact a very historic event. It was unprecedented as well as bizarre, unequalled in recent Arab history for its temerity as well as its outrageous assumption … this was the first time in modern Arab history – indeed modern Muslim history – that America has constructed and prepared a bribe BEFORE the acquiescence of those who are supposed to take the money; before actually telling the Palestinians and other Arabs what they are supposed to do in order to get their hands on the loot”.

On the eve of the the peace plan’s great unveiling, we republish from behind News Limited’s paywall, the following a worthwhile interview with veteran US diplomat Martin Indyk.

Related: Throwing Abbas under the bus; and on a lighter note, Bob Dylan’s 116th Dream – a Jerusalem Reverie.

Also, in In That Howling Infinite, see A Middle East Miscellany

Trump’s deal of the century engineered for failure: Indyk

Cameron Stewart, The Weekend Australian, 14th September 2019

People walk past an Israeli election billboard for the Likud party showing Donald Trump shaking hands with Benjamin Netanyahu with a caption in Hebrew reading ‘Netanyahu, in another league’. Picture: AFP

Bibi and his bestie. Israeli election billboard captioned ‘Netanyahu, in another league’

Martin Indyk’s phone won’t stop ringing in his office at the Council on Foreign Relations in New York. US President Donald Trump has just sacked his third national security adviser, John Bolton, while in Israel a few hours earlier Prime Minister Benjamin Netanyahu has vowed to annex a large chunk of the West Bank if he wins next week’s general election.

These events mean that Indyk, the Australian-educated two-time US ambassador to Israel and former National Security Council member in Bill Clinton’s White House, is in high demand for comment from the US media.

“The departure of Bolton suggests that President Trump is going to be his own foreign policy adviser,” he tells The New York Times in a quote that will appear on the front page the next day.

Right now Indyk is watching a confluence of events that will help determine the future of US policy in the Middle East with ramifications for allies such as Australia. On Tuesday Israel goes to the polls in an election that could end the era of Netanyahu, its longest serving prime minister, or extend his reign and reshape Israel’s footprint in the occupied territories. Soon after that election, perhaps even within days, Trump says he will release his long-awaited Middle East peace plan, which he has dubbed “the deal of the century”.

At the same time, the Trump White House is struggling to deal with a more assertive and aggressive Iran as it stares down the US in protest against crippling sanctions imposed on it by Washington.

Trump’s decision to sack Bolton reflected growing differences on a range of issues including Iran, where Bolton unsuccessfully tried to push Trump to launch a military strike over its recent downing of a US drone. Indyk says Bolton’s overly hawkish views on Iran have helped lead Trump down the wrong road on dealing with Tehran. More broadly, he says Trump’s overall policy approach to the Middle East has been poorly advised and badly executed.

“When it comes to the Middle East, Trump is effectively subcontracting to Israel and Saudi Arabia, and that can’t work, it isn’t working,” he tells Inquirer. “It doesn’t work for the peace process, as we can see, and it hasn’t worked for Arab-Israeli relations. These things, I think, are a real setback for American interests.”

Indyk, who was the US special envoy for Israeli-Palestinian negotiations from 2013 to 2014, says there is “zero chance” the Trump White House will produce a plan that will revive the stalled peace process.

“One leading indicator of the expectations for this plan is that Jason Greenblatt, who is Trump’s envoy for the negotiations, has resigned before the plan has come out,” he says. “If he expected that this plan would lead to negotiations he would not be resigning.”

Indyk expects the administration’s plan, which is said to be 60 pages long, will take the form of a vague “vision” for the region rather than a document that can work towards solutions.

“In terms of process, I don’t see how a 60-page document can be the basis for negotiation,” he says.

“A two-page document which laid out the basis for the negotiations could, but not 60 pages. In terms of acceptance there is zero chance that the Palestinians will accept it because it will not see their minimum requirements of a Palestinian state with east Jerusalem as its capital.”

Indyk says Trump’s peace plan was effectively dead from the moment the administration moved the US embassy from Tel Aviv to the disputed city of Jerusalem.

