Messing with the Mullahs – misreading the Islamic revolution

Most folk who are into history like to draw parallels and identify patterns in the past that reflect upon the present. As I do also, albeit in a more ambivalent way. Cleaving to Mark (Twain, that is). am fascinated more by the rhymes than the repetitions. Five years ago, i wrote Messing with the Mullahs – America’s phoney war? Events in the Middle East since October 7 2023, not least tit-for-tat aerial exchanges on we have seen in recent months between Israel and Iran, and the potential return of the unreformed and unchained prodigal son on January 6th 2025 render it relevant still. How long will it be before the war drums start beating on the Potomac and the Iran hawks circle over Washington DC seeking the restored king’s feckless and fickle ear? As they say, fools rush in where angels fear to tread.

Back then, I wrote:

“The story of the Iranian Revolution is a complex, multidimensional one, and it is difficult for its events and essence to be compressed into brief opinion pieces of any political flavour, no matter how even-handed they endeavour to be.

The revolution began slowly in late 1977 when demonstrations against Shah Reza Pahlevi, developed into a campaign of civil resistance by both secular and religious groups. These intensified through 1978, culminating In strikes and demonstrations that paralyzed the country. Millennia of monarchy in Iran ended in January 1979 when the Shah and his family fled into exile. By April, exiled cleric and longtime dissident Ayatollah Khomeini returned home to a rapturous welcome. Activist fighters and rebel soldiers overwhelmed troops loyal to the Shah, and Iran voted by national referendum to become an Islamic republic on April 1st, 1979. A new constitution saw Khomeini became Supreme Leader in December 1979.

The success and continuing durability of the Iranian Revolution derived from many sources, and many are not touched upon by commentators and pundits.

One can’t ignore the nature of the monarchy that preceded it – modernist on the one hand, and brutally repressive on the other; nor the unwavering and hypocritical support (including infrastructure, weapons, and intelligence) provided to it by western “democracies” since Britain and the US placed Reza Shah Pahlevi on the throne in 1953.

Nor should we ignore the nature of the unprecedented regime and state that was established forty years ago – a brutal, theocratic, patriarchal, quasi-totalitarian system that endeavours to control all aspects of its citizens’ lives, its rule enforced by loyal militias like the ruthless Basij and by the Revolutionary Guard, a military-industrial complex more powerful than the regular army.

The support and succour that the US gave to the deposed Shah and his family and entourage, and later, to the opponents of the revolution, served to unite the population around a dogmatic, cruel and vengeful regime, which, in the manner of revolutions past and present, “devoured its children”, harrying, jailing, exiling and slaughtering foes and onetime allies alike. One of the ironies of the early days of the revolution was its heterodox complexion – a loose and unstable alliance between factions of the left, right and divine. History is replete with examples of how a revolution besieged within and without by enemies actual and imagined mobilizes it people for its support, strength and survival.”

This brief outline summarises the events of 1979 and the decades which followed. It does not elaborate in any detail on the reasons for the downfall of the Shah and the durability of the regime that succeeded him. An impressive essay in the Jewish cultural e-zine Mosaic endeavours to do just that, providing as it does, insights into the history of modern Iranian history that few people today would be familiar with.

In it, the author suggests that “the most impressive of our experts persist in downplaying or ignoring the Islamic Republic of Iran’s driving forces can lead to misunderstandings of current affairs that are far from academic. Both nuclear negotiations and the sanctions, for instance, are premised on the assumption that Tehran is eager above all else to improve its country’s economy. While Ayatollah Khamenei and his minions doubtless care about trade and finances, they care much more about advancing their religious ideology across the Middle East, and like most religious believers, feel that spiritual concerns must ultimately trump material ones. It’s even possible that some might find the idea of suffering material hardships to achieve ideological goals appealing …

… If I’m right that Iranians didn’t rise up en masse because of the rising costs of onions or because they wanted to drive nicer cars, but because they were passionately opposed to secularization and American influence, then the U.S. cannot make peace with Iran even if the nuclear deal succeeds. The Islamic regime doesn’t oppose America because it supports Israel or Saudi Arabia, but because it represents Western secularism. Unless mass-conversion to Islam is in America’s future, that’s not something that’s likely to go away …

… One hopes that the loss of Afghanistan will finally hammer home the truth that the loss of Iran (in 1979) so signally failed to do: it’s religion, stupid.”

On matters messianic in In That Howling Infinite, see A Messiah is needed – so that he will not come and Al Aqsa Flood and the Hamas holy war. On the Middle East generally, see  A Middle East Miscellany:  

How Iran Thinks

Ze’ev Maghen, Mosaic, 7th March 2022

With a new nuclear deal on the way, attention is again turning to Iran. Four recent books, plus the deal itself, suggest that America and Europe are blind to the regime’s motivating spirit.

A portrait of the late Ayatollah Khomeini projected on the Azadi (Freedom) Monument in western Tehran on the 43rd anniversary of Iran’s 1979 Islamic Revolution in February 2022. Morteza Nikoubazl/NurPhoto via Getty Images.

A portrait of the late Ayatollah Khomeini projected on the Azadi (Freedom) Monument in western Tehran on the 43rd anniversary of Iran’s 1979 Islamic Revolution in February 2022. Morteza Nikoubazl/NurPhoto via Getty Images.

There is a well-known Persian children’s game in which a parent recites limerick-like poems while engaging in horseplay. One version, popular in the mid-20th century, had the father of the household seat himself on a carpet in the living room with one of his progeny standing to his right and the other to his left. The father would declaim:

There once was a cat (yek gorbeh bud)
Poor and miserable (bichareh bud)
A dog came and bit him in the belly (delash-o sag gaz gerefte bud)

(At this point the first child charges across the room and dives headlong into his father’s stomach.)

Next came a bear from behind and nearly killed the cat (khers az poshtesh taghriban koshtesh)

(The second son now bounds over and leaps onto his father’s back.)

But that cat, he rose, and he roared, and . . . turned himself into a lion! (gorbeh beh shir avaz shodeh bud)

(This being the signal for the father to get up and hurl his offspring this way and that onto the soft furniture.) 

More than just child’s play, this post-dinner diversion harbored an obvious historical-ideological meaning—a meaning as relevant today as it was 130 years ago. Anyone looking at a map of modern Iran will perceive the lineaments of what the country’s inhabitants call “the sleeping cat.” This cat—the Iranian state—was indeed in miserable shape domestically and geopolitically by the reign of Naser al-Din Shah (1848-1897). What little authority this Qajar king still possessed over his realm was retained by a method that a 20th-century Iranian intellectual would dub “positive equilibrium”: the sovereign survived by parceling out large swaths of Persian territory and granting irresponsibly generous economic concessions to local potentates and foreign powers so that each would defend the capital and environs against the encroachments of his counterparts. Of the many forces that Naser al-Din Shah had to “buy off” in this manner, none was more menacing than Russia, the bear that jumped onto the cat’s back, or more influential than Britain, the (bull)dog that bit the cat’s belly.