“The peace process had a design fault from that time on,” says Indyk. “It was engineered for failure because there was no way they were going to get the Palestinians to engage.”

Trump’s strong support for Netanyahu is largely driven by the belief of both leaders that they can help each other to get re-elected, Indyk says. Trump has been a far more pro-Israel president than his predecessor, Barack Obama. He has moved the US embassy to Jerusalem, recognised Israeli sovereignty in the Golan Heights, sup­ported Netanyahu’s expansionist policies in the occupied territories and adopted a far tougher stance against Iran, including withdrawing from the nuclear deal. Indyk says Netanyahu’s statement this week that he would seize on the historic opportunity given to him by a sympathetic White House to annex nearly a third of the occupied West Bank if he were re-elected would be a generational blow to peace.

“There is no way that Israel can go ahead and annex the Jordan Valley and expect to have peace with the Palestinians. That is critical territory for the Palestinian state, which is the minimum the Palestinians would require to make peace with Israel,” he says. If the Trump administration backs such a move, as Netanyahu claims, it will be “a recipe for continued conflict”.

“If Trump has in mind green-lighting a (partial) annexation of the Jordan Valley then that’s not a peace plan; that’s a plan for peace between the US and Israel, it’s a plan for the right-wing annexationists and it’s a plan for a one-state solution, which is not a solution at all.”

Indyk says Trump’s support for Netanyahu, which has proved divisive with American Jews, is driven more by domestic US politics than by geo-strategic calculations.

“Trump’s peace plan has ­morphed from being a plan to promote peace between Israel and the Palestinians to a plan to help get Netanyahu re-elected in return for Netanyahu helping to get Trump re-elected,” he says. “The key here for Trump is the (vote of the) US evangelicals. It’s not the American Jews because the vast majority of American Jews vote Democrat. But the evangelicals care deeply about Israel and appreciate what Trump has done for Israel and appreciate it when Netanyahu says he is the best president Israel has ever had, so that’s a critical part of Trump’s base.”

The Democrats gave Trump “a gift” with controversial anti-Israeli comments made by Democratic congresswomen Ilhan Omar and Rashida Tlaib, members of the so-called Squad, Indyk adds.

“That gave Trump the ability to try to paint the Democratic Party as anti-Semitic, and I don’t think anyone really takes it seriously, but he is trying to drive a wedge between the Democratic Party and American Jews. I don’t believe he will succeed but that is his purpose. The way he did it most recently by questioning the loyalty of American Jews … saying they should be loyal to Israel is something that is very dangerous and yet Netanyahu did not say a word. So I think it is an informal pact they have reached that he will do what he can do to get Bibi elected and in exchange Bibi will help him.”

Indyk says if the results of the Israel election reflect current polling then Netanyahu’s prospects of forming a working coalition of 61 seats in the 120-seat Knesset are unlikely. He says in some ways the election will be a referendum on Netanyahu, who faces indictment on corruption charges and has had a larger-than-life presence in Israeli politics for a generation.

“He has dominated the Israeli political scene for more than a decade and he has made this election very much about himself,” he says. “The fact that he is likely to be indicted within a month of the elections also ensures that it’s going to be focused on him.”

On Iran, Indyk says the US has lost the advantage it had in negotiations with Tehran because the White House has overplayed its hand and provoked Iran to step up its aggression. He says the US decision last year to leave the Iran nuclear deal and impose tough economic sanctions on Tehran initially led to a relatively muted response from Iran. “The Iranians were kind of hunkering down in the face of this intense economic pressure from the sanctions hoping to wait Trump out while staying within the nuclear deal hoping to split the Europeans off from Trump,” he says. “So in a sense Trump was winning the game.”

But he says when Trump went a step further by designating Iran’s Islamic Revolutionary Guard Corps as terrorists and further increasing economic pressure, sending Iran’s economy deep into negative territory, he provoked Tehran to become more assertive.

“They decided to show Trump that they could hurt him in every area that mattered to him,” he says. This included attacks on tankers in the Strait of Hormuz, attacking Saudi oil infrastructure, threatening US troops in Iraq and a step-by-step flouting of the terms of the nuclear deal.

“It put Trump in a tighter and tighter corner. He had to decide whether he was going to respond by confronting them.”

But Indyk says Trump then made the mistake of blinking in June when he initially ordered a military strike against Iran for the shooting down of a US drone, only to reverse the order several hours later. As a result, Indyk says, Iran is much more confident that Trump will not pursue armed conflict.

“Trump’s advisers, Bolton and (Secretary of State Mike) Pompeo, should never have put him up to it, one drone being shot down is not a basis for a strike on Iran,” he says. “Trump doesn’t want a war and they don’t want a war, but they have won this round.”

Australia is correct to stand alongside the US in helping enforce safe passage of oil supplies through the Strait of Hormuz against Iranian attacks, Indyk says. “Australia has always been there in every circumstance when the United States has needed military assistance and I think that one would have to say, looking back over the years, with the exception of Vietnam, I think paying that premium has been basically a worthwhile policy from a strategic point of view.

“And given that Australia, like all America’s allies, are now dealing with a mercurial and unreliable President who has a kneejerk disdain for allies who aren’t pulling their weight in his terms, I think it is probably a prudent thing for Australia to do.”

Indyk, who was born in London to Jewish immigrants from Poland, was reared in Sydney, attending the University of Sydney and then the Australian National University. His brother and their family still live in Australia and he visits them each year. He moved to the US in 1992 and became a US citizen the following year. “But you can’t take the Australian out of the American,” he says. “Australia is still very much in my heart.”

In a glittering CV, Indyk says the best job he has had were his two terms as US ambassador from 1995 to 1997 and again from 2000 to 2001, during a turbulent era in Israel. “It was really difficult and in the end disastrous with (prime minister) Yitzhak Rabin’s assassination, the Intifada, but there were also some very high points like the peace treaty between Israel and Jordan, the Oslo Accords; we did some great things,” he says.

“Being an ambassador on the front lines of American diplomacy at a time when the US was heavily involved in trying to make peace was just an amazing experience and a real privilege.”

Cameron Stewart is an Associate Editor of The Australian and its Washington correspondent.

Martin Indyk

The agony of Julian Assange

I walked, with other souls in pain,
Within another ring,
And was wondering if the man had done
A great or little thing,
When a voice behind me whispered low,
That fellow’s got to swing’.

Oscar Wilde, The Ballad of Reading Gaol
 
A nice dilemma we have here that calls for all our wit
Gilbert and Sullivan, Trial by Jury

The Road to Belmarsh Gaol

Julian Assange, the Australian co-founder of online media organization WikiLeaks is in deep shit. He’s pissed off the Yanks, frustrated the Poms, and angered his Ecuadorian hosts, and now the Swedes want to have another bash …

He was arrested on April 11th by British police at the Ecuadorian Embassy in London, where he had been claiming political asylum for almost seven years having lost a final appeal against his extradition to Sweden to face charges of sexual assault. He was then charged with failing to surrender to the court.

While in the embassy, Assange could not be arrested because of the international legal protection of diplomatic premises, which meant police could not enter without Ecuador’s consent. On April 11, British police were invited into the embassy and made the arrest. On the same day, Assange was found guilty on that charge of failing to surrender, sentenced to fifty weeks for jumping bail. and is serving his time at HM Prison Belmarsh.

On April 11, the United States government unsealed an indictment made in March 2018 charging Julian Assange with a conspiracy to help whistle-blower Chelsea Manning, former soldier and pardoned felon to crack a password which enabled her to pass on classified documents that were then published by WikiLeaks – in effect, conspiracy to hack US computer systems, a charge which carries a maximum five year sentence. The US has requested that the UK extradite Assange to face these charges before a US court. Assange has now been indicted on seventeen charges under the espionage act, which if proven, could mean life imprisonment. There is no guarantee that once he enters the the legal system he will ever re-emerge.