Before ousting the last Qajar ruler in a bloodless coup, the founder of the Pahlavi dynasty (1925-1979), Reza Shah, had risen through the ranks to become commander of the only serious military force in the country, the Cossack Brigade, created with Russian assistance decades earlier by that same Naser al-Din Shah. While in this post, Reza is said to have engaged every morning in a ritual reading of the newspaper, his face waxing redder with each account of Iranian failure or humiliation until finally, in a fit of rage, he would stand up and rip the tabloid to shreds. Soon, this determined corporal would rewrite the headlines that had so dismayed him, and do much to turn the sleeping cat into a rising lion.

Assisted by a cadre of military comrades and nationalist intellectuals, the new monarch set about pacifying the countryside, developing infrastructure, implementing reforms in fields like education, sanitation, technology, agriculture, and women’s rights, and in general shoving Iran, kicking and screaming, into the 20th century. He even gave his subjects three days to come up with last names for purposes of taxation, conscription, and general modernization (hitherto everyone had been known as “so-and-so son or daughter of so-and-so” or by a nickname reflecting his profession, town of origin, or infirmity). For all that Reza Shah has been depicted in post-revolutionary Khomeinist retrospect as the epitome of an incorrigible Westernizer, it cannot be denied that he raised Iran from a trampled and torn-apart virtual protectorate and a conspicuous consumer of European goods to the status of an essentially independent and self-respecting polity boasting border integrity and assiduously cultivating import-substitution industry. That the method employed to achieve all this progress was despotic was a price that even many liberal Iranian thinkers of the time were willing to pay.

Ousted by the allies in 1941 on the pretext of harboring Nazi sympathies—sympathies partially tied to the “Aryan Thesis” that made Germans and Persians ethnolinguistic cousins and that was all the rage in both countries at the time—Reza Shah was replaced by his twenty-one-year-old son Mohammad Reza Shah. In awe of his father, and having spent his teenage years in Switzerland at an elite boarding school, the new king was prepped to take up where the dynasty’s founder had left off. His career, and his overthrow in 1979 by the Islamist movement that now rules Iran, is at the center of four books published in the past decade which I will consider here. These books offer much in the way of fresh insights and original research, correcting some of the misconceptions that plague commentary about the country. And yet, for all their merits, they fail to grasp fully why the shah fell, what motivated the revolutionaries, and by extension, what motivates the current regime. For if we want to be able to make sense of the revolutionary ideologues who now rule Iran, we have to understand the political and cultural order they rebelled against, and why they rose up against it.

By looking at what these four works get right and, more importantly, what they get wrong, we can also better understand why so many Western experts and policymakers so consistently misread the Islamic Republic, its sensitivities, its hierarchies of honor and shame, holy and profane, just and unjust—and why academics are so ill-equipped to figure out a society that doesn’t conform to their own ideas of secular rationalism. With the U.S. about to conclude a second nuclear deal with the Islamic Republic, if press reports are to be believed, it’s worth considering how this regime came to be, and what makes it tick.

I. The Last Shah

As the Council on Foreign Relations scholar Ray Takeyh has shown better than any previous author in The Last Shah, Mohammad Reza’s reign began with an impressive geostrategic victory: with a little help from astute advisors at home and a determined postwar American administration, the fledgling Iranian sovereign induced no less a megalomaniacal expansionist than Joseph Stalin, at the zenith of his power, to pull his troops out of the northwestern province of Azarbayjan (not to be confused with the neighboring Soviet Republic of the same name), where they had supported local socialist secessionist movements. The cold war had begun, and Tehran was poised to reap the benefits.

Mohammad Reza’s next major challenge came from within, in the person of the charismatic prime minister Mohammad-e Mosaddeq (in office 1951-3), perceived ever since in popular imagination—and in much scholarship—as Iran’s fatefully foregone hope for true democracy.

Takeyh sets the record straight, demonstrating more effectively than any writer to date that Mosaddeq was, to the contrary, a highly unstable personality with dangerous dictatorial tendencies. (He also quashes once and for all the myth that the CIA and MI6 were primarily responsible for the 1953 coup that removed him.) The shah, argues this author, though no friend of democracy himself, was ultimately better for Iran than the prime minister. Indeed, Mohammad Reza eventually realized the very dream that Mosaddeq had failed so badly to achieve: not just oil independence, but oil hegemony for Iran. (Remember when we switched the limousine-like sedans we used to drive for the cramped, sardine-cans-on-wheels that we squeeze into today? That was because of the shah.)

Surrounding himself instead with one-dimensional, sycophantic technocrats, the shah soon became the lonely autocrat, a one-man-show.

The second Pahlavi sovereign got so good at his job, Takeyh maintains, that he felt he could dispense with the independent aristocratic elite whose corruption, bickering, and jostling for advantage threw a spoke into his rapidly rotating wheel of progress—even though it was just these aristocrats who had been the agents of his success, and had saved his throne on more than one occasion. Surrounding himself instead with one-dimensional, sycophantic technocrats, he soon became the lonely autocrat, a one-man-show. When the Middle East-wide, and worldwide, revolutionary fever of the second half of the 20th century finally caught up with him in 1979—another significant connection Takeyh makes—Iran’s ruler faced it bereft of the crucial assistance he needed to weather the storm.

II. The Fall of Heaven

The inability to delegate and insistence upon ruling instead of merely reigning that Takeyh perceives as a shortcoming, Andrew Scott Cooper sees as a strength: Mohammad Reza’s hands-on approach to monarchy got things done for his country. To Cooper, the shah is something very different from the corrupt autocrat of most histories, whose disastrous mistakes supposedly smothered democracy and brought about the revolution. Indeed, in The Fall of Heaven, Cooper’s 2016 history of the decline and fall of the Pahlavi dynasty, there is little that has traditionally been held against this despot that isn’t deftly turned into a virtue, or at worst a well-intentioned miscalculation. The abolition of the multiparty system in 1975, itself largely nominal by that time, and the inauguration in its place of the single Rastakhiz (“Resurrection”) party to which all citizens were obligated to pledge allegiance, is presented as a (botched) stepping-stone toward democracy—a claim doubly audacious since, as Takeyh had shown, Rastakhiz’s own leaders admitted that it was a bad joke from day one. Cooper does not scruple to attribute the refusal of Iran’s Westernizing monarch to rule constitutionally to “his skeptical attitude to the 1906 constitution, which he regarded as a European invention imposed on Iran by former colonial powers.” The shah’s innumerable affairs with married women and regular visits to Paris prostitutes were evidence of his “boundless energy,” and usefully cleared his head to attend to matters of state. Even the king’s leisurely helicopter rides (and those of his siblings) over a capital city choked to a stand-still by some of the worst traffic jams in history are depicted by this creative and sometimes credulous author as his majesty’s noble attempt to help alleviate that same congestion.