In 2010, a Swedish prosecutor requested Assange’s transfer to Sweden to face sexual assault allegations, which he denies. Whilst appealing a British High Court decision to extradite him, he spent eighteen months under house arrest at the home of a supporter (in effect, he has been incarcerated for almost a decade). In 2016, Assange was questioned by Swedish authorities by video link while he remained in the Ecuadorian embassy. In 2017, they closed the case against him, but after his arrest, the lawyer for one of the Swedish complainants indicated she’d ask the prosecutor to reopen the case. Sweden’s Prosecution Authority reviewed the case and renewed its request for extradition; but in November 2019, it dropped the matter citing a lack of substantive evidence.

But the British Home Secretary Sajid Javid has signed off on the US’ extradition request. It must now go through the British courts. The process could take years, well beyond Assange’s initial   fifty weeks incarceration, the court’s refusal to free him when it had expired – on the grounds that he was a flight risk (he has form, after all) – and the formal expedition hearing which open in February 2020.

Stay angry, get even

The current US administration cleaves to the maxim “stay angry and get even” – Uncle Sam neither forgets nor forgives. Just wait and see what happens if it can get its hands on exiled hacker and   Now Russian resident Edward Snowden. The British Government, relieved to have restored a corner of Knightsbridge to its sovereignty, and currently knee deep in the Brexit “Big Muddy”, probably won’t lift a finger to help him even though by any standard of much-vaunted British ‘fair play’, his self-imposed punishment hardly fits his alleged crimes, an by any liberal and democratic benchmark, he’s certainly served his time. Former Aussie prime minister Kevin Rudd has declared that  Julian Assange would pay an “unacceptable” and “disproportionate” price if he is extradited to the United States, that no actual harm to individuals has been demonstrated, whilst the WikiLeaks founder should not take the fall for Washington’s failures to secure its own classified documents.

Our leaders here in Australia, lost in our own short-term political preoccupations bleat from the distant sidelines that it’s not our problem – which politically and diplomatically speaking, it isn’t, other than the fact that he is an Australian citizen (albeit a longtime absentee) and therefore warrants consular assistance. Simplistically put, there are no votes in it.

Will our government now help him out? Demand his return to Australia? Oppose the calls from the US to extradite him from the UK?

Our tepid and tardy response to the detention in Thailand of footballer Hakeem al-Araibi on a dodgey Bahraini extradition order and the asylum plea of Saudi teen Rahaf Mohammad – ironically, again from Thailand – does not auger well for a resolute and reasonable response. The way we left erstwhile al Qaida fellow-travelers David Hicks and Mamduh Habib to rot in Gitmo, and the  lack of enthusiasm with which we took up journalist Peter Greste’s case in Egypt – his family and journalists worldwide maintained the struggle for his release – suggest that after what we call “diplomatic representations” (what ordinary folk call “going through the motions”), we will face political realities and bend to the US’ will.

Caught up between our subservient relationship with the US, our slavish pandering to economic and strategic interests, placing these above considerations of human rights, and our government’s susceptibility to the malign influence of shock-jocks and populist politicians, Australia’s official behaviour in such cases is often predictably and reflexively disingenuous.

Nowadays, most governments are desperate to stop leaks, data dumps, whistle-blowers and uncomfortable revelations. Democratic governments have attempted to use ostensibly benign legal and security powers to restrict media oversight and criticism. Witness here in Australian how the Victorian Director of Prosecutions is seeking to put thirty-six media outlets, editors and journalists on trial over allegations that they breached a suppression order in reports published after the prominent and well-connected Cardinal George Pell was convicted of child sex abuse charges. The powerful look after their own.