These impressive feats of legerdemain aside, however, Cooper is no cheap apologist. The Fall of Heaven is a stunning achievement, and will go down in literary-scholarly history as the book that did more to rehabilitate the Pahlavi family’s reputation than any volume published before or since the revolution. Cooper accomplishes this formidable task—punching a corridor through decades of pervasive and unrelenting vilification—primarily by amassing, organizing, analyzing, and presenting in vivid color an unprecedented amount of detail surrounding the final years of the monarchy. On top of play-by-play accounts of the political ins-and-outs, the economic ups-and-downs, the burgeoning unrest and the frantic diplomatic maneuverings, Cooper can tell us for any given date of 1978 what pop song topped the charts, which jewels Queen Farah Diba was wearing, whose child was killed in a hit-and-run accident, what TV series garnered the highest ratings, whether the king had indigestion (and what he took for it), which night-club was the hottest in town, and what the weather and pollution levels were like. Who knew, for instance, that on November 5, 1978, as the Khomeinist tidal wave crested and began to break over the Land of the Lion and the Sun, Fiddler on the Roof was playing to a full house at the Goldis movie theater in Tehran?

Cooper’s broad and meticulous sweep allows him to put a human face to Iranian society on the eve of what may plausibly be called the first genuinely popular revolution in modern times.

Such an accumulation of detail may seem frivolous; it is anything but. Cooper’s broad and meticulous sweep allows him to put a human face to Iranian society on the eve of what may plausibly be called the first genuinely popular revolution in modern times. It also allows him to put a human face to the royal couple—Mohammad Reza and his wife Farah Diba—painting them convincingly as benevolent, idealistic, patriotic, hard-working, fragile but fortitudinous, beleaguered but long-suffering, intelligent and generally likeable. Finally, this author’s wide grasp facilitates the assembly of an incomparably variegated collage of factors that, so he maintains, together contributed to the uprising of 1979. Beyond the usual suspects—a regime that educated the hell out of its subjects but denied them political participation; rapidly rising but no less rapidly disappointed economic expectations; the alienation and radicalization accompanying mass urbanization—Cooper adduces: a milk shortage, an egg shortage, a power outage, a cholera outbreak, a heatwave, a UFO sighting, an earthquake, a tax increase, the kidnapping and murder of a young boy, drought (on the one hand), unseasonably heavy rains (on the other), “a slew of disaster movies” that “emphasized failure of leadership, loss of control, and public panic,” the fact that according to the Asian zodiac 1978 was the Year of the Horse when people are prone to ”let loose” and “ignore the consequences of their actions,” and, to top it off, a plague of locusts.

The present writer admits to entertaining doubts about the “coalescence of causes” approach to historical convulsions. I remain convinced that people make history, and on the rare occasions when the particular person typing these lines does anything at all important, I tend to feel like I do it for one reason. Extrapolating to the relevant macrocosm, I’m basically with Ruhollah Khomeini, who famously remarked that “the Iranian people did not make the Islamic revolution to lower the price of watermelons” but rather did so “for the sake of throwing off the foreign yoke and restoring their kidnapped culture and creed.” (That’s two reasons, but they are closely related). Nevertheless, it cannot be denied that the human will, independent and focused though it may be, is nourished, guided, and battered this way and that by the context surrounding it, and for this reason Cooper’s litany is highly enlightening. Ironically, the only one of our four authors who is not Iranian digs more deeply into daily Iranian reality than any of his colleagues.

III. Moods of Self-Assurance and Insecurity

Louis XIV’s famous quip, L’etat c’est moi (“the state—is me”), rarely rang as true as it did in Iran of the 1960s and 70s. Flush with eleven-figure oil revenues and spoiled rotten by U.S. support that had gone from conditional to unconditional, Mohammad Reza neutered the government apparatuses, military command structures, and traditional pillars of the Persian state—court, bazaar, and mosque—that he saw as so many obstacles to his imperious charge in the direction of the “Great Civilization.” The king became the only game in town, his picture on the wall of every home and business, his decisions the only ones that mattered. Thus, an intimate biography of the man on the throne is essential to an understanding of the state of the Iranian nation in the decades immediately prior to the Khomeinist debacle. In his 2012 The Shah, Abbas Milani—a Stanford political scientist and Hoover Institution fellow—provides us with the best example of such a biography.

Milani chronicles the initially reluctant sovereign’s rise to power with an apposite mixture of objectivity, sympathy, and drama. He masterfully interweaves the personal and political, offering probing analyses of Mohammad Reza’s ambitions and inhibitions, phantoms and phobias, worldviews and prejudices. He covers more widely and perceptively than any earlier scholar the experiences and influences of the prince’s formative years, and arrays before the reader the alternating moods of self-assurance and insecurity, tenaciousness and irresolution, optimism and depression that helped make his reign something akin to a non-stop roller-coaster ride. Milani aptly points out that “many of [the shah’s] weaknesses as a leader were his virtues as a human being,” referring, inter alia, to this embattled ruler’s unwillingness to spill gallons of his countrymen’s blood in order to stay in power.

The king made use of authoritarian methods to propel Iranian society forward—which set that society on a direct collision course with those same authoritarian methods.

No work details and dissects to the same degree the myriad challenges facing this well-meaning monarch on the foreign and domestic scenes (not the least of which was the rampant corruption of his own family), challenges which—by exploiting the cold war, dispersing petrodollars, repressing Communists and clergymen, and generally playing his cards right—he faced down successfully for almost four decades. His inability to face down the final challenge Milani ascribes to a paradox: the king had made use of authoritarian methods to propel Iranian society forward in the direction of literacy, industry, professionalism, research, technology, consumerism, capitalism, nationalism, intellectualism, secularism, and individualism—all of which set that society on a direct collision course with those same authoritarian methods. (Or as Takeyh puts it, the shah “built the modern middle class, but refused to grant it a voice in national affairs.”) Indeed, Milani asserts, monarchy itself as an institution, and the squelching of political participation it inevitably entails, was fast becoming an anachronism by the mid-20th century, especially in the countries that Mohammad Reza held up to his subjects as models, and to whose universities he sent thousands of college students.

IV. Reasons for Ruination

Whereas from Milani we learn about the general from the particular—about the situation in the country from the personality of its ruler—the Yale historian Abbas Amanat, in Iran: A Modern History(2012), takes the reader on an oceanic voyage in the opposite direction. One of the many advantages of this impressively ambitious magnum opus is the historical depth and topical breadth it brings to bear on the issues that have preoccupied us so far, and that preoccupy all who think about contemporary Iran: Mohammad Reza’s record as leader, and the reasons for his ruination.

Amanat, one of the premier Iranologists of our time, whose vast and diverse erudition is matched only by the humanity that permeates his texts, is uniquely qualified to construct the stage upon which the 20th-century showdown between Pahlavism and Khomeinism would be played out. By the time we reach the reign of Mohammad Reza Shah—some 500 pages into the book—we have been exposed repeatedly to an interlocking network of patterns and trends that have functioned as the matrix of Iranian history for centuries, sometimes millennia. Many of these are couched in terms of dichotomies: centripetal versus centrifugal forces, tribal versus sedentary existence, antinomian heterodoxy versus a state-supported clerical establishment, Persian versus Arab, Turk versus Persian, Russian versus British, religion versus nationalism, tyranny versus just rule.

Amanat tackles the tenure of the “King of Kings, Light of the Aryans” (Mohammad Reza’s self-chosen moniker) with all these tensions in mind, while simultaneously illuminating the political, economic, social, and especially cultural mise en scene of the period. We do not get the shah as a willful individual, as a volatile jumble of psychological traits, as with Milani, but the shah as one actor among hundreds of others, in what sometimes feels like a non-fiction Persian version of War and Peace. The dense tangle of processes that eventually led to the fall of the monarchy cannot be easily untangled here, but it should be said that unlike Tolstoy, Amanat does not present the tragic denouement of 1979 as the inevitable result of an amalgam of impersonal forces. The hundreds of authors, artists, ambassadors, academics, activists, and agitators, together with no few vendors, workers, thugs, and other ordinary Iranians who contributed to this momentous event are more often than not introduced by name, their dreams and activities fleshed out, and these many human threads woven together into a kaleidoscopic revolutionary tapestry.

Amanat’s presentation is painfully balanced: he rakes the post-revolutionary regime over the coals for its many human-rights violations, but criticizes the Western supporters of Iraq during its war with Iran in the same breath, and no less fiercely. He takes Mohammad Reza to task for curtailing liberty and stifling creativity, but overall—as with Takeyh, Cooper, and Milani—appreciates much of what the ill-fated Pahlavi sovereign did for Iran, depicting him as a driven reformer with high ideals who transformed his country so profoundly that even the Islamists could not turn back the clock.

Certainly, one must be careful not to overdo such revisionist rehabilitation. It is one thing to debunk Amnesty International’s ridiculous claim— popularized with most effect by Reza Barahani’s powerful but unreliable 1977 Crowned Cannibals—that over 100,000 political prisoners were tortured in the shah’s jails. It is quite another to claim—as does Ervand Abrahamian, the highly regarded scholar who literally wrote the book on the subject—that torture as a method of repression virtually disappeared from the Iranian scene under the Pahlavis, re-emerging with a vengeance only with the onset of the Islamic Republic. The shah was a more benevolent dictator than the image conjured up for the West by the various shrill (and ungrateful) Iranian Students Associations that regularly marred his visits to Europe and the United States; but no small number of atrocities were carried out in his name and with his knowledge. Even Cooper, the Pahlavis’ biggest fan, saddles the king with the ultimate responsibility for decades of state-sponsored prisoner abuse, including not a few extrajudicial murders.

Women in today’s Iran may have to cover their hair, but they vote like maniacs and there are more of them in the universities and in a whole slew of prestigious professions than their male counterparts.

Still, to read these four authors, Iran’s final monarch did far more good than harm. He took a particularly ignorant populace (tellingly, Jewish academicians concluded that even Persian Jews were less knowledgeable than their co-religionists anywhere on the planet) and increased their literacy level sevenfold in less than two decades. He used the endless supply of black gold that percolated up through the Khuzestan flats not just to purchase tanker-loads of state-of-the-art weaponry (useless, in the event, as they had been for his father), but also to build schools, roads, hospitals, clinics, orphanages, universities, vocational colleges, sports centers, airports, sea-ports, factories, research laboratories, parks, zoos, commercial centers, chemical plants, railroads, theaters, galleries, and museums by the thousands. He divvied up latifundia all over the country, compensating the owners fairly and doling out hundreds of thousands of acres to the peasantry. (The fact that these peasants often preferred migration to shantytowns on the edge of big cities to farming their newly acquired plots was a worldwide problem, and not Mohammad Reza’s fault). He protected minorities—Jews, Bahais, Sunni Muslims—and, though a dyed-in-the-wool chauvinist himself, energetically promoted women’s causes. The last achievement was one that Khomeinism could not roll back: women in today’s Iran may have to cover their hair, but they vote like maniacs and there are more of them in the universities and in a whole slew of prestigious professions than their male counterparts.

The king made Iran into a respected player on the international scene, encouraging and inspiring other third-world countries by example, to say nothing of financing their development projects. Though easily irritated by independent thinking among his subordinates, he tolerated more societal dissent than is generally acknowledged, and his “liberalization program” of the late 1970s, as Takeyh points out, actually saw that tolerance increase just before things got really hairy. When the revolutionary tsunami finally hit, thousands of oppositionist intellectuals and activists were of sound enough body and mind to surf on it all the way to victory.

V. Economy or Religion?

So why did the tsunami hit at all? Why, in the end, did the country choose Islamist rule instead? If so many impressive accomplishments can be laid at Mohammad Reza’s door—and they indubitably can—then why did his people, whom he had benefited so greatly, give him the heave-ho in such a peremptory and humiliating fashion? For many, the answer revolves around the bottom line. Despite the dazzling economic success story that was Pahlavi Iran—between 1957 and 1977 the standard of living among the Persian populace rose no less than 500 percent—many Middle East specialists persist in seeking the underlying causes of the Khomeinist revolution in economic woes of one sort or another. Scores of analysts have proffered such confident assertions as the following, from the pen of the astute student of Islamism Nazih Ayubi, drawing on the no-less-astute Iran expert Fred Halliday:

“The revolution was the outcome of a complex and painful process of rapid and uneven economic development. The main reason why it occurred was that “conflicts generated in capitalist development intersected with resilient institutions and popular attitudes which resisted the transformation process.” (Political Islam: Religion and Politics in the Arab World, p. 387)

Takeyh himself opens his study with a question, “Why did Iran have a revolution in 1979?,” and an answer: “The immediate causes can be easily summarized: the economic recession of the mid-1970s had halted the shah’s development projects and created expectations that the state could not meet.” (This is the well-known but discredited “J-curve” theory, which states that an economic boom followed by a sudden downturn tends to cause revolution and unrest.) To his credit, Takeyh contradicts his own assessment at the very end of the book: “The economic recession of the mid-1970s is sometimes casually blamed for the revolution, but the Iranian people were frustrated with the shah’s dictatorship even when the economy was performing well.”