Less squeamish, more thuggish autocratic regimes have few qualms about consigning journalists and editors to jail and worse whilst their western allies and armourers ‘see no, hear no, speak no evil’. Narrow, national interests as ever trump (an apposite word, indeed) human rights. Witness the hundreds of Egyptian and Turkish journalists jailed without trial, the harassment and even killing of reporters in Eastern Europe and Russia, and, of course, the gruesome murder of Saudi scribbler and stirrer Jamal Khashoggi.

The US, the land of the free and the First Amendment has truly shown its hand, and its true colours, proving that Assange’s fears of extradition were quite justified. The UK, meanwhile, has long ached to nail him for contempt of its bail laws, and just plain contempt, really – and a seriously extravagant waste of already straitened police resources. When Assange had worn out his Ecuadorian welcome, lubricated, it is alleged (by WikiLeaks), a $4.2 billion IMF bailout plus another $6 billion from other financial institutions, the Met was ready to roll. Meanwhile, Australia’s political class, having long regarded his Australian nationality as an embarrassing inconvenience, just hoped that we could be left out of it all.

Rally ‘round the fall guy

The media, mainstream, extreme, any stream really, including social media and sundry supporters and detractors, are rushing to both praise Assange and to bury him. They defend and demonstrate, denounce and demean. So Julian Assange, simultaneously icon and bête noir, is the ideal fall-guy “pour decourager les autres”: for everyone on the left and the right who dig him, there’s another who can’t stand him for reasons political, personal, or perverse.

There’s the role he played in the demise of Hilary Clinton and election of Donald Trump, as if, some believe, he was hoping for some kind of “get out of jail free” card from a Trump administration. There’s his hanging out, in a confined space, with the likes of UKIP’s irritating and arguably obnoxious Nigel Farage. All this has forever tarnished his reputation as a warrior of the left. There’s those problematical charges in Sweden that we now learn have never gone away.

During the Australian Federal election before last, the party running his senate bid in absentia gave its preferences to right-wing libertarian nut-jobs ahead of Labor and the Greens, his erstwhile natural allies – and then put it all down to clerical error.

Sadly, stories about his tantrums, visits by Yoko Ono, Lady Gaga and onetime Baywatch hottie Pamela Anderson (nudge, nudge, wink, wink!) and neglecting to clean up after his cat – lurid tales of his hygiene habits appear have been concocted to dehumanize him in tabloid tittle-tat – have rendered him an object of ridicule. And the images of him being dragged out of the embassy, pale and blinking in the unforgiving daylight, grey-haired, bearded, wide-eyed and disheveled, like some mad old street person, have engendered pathos and pity.

There can be little doubt that his mental and physical health deteriorated during his confinement. For sure he is not the confident man who entered the embassy so many years ago; but the law doesn’t recognise this – it demands a reckoning. And many love to kick a man when he’s down.

In the end, Assange was in so many ways his own worst enemy. It is hypothesized that he could’ve surrendered to the Brits long time passing and took his chances at law instead of hiding, a much diminished figure, in the embassy of a small Latin American republic. The sad irony is that if he’d faced the music all those years ago, he might’ve been a free man by now, either having done his time or been exonerated, or else, a credible and respected political prisoner supported worldwide as a champion of press freedom and free speech.