The main problem with such claims is that the various processes they blame for engendering discontent and consequent unrest in Iran—including “inflationary pressures,” “rising expectations,” and the catch-all urbanization and its manifold consequences—were in no way unique to Iran, and were in many if not most cases more moderate versions of simultaneous developments in other third-world polities where no comparable revolutions ensued. One of Amanat’s arguments, for instance, is not only questionable in itself, but could be applied just as well to any other country in the developing world:

”Since the beginning of the Pahlavi era, the Iranian population had improved in every generation physically, hygienically, and medically, from the frail, malnourished, and diseased population at the turn of the 20th century . . . to a relatively healthy, sanitary, and better nourished people in the last quarter of the century. The need for greater quantities and greater varieties of food, home appliances, electronics, and cars thus was bound to become a burden for a government anxious to keep its population economically content. “(p. 655)

None of this holds water. The citizens of Iran did not bare their chests to the bullets of the largest and best-equipped army in the region, overthrow their sovereign, and put an end to a millennia-old monarchical tradition, all for the lack of a toaster oven. The Washington Post had it right way back in 1978: “Rarely would contemporary history appear to provide such an example of a people’s ingratitude towards a leader who has brought about an economic miracle of similar proportions.”

The citizens of Iran did not bare their chests to the bullets of the largest and best-equipped army in the region all for the lack of a toaster oven.

Though no amount of counterargument will eliminate the widespread post-facto imagining of Iranian economic distress (which somehow went unnoticed before the revolution), if we seek to isolate the sui-generis ingredients that went into making the Khomeinist upheaval of 1979, we must look elsewhere. Admittedly, this additionally rules out factors like irritation on the part of the educated classes at the lack of opportunities for political participation: such irritation, too, existed in spades in other countries, and although secular democracy-seekers had kept the embers of Iranian dissidence glowing for years, it was not they who ignited the conflagration. The central motivations for the mass revolutionary action of 1978-9 must be sought in factors more specific to Iran, or at least more unique to the situation in the country at the time.

Where shall we look? Here our masters all fall short. Ask the average Joe who was compos mentis 40 years ago why the Iranians rose up against their ruler. (Mind you, not your average Iranian Joe: Persian-speakers are conspiracy freaks of a caliber beyond anything one finds in the West, and they are convinced to a man that the U. S. was behind the whole thing. Even the shah thought so.) Anyone who paid attention at the time—and who was not an academic and could therefore think straight—was cognizant of the simple truth that the king got canned because he had spat on his people’s most hallowed traditions. He and his coterie of “Westoxified” sophisticates had mocked their rituals, stripped their women, insulted their clergymen, blasphemed their god, replaced their sacred paragons with pagan nymphomaniacs, gotten drunk on their solemn holidays, razed their mosques (sometimes building banks and stadiums in their place), and made common cause with heretics and infidels—all in the name of progress.

We should pause to admit that Milani, Cooper, and others don’t see it this way: they make much of what they claim was the second Pahlavi sovereign’s backpedaling of his father’s harsh secularizing policies, pointing to everything from the son’s oath of office, which included appeals to Allah and commitments to promote Shiism; the widely publicized visit paid by the new monarch to the hospitalized Grand Ayatollah Borujerdi, head of the seminary system in the holy city of Qom; mystical experiences in which Mohammad Reza claimed to have received blessings from this or that imam; his habit of carrying a mini-Quran into his breast pocket; and a significant increase in the number of new places of worship, and a partial easing of the restrictions on the veil, under his reign.

While there is truth to all of this, the broader picture tells a different story. Oaths of office and hospital visits are recognized by the genuinely pious for just what they are: lip service. While assertions of dream visitations by saintly figures can be a feather in the turban of a respected theologian, in the case of non-observant ignoramuses like Mohammad Reza Shah—who once boasted to a gathering of Muslim divines that “I say my prayers every night before bed,” a decidedly non-Muslim comment—such claims merely point to the claimant’s abject irreligiosity. And, one might add, the irreligiosity of those who record and build theories upon such empty gestures.

More importantly, while the father’s anti-clericalism and march toward modernization may have been gruffer, under the son these tendencies matured and expanded relentlessly, to a large extent due to Iran’s exponentially proliferating contacts with Europe and even more so the United States. There were, albeit, more mosques built during this period, but the mushrooming cinemas were the up-and-coming place to be. The veil, it is true, could now be worn, but it was scorned by refined society, and more and more women preferred bouffant hairdos and mini-skirts. As uncomfortable and un-moored as traditional members of Iranian society began to feel in the 1930s, they would feel so to a far greater extent in the 1960s, and if they did not, that was because they had grown accustomed to the direction the country had been taking for decades, not because that direction had changed or been reversed.

The few supposedly regressive features that characterized the reign of the second Pahlavi monarch in connection with religion were offset ten times over by the juggernaut of modernization that was the hallmark of the era. And while traditionalism would on occasion receive disingenuous royal support as a counterweight to radicalism, the shah and his governments were, if anything, more inclined toward socialism than Shiism. Above all, as all our authors readily admit, their lodestar was always the West. In the eyes of the vast conservative sector of Iranian society, Pahlavism was hedonism, plain and simple. In the eyes of the increasing number of students who subscribed to the lay theoretician Ali Shari’ati’s militant neo-Shiiism—young people for whom faith had become cool again, and for whom the imperative of the hour was “the return to ourselves”—Pahlavism was the contemptible, traitorous antithesis of religio-cultural authenticity.

Political Islam has been eulogized by untold analysts almost since its birth, the classic example being Olivier Roy’s 1992 L’échec de l’islam politique (“The Failure of Political Islam”), a book that, given all that has transpired since its publication, should long ago have been renamed “My Failure as a Middle East Expert.” Incurable rationalist-materialists that so many Western thinkers are, it is extremely difficult for them to credit the power of the spiritual or theological, and they accordingly search high and low for alternate motivations, especially economic ones, to explain the behavior of individuals and collectives. Such an approach both informs, and is informed by, schools of thought like Marxism and realpolitik, as well as no few social sciences. Immune to religious passions themselves, scholars and journalists simply can’t accept that these passions can motivate tens of thousands of people.

If there is one deficiency common to the four undeniably outstanding studies we have been reviewing, it is that whereas Ayatollah Khomeini and company were sure that they had risen in revolt because Westernization in Iran had gone too far, our authors are all convinced that the revolution occurred because Westernization had not gone far enough. A related argument has been advanced by the prominent postmodernist scholar Ali Mirsepassi in his 2019 Iran’s Quiet Revolution. Mirsepassi notes correctly that intellectuals close to the Pahlavi court, and the sovereign himself, sometimes coopted the anti-“Westoxification” discourse of leftists and Islamists in order to take the wind out of their sails and, at the same time, delegitimize democracy as a foreign implant. He then maintains, based on this paradox, that it was the Pahlavi rejection rather than the Pahlavi adoption of modernity that led to the dynasty’s destruction, a theory as creative and counterintuitive as it is utterly spurious.

Islam as the central propelling factor in the resistance movement to the shah receives extremely short shrift from Takeyh, Cooper, Milani, and even Amanat. The last scholar’s profound knowledge of Shiism is matched only by his dislike for it: for instance, he calls the premier intellectual pursuit of the ayatollahs in their seminaries “tedious” on no less than four separate occasions in his massive tome. The revolutionaries aver in no uncertain terms that they did it for Islam; but our four authors, and scores of their colleagues, claim to know better.

Certainly, there were other modernizing rulers in other Middle Eastern countries who antagonized their Muslim constituents, both before and after the Iranian revolution. Taking Islam seriously as a motivating and enabling factor means, however, familiarizing ourselves with this confession’s considerable inner diversity. Iranian Islam has been Shiite Islam for over 500 years, and Shiism is a revolutionary vehicle like no other. Thanks to the circumstances of its evolution, the slogan “Fight the Powers that Be” is virtually encoded on its DNA. Moreover, Shiite clerics are comparatively independent of temporal rulers, while enjoying the wall-to-wall obedience of their flocks. Not for nothing did Khomeinism succeed so spectacularly where other Islamist movements had succeeded only partially or failed: the creed on which it is based provided both the impetus and the instrument for its triumph.

VI. Missing the Point

That the most impressive of our experts persist in downplaying or ignoring the Islamic Republic of Iran’s driving forces can lead to misunderstandings of current affairs that are far from academic. Both nuclear negotiations and the sanctions, for instance, are premised on the assumption that Tehran is eager above all else to improve its country’s economy. While Ayatollah Khamenei and his minions doubtless care about trade and finances, they care much more about advancing their religious ideology across the Middle East, and like most religious believers, feel that spiritual concerns must ultimately trump material ones. It’s even possible that some might find the idea of suffering material hardships to achieve ideological goals appealing.

Likewise, President Obama’s negotiations with Iran sought to recognize the country’s “equities” in the Middle East, with the ultimate aim of creating a balance among Iranian, Saudi, and Israeli spheres of influence. Again, Tehran may not be immune to such realpolitik considerations. But ultimately the Islamic Republic is engaged militarily in Yemen, Iraq, and Lebanon to advance the Islamic Revolution. The idea that well-meaning Western diplomats can simply sit Iranian diplomats down with their Saudi, Emirati, and Yemeni counterparts and work out a compromise based on mutual interests completely ignores the theological aspect of Khomeinist foreign policy.

Both nuclear negotiations and the sanctions are premised on the assumption that Tehran is eager above all else to improve its country’s economy.

And all this is even more true when it comes to Israel. Economics and power politics simply fail to explain the conflict between the two countries, which share no borders and had cordial relations under the shah. While Shiism historically contains ample anti-Semitic currents, it is not indelibly anti-Semitic—but Khomeinism is. And it views Jewish sovereignty in the Middle East as an unacceptable offense, which must be eradicated at almost any cost.

But Israel is only the Little Satan. The Great Satan is America, the main driver of “Westoxification.” If I’m right that Iranians didn’t rise up en masse because of the rising costs of onions or because they wanted to drive nicer cars, but because they were passionately opposed to secularization and American influence, then the U.S. cannot make peace with Iran even if the nuclear deal succeeds. The Islamic regime doesn’t oppose America because it supports Israel or Saudi Arabia, but because it represents Western secularism. Unless mass-conversion to Islam is in America’s future, that’s not something that’s likely to go away.

Only several months have elapsed since the richest and most powerful country in the world, having spent $300 million per day for twenty consecutive years on the restoration of the various branches of the national economy and on the creation of a 300,000-strong national army, was sent ignominiously packing with its tail between its legs by a bunch of ill-equipped local amateurs wearing turbans, robes, and sandals. One hopes that the loss of Afghanistan will finally hammer home the truth that the loss of Iran so signally failed to do: it’s religion, stupid

Ze’ev Maghen is chair of the department of Arab and Islamic studies at Bar-Ilan University. His latest book is Reading the Ayatollahs: The Worldview of Iran’s Religio-Political Elite. He is also the author of John Lennon and the Jews: A Philosophical Rampage.

The Wrath to Come. Gone With the Wind and America’s Big Lie

You offspring of serpents who warned you of the wrath to come. Matthew 3:7

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.  Prelude to the film of Gone with The Wind (1939)

… by the time you can no longer avoid thinking about your history, it has become so complex and confusing that you can no longer think about it clearly, and your morality is what is gone with the wind.
Sarah Churchwell, The Wrath to Come (2023)

American cultural historian Sarah Churchwell’s book The Wrath to Come – Gone With the Wind and the Myth of the Lost Cause or its alternative title, the Lies America Tells (tells itself” is more accurate) is a harrowing read about slavery, America’s original sin; about the civil war fought to end it; the brief Reconstruction years that followed; the lingering stain of white supremacism and racial violence; and of how discriminatory and oppressive Jim Crow laws of the late nineteenth century survived well into the twentieth with lynch law, segregation, vote suppression and the civil rights struggles of the sixties.

The Wrath to Come is also about how historiography – how historians analyze and interpret history, and how “we, the people” recall and retell history.

She quotes author and civil rights advocate James Baldwin’s essay The White Man’s Guilt:

“White man, Hear me! History, as nearly no one seems to know, is not merely something to be read. And it does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all we do”.

Churchwell notes how in 1935, Black writer WEB Du Bois warned “against writing history for our pleasure and amusement, for inflating our national ego”, or “using a version of historic fact, in order to influence and educate the new generation along the way we wish”. Such propaganda history is merely “lies agreed upon”, and had enabled a toxic mixture of libel, innuendo and silence to poison the well of American historiography”.

The Wrath to Come is also very much about today. Running right through the narrative are the currents and crises that culminated in the great American unraveling that led to the storming of the Capitol on January 6, 2021 – and as we know well, are yet to be fully played out in November 2024, and, as is most likely, beyond it. January 6th was, in her opinion the actualization of what Baldwin called “the wrath to come”, the moral derangement – spinning the nation off its axis. “Beyond the bars of our foolish little cages”, she writes, “a reckoning looms, at a scale we can’t assimilate”.

As an article in the New Yorker wrote recently, the pertinent issue now is not what caused the Civil War but what we should have learned from it. “January 6, 2021, is not an equivalent date in our history to April 12, 1861, but the radical Republican leaders who lived through the Civil War understood a principle that has been lost on their successors: that, if entrusted with power, leaders who commit assaults on the national government once may well attempt to do so again”. Many commentators remind Americans of the time when Benjamin Franklin, one of the original framers of the US Constitution, was walking out of Independence Hall after the Constitutional Convention in 1787, when someone shouted out, “Doctor, what have we got? A republic or a monarchy?” To which Franklin supposedly responded, with a rejoinder at once witty and ominous: “A republic, if you can keep it.”