Lights in dark corners

Amidst all the commentary and partisanship swirling about the Assange’s unfortunate circumstances, there has been remarkably little explanation of what he, Manning, WikiLeaks and Snowden have actually done in a substantive security sense. Robert Fisk and his colleague at The Independent, Patrick Cockburn, address just that.
Fisk wrote on 31st May:  “ … the last few days have convinced me that there is something far more obvious about the incarceration of Assange and the re-jailing of Manning. And it has nothing to do with betrayal or treachery or any supposed catastrophic damage to our security”.
Cockburn succinctly belled the cat with on the same day: “ … the real purpose of state secrecy is to enable governments to establish their own self-interested and often mendacious version of the truth by the careful selection of “facts” to be passed on to the public. They feel enraged by any revelation of what they really know, or by any alternative source of information. Such threats to their control of the news agenda must be suppressed where possible and, where not, those responsible must be pursued and punished.”
Fisk continues: “The worst of this material was secret not because it accidentally slipped into a military administration file marked “confidential” or “for your eyes only”, but because it represented the cover-up of state crime on a massive scale. Those responsible for these atrocities should now be on trial, extradited from wherever they are hiding and imprisoned for their crimes against humanity. But no, we are going to punish the leakers – however pathetic we may regard their motives … Far better we hunt down other truths, equally frightening for authority. Why not find out, for example, what Mike Pompeo said in private to Mohammed bin Salman? What toxic promises Donald Trump may have made to Netanyahu? What relations the US still secretly maintains with Iran, why it has even kept up important contact – desultory, silently and covertly – with elements of the Syrian regime?
Assange was not, in Fisk’s opinion an investigative journalist; he is nevertheless, a scapegoat, and also a salutary warning for all who shine a light into the dark corners of power: “… what we find out through the old conventional journalism of foot-slogging, of history via deep throats or trusted contacts, is going to reveal – if we do our job – just the same vile mendacity of our masters that has led to the clamour of hatred towards Assange and Manning and, indeed, Edward Snowden. We’re not going to be arraigned because the prosecution of these three set a dangerous legal precedent. But we’ll be persecuted for the same reasons: because what we shall disclose will inevitably prove that our governments and those of our allies commit war crimes; and those responsible for these iniquities will try to make us pay for such indiscretion with a life behind bars. Shame and the fear of accountability for what has been done by our “security” authorities, not the law-breaking of leakers, is what this is all about”.

Back to Cockburn who writes that one reason Assange was being persecuted was for WikiLeaks’ revelations about US policy in Yemen: “Revealing important information about the Yemen war – in which at least 70,000 people have been killed – is the reason why the US government is persecuting both Assange and Yemeni journalist Maas al Zikry … (who) says that “one of the key reasons why this land is so impoverished in that tragic condition it has reached today is the US administration’s mass punishment of Yemen”. This is demonstrably true, but doubtless somebody in Washington considers it a secret.”

A nice dilemma

WikiLeaks and Julian Assange has done the world many favours. They’ve exposed war crimes in Iraq, Afghanistan and elsewhere; they’ve shine an unwelcome light on wrongdoing, shabby deals, and hypocritical, incriminating and ofttimes embarrassing goings-on in the corridors of power and diplomacy worldwide. And they’ve passed all this on to reputable media sources throughout the so-called free world to sift, analyse, question, join disparate dots, and disseminate.

Yet, in what may seem in retrospect to be a bad dose of overconfidence and hubris, they aspired to be players in the power games of others rather than remaining a neutral and discerning watchdog. And this was perhaps Assange’s undoing – if undone he indeed becomes. This story has some distance to run …

His faithfully longtime lawyer Jen Robinson declared that his arrest, after seven years of self-imposed internal exile, has “set a dangerous precedent for all media and journalists in Europe and around the world”. His extradition to the US, she said, meant that any journalist could face charges for “publishing truthful information about the United States”. She might have added “published outside the US”, Indeed, US revanchism is a chilling demonstration of imperial overreach and a grim warning to others.

And yet, much of the legal argy-bargy around the charges Assange is likely to face in the US hinge on the question of whether he is actually a journalist and whether WikiLeaks is actually a news organization. He and his supporters have long portrayed him as a champion of a free press, but some experts believe that the US Department of Justice’s decision to charge him with conspiring to hack government computers limits his ability to mount a vigorous free speech defense. Assange has long said WikiLeaks is a journalistic endeavour protected by freedom of the press laws, and in 2017, a UK tribunal recognized WikiLeaks as a “media organisation”.

Political prisoner, maybe, whistle-blower, certainly, but “not a prisoner of conscience”, at least by Amnesty International’s definition. Compared to many prisoners on Amnesty’s books, innocents and activists banged up by oppressive regimes, Assange has been pretty well treated. The consistent reference in many media reports to a potential death sentence in the US is egregious insofar as the UK will not allow extradition if a death sentence is on the cards. Many would also dispute the tag “investigative journalist” that some have bestowed upon him, seeing as he and Chelsea Manning released classified US and other information. They did not ferret it out, sift it and analyse it for publication as investigative journalists generally do. As for making Assange a “working class hero”, as some on the far-left have done, that is drawing a long bow. Friends and foes alike are now dancing around these distinctions.

In a concise recent article in The Sydney Morning Herald, Peter Greste, who got to know very well the inside of a squalid Egyptian prison cell and the Egypt’s kafkaesqe judicial system for allegedly publishing what a government didn’t like, makes a few points that Jennifer, her colleague, the eloquent and famous Geoffrey Robertson, and others have skated lightly over:

“Julian Assange is not a journalist, and WikiLeaks is not a news organisation. There is an argument to be had about the libertarian ideal of radical transparency that underpins its ethos, but that is a separate issue altogether from press freedom … Journalism demands more than simply acquiring confidential information and releasing it unfiltered onto the internet for punters to sort through. It comes with responsibility. To effectively fulfill the role of journalism in a democracy, there is an obligation to seek out what is genuinely in the public interest and a responsibility to remove anything that may compromise the privacy of individuals not directly involved in a story or that might put them at risk. Journalism also requires detailed context and analysis to explain why the information is important, and what it all means”.

Greste nevertheless sounds a warning. On the eve of the first extradition hearing on January 25th 2020, in an opinion piece in the SMH, he wrote of how the Obama administration   “realized that if they prosecuted him, they would then have to prosecute the New York Times, the Washington Post, the Guardian and others for also publishing much of Wikileaks’ material, and in the process do irreparable harm to the constitutional guarantees for press freedom. It is clear that under Trump, Assange is highly unlikely to have his rights respected or get a fair trial, and those, too, are grounds to oppose his extradition. The manner in which US prosecutors are handling his case, and its implications for anybody who believes in democratic accountability, are too serious to let Assange be extradited without a fight”.

Other Australian are not as hostile to Assange as Peter Greste, as a recent article  by Amanda Horton in the Sydney Morning Herald observes, concluding with the not quite rhetorical question of what would Australia do if he was serendipitously returned to our distant shore:

“The Australian government certainly appears singularly unmoved by Julian Assange … Prime Minister Scott Morrison has said the legal processes must “run their course” and Assange should “face the music”. The government position appears to be that f the US wants to extradite him, and extradition proceedings are underway, Australia can’t intervene even if it wanted to … This is total nonsense, says everyone with experience: diplomacy is all about pulling levers behind the scenes … The problem, say sources in government, is that Australia may be reluctant to expend political capital on behalf of Assange … Australia may also be too afraid – “too craven”, according to one – to test its standing with the US; and there may be a sense that the US has gone too far to back down, so a request to do so would be both embarrassing and useless. The US-Australia relationship may be further tested if, eventually, the UK refuses extradition and deports Assange back to Australia. It appears that the US might then be able to request his extradition directly from us. What will we do then?”

Meanwhile people continue to argue over whether Assange is a hero or a ratbag – our ratbag as an equally ratbag conservative Australian member of parliament called him – demanding,  surprisingly that he be brought home).  They debate whether he is a legitimate journalist, publisher, troublemaker or whistleblower, a Trumpista or Putinesca. But sycophantic and pusillanimous politicians aside, most informed people of goodwill believe that there isn’t a case to answer and that he should be repatriated to Australia. It will be interesting to see where Jen Robinson’s last minute (February 2020) witness statement about Trump’s offer of pardon will go, and indeed, what the British Court will decide. One thing’s for sure: The Powers That Be will continue to play dirty.

 

© Paul Hemphill 2019.  All rights reserved


Yes, Julian is in deep shit. But, you animal lovers and sharers of kitty pics out there in the twitterverse and Facebook world, his cat and companion Michi has gone to a good home …

Read more about politics in In That Howling Infinite here: A Political World – Thoughts and Themes