“The past is not a prediction” Churchwell writes, “but it is a precedent, creating the possibilities for what the future will tolerate. The American future would, it turns out, tolerate a great deal”.

Gone with the myth 

Gone with the Wind shows what white America has believed – and wanted to believe – about its own history; it’ curates and cultivates America’s great white myths about itself.

Churchwell anchors her history around one of the most well known and loved stories of the twentieth centuries – the novel and the film of Atlanta author Margaret Mitchell’s epical Gone With the Wind. But while she may be deconstructing the iconic motion picture, it is very evident that the real target of her thesis is number forty-seven, whom she sees as America’s chaos personified. Whilst describing the brief and ineffective Reconstruction years that followed the American Civil War, with its “scallywags and carpetbaggers”, she gaslights “the greatest grifter the Republic has ever seen”. Like slavers, abortion and Vietnam, Trump is an issue that divides Americans, splitting families, straining the mystic chords of memory.

Within six months of its release in June 1936, Mitchell’s tale of tangled love set against the northern invasion and fall of the Old South, sold one million copies, making it the biggest-selling American novel to that date. It won a Pulitzer Prize and National Book Award, and has sold more than 30 million copies internationally.

The 1939 film adaptation starring Vivien Leigh as willful anti-heroine Scarlett O’Hara and Clark Gable as her rakish third husband Rhett Butler, won eight Academy Awards, including best picture, best actress for Leigh and best supporting actress for African-American actress Hattie McDaniel. McDaniel portrayed Scarlett’s outspoken chief house slave, Mammy, and made film history as the first black woman to take home an Oscar (although she was colour-barred from attending the Atlanta world premier).

Churchwell mounts an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery and “shameless” historical distortions about the civil war and its aftermath. Such denialism, she contends, continues to divide America today.

Churchwell’s book adds a contemporary, political twist to such criticism: she argues America’s “most famous epic romance … provides a kind of skeleton key, unlocking America’s illusions about itself” and she links its sanitized treatment of slavery and promotion of white nationalism to Trumpism and the January 6, 2021, attack on Washington’s Capitol.

“When we understand the dark truths of American experience that have been veiled by one of the nation’s favourite fantasies, we can see how the country travelled from the start of the Civil War in 1861 to parading the flag of the side that lost that war (the Confederate flag) through the US Capitol in 2021.’’

Gone with the Wind advances a misleading version of American history known as the Lost Cause. This is the notion that “the Confederacy fought the Civil War (1861–65) as a principled defense of a noble civilization (the Old South) and its democratic rights, rather than as an unprincipled defense of the white supremacist system of chattel slavery … The specific rights in question were individual states’ rights to keep and trade enslaved people, but the Lost Cause skipped that part.’’

Extending this mythology, the film’s opening title cards briefly mention slavery but also refer to the Old South – which was home to four million slaves – as “a land of Cavaliers and Cotton fields,” and a “pretty world where Gallantry took its last bow.”

Similarly, she writes that Gone with the Wind “marks a cultural breakdown, the point where mythology triumphed over history’’. Therefore, “urging the erasure of Gone with the Wind would simply reinforce that … “

“… when a nation’s myths, no longer make sense of its reality, violence erupts. That is one of the many things that has happened to America. Mythmaking and misinformation have been spinning wildly through American political discourse, so they can be hard to catcher as they float, disembodied across our conversations … Like a carnival magician, myth-making points at something with its right hand while picking our pockets, with its left stop. If we stop looking where it’s pointing, we might just manage to protect our valuables – in this case a republic, if we can keep it … It turns out that the heart of the myth, as well as its mind, and its nervous system, most of its arguments and beliefs, it’s loves and hates, it’s lies and confusions and defense mechanisms, and wish fulfilments, are all captured) for the most part in inadvertently) in America’s most famous epic romance: Gone with the Wind.

… and when a country, become so lost in dreams, that it can no longer see reality, it loses its moral sanity … This book follows American history back down into the myth, to excavate what’s been buried – not just the fact that historians have carefully been long, bringing to light … but also suppressed psycho political realities. The lies, the distortions, justifications, the half-truths, the rampant projections, the cognitive dissonances, the negations, the flat denials all the stinging truths Americans don’t want to admit about ourselves that Gone with the Wind caught like flypaper …

It has often been said that America had to imagine itself to existence. Less often remarked is the corollary, that America is, in a very real sense, mainly a story the nation tells itself. That makes the US singularly subject to the meanings of stories and myths – all nations tell stories about themselves, but America has little to hold it together beyond those stories (which is one of the reasons it fetishes its founding documents). If Gone with the Wind is one of the most popular stories America has ever told about itself, then it matters that it is a profoundly antidemocratic, and a moral horror Show … judgment has been remarkably absent from the stories we tell about ourselves.

While Churchwell hopes that Donald Trump loses the November election, she is hardly optimistic about the republic’s future.  She sees the events of the last eight years, and indeed those preceding as “portents of a much deeper dislocation in American society. For over two decades now, Americans have been battered by non-stop crises at home and abroad – from the long War on Terror to Covid and the George Floyd protests – leading to what feels like national exhaustion and a deep pessimism about the future of democracy”.

 The old revolution and The Lost Cause

Gone with the Wind took a series of historical forces, and made them seem only natural

Maybe we were on the losing side. Not quite sure it was the wrong one. 
Captain Mal Reynolds, Firefly (episode 3)

From the beginning of Donald Trump‘s campaign to the turbulent end of his presidency, debates raged about whether his supporters were motivated by economic anxiety or racial animus. But in America the two are intertwined in a system of racial capitalism.

Gone with the Wind doesn’t just romanticize that system – it eroticizes it. The Lost Cause provided a genesis for modern America’s racialized economics and paramilitary white nationalism, in which racial segregation was the supposedly logical outcome of a fight over states’ rights. But the most vicious fights over these supposedly principled stances on states’ rights have always consistently been over racial power. In fact, states’ rights are almost never invoked in a context that is distinct from race. States’ rights created a fig leaf, an alibi from which white America benefits so deeply that the denials continue to this day.

Slavery was America’s Original Sin, a stain running through its technicolor grain. Over the period of the Atlantic Slave Trade, from approximately 1526 to 1867, some 12.5 million men, women, and children were taken in captivity from Africa; 10.7 million were taken aboard ship to the New World and placed in bondage in the Americas – possibly the costliest in human life of all long-distance global migrations. Four hundred years of slavery ended in civil war and a wasteland.

America’s road to the Civil War took decades. It is beyond the scope of this article. but within a month of Lincoln’s victory in the presidential election of 1861, South Carolina took the fatal step, followed over the next few months by the secession of most of the Lower South. A month after his inauguration, the Civil War erupted with the bombardment of Fort Sumter in Charleston harbour. As Churchwell recounts it, “…. once a people decides that it cannot live together or when a citizenry divides into clearly opposed blocs, it is impossible to predict just how conflict may erupt. But to say that it cannot happen is to ignore history. Even Lincoln downplayed the threat of southern secession during the 1860 campaign, not believing until it was too late that the South ever would take such a final step”.

The American Civil War claimed more than seven hundred thousand American lives, tore a young nation apart, and its echoes reverberate still one hundred and sixty years later, reflecting unresolved political fault lines that go back two centuries. years. Though the war ended slavery, there was still another hundred years of toiling towards true freedom. As Martin Luther King said, “Lord, we ain’t what we want to be; we ain’t what we ought to be; we ain’t what were gonna be, but thank God, we ain’t where we was”.

“The white South grabbed the moral high ground and clung on for dear life – while the white North met it more than halfway. By the turn of the century the south was winning the war of ideas, its big lie accepted across the United States”.

It used to be said that the South would rise again. It did, and indeed, some reckon, the South finally won the war.

Dixie rising 

Predictably, the ghosts of the American civil war have been haunting the ongoing presidential campaign and have forced their way back into popular consciousness.

Statues depicting figures from the war – and even of founding fathers or older presidents – and even the names of the schools, military bases and streets, have increasingly become a flashpoints for a real political and cultural struggle. A low-intensity war on the past is now being waged across many states, with the effect of hardening hearts and solidifying the battle lines being drawn in the sand.

In May 2024, it was reported that the Shenandoah County School Board in Virginia would restore the names of Confederate generals Thomas “Stonewall” Jackson, Robert E. Lee and Turner Ashby to two local schools. The controversial reversal comes nearly four years after the names were changed.

“Residents speaking in favour of reverting to the Confederate names included Stuart Didawick, who noted that his family’s roots run deep in the community, where his ancestors received land grants in the decades before the American Revolution. “When you vote on the name restorations”, he asked board members, “will you listen to the opinions of woke outsiders who have for the most part no ties to the land, the history, or the culture of this county? Or will you listen to the voices of the people who elected you to represent them, the people whose families built and have sustained this county for generations?” To which a student and athlete responded: “I would have to represent a man that fought for my ancestors to be slaves,” adding that she would feel as if she’s being disrespectful both to her ancestors and her family’s values.

Another pervasive ghost of the Civil War, the battle flag of Dixie, has never gone away. It was long a favoured accessory above government buildings and at right wing rallies in The South, those former secessionists states that lay south of the Mason-Dixon Line. It played a cameo role in popular culture, flying in The Dukes of Hazzard, True Blood, and even The Walking Dead. The right to flaunt “the Stars and Bars”, an enduring symbol of the lost Confederate cause, and a rallying point for those who still believe the rebel cause to be just, those who take solace from an heroic defeat, and those who believed that “the South will rise again”, and indeed those who KNOW that the South has indeed risen again. For have not the white, right wing, God fearing, Clinton-baiting, and Obama-hating ‘Red’ states of the South conquered and colonized the American political system?

Failed Republican presidential hopeful Nikki Haley was governor of South Carolina, the first state to secede in 1861, in 2015, when in 2015, Dylann Roof, a young white supremacist who had draped himself in the Confederate flag, massacred nine African American parishioners at a Black church in Charleston, the state capital. Haley called for the removal of the Confederate flag from the grounds of the State House, where it had been hoisted in the early 1960s as a rebuke to the civil rights movement. When the flag came down, a ceremony that felt like the final surrender of the Civil War, little did we know that what we were actually witnessing that summer was the beginning of the white nationalist counter-offensive headed by Trump. In a strange quirk of history, he launched his presidential bid the very day before the Charleston massacre.

During the run up to the Republican primaries, POTUS aspirant and Florida Governor Ron DeSantis defended part of his state’s African American history curriculum standards that claimed some enslaved people developed skills that “could be applied for their personal benefit.” Flag-remover Nikki Haley omitted any mention of slavery when she was asked to explain the cause of the Civil War at a town hall event. It wasn’t until the next day that Haley acknowledged the war was “about slavery”. Both now failed candidates reflected unresolved political fault lines that go back nearly 200 years.

© Paul Hemphill 2024.  All rights reserved

In !955, Ella Fitzgerald was jailed for singing to an integrated audience in Texas

Author’s note

Last year, my favorite podcast The Rest is History broadcast a long but informative interview with Churchwell herself. The link is below. I also republish a review of the book and its content that first appeared in The Australian in April 2023, and the unique story an escaped slave who found his way to Australia and lived to tell his tale in print – an 18,000-word essay about slavery, titled The United States Governed by Six Hundred Thousand Despots. 

Such was my enthusiasm for Churchwell’s book, I transcribed many of what I considered to be memorable and cogent quotes.  They are categorized and listed immediately after the following videos.

For other posts in In That Howling Infinite about the American Civil War, see Blind Willie McTell – Bob Dylan’s Americana, Cross the Green Mountain – Bob Dylan’s Americana, Rebel Yell, Land of the fearful – home of the heavily armed, and regarding American Fascism prior to World War II, see The Shoah and America’s Shame – Ken Burns’ sorrowful masterpiece 

Like my father before me
I will work the land
And like my brother above me
Who took a rebel stand
He was just 18, proud and brave
But a Yankee laid him in his grave
I swear by the mud below my feet
You can’t raise a Kane back up
When he’s in defeat
Robbie Robertson, The Band

Churchwell quotes …

The Dixie Dreamtime

The story is cloaked in self-delusion far worse than Scarlet’s, and the film – which recognizes the novel’s flaws more clearly perpetuated these solutions out of commercial interests. This modern myth affirmed all the nation’s favorite illusions about itself, up to and including its faith in its own innocence – and then sold that bill of goods to all and sundry, making a fortune in the process. Scarlett’s blinkers are typical too – the willful ignorance in which American popular memory likes to trade. What she couldn’t or wouldn’t see is the subject of the rest of this book …

… the savage viciousness of Jim Crow produced the consoling legend of a noble land of Cavaliers, and ladies, who presided over loyal servants, with gentle benevolence, which would become America’s favourite story for decades to come. Listen closely to what a culture keeps telling itself, and you’ll know not only what’s on its mind, but what it needs to hear. Gone with the Wind told Americans that they could survive anything, especially if ignored it … the denialism of American culture (is) its refusal to face facts, to recognize that what it tells itself simply isn’t true …

Even as white Americans were sharply censoring the rise of Fascism in Europe, traveling to Spain to volunteer against Franco’s army, they were also longing for the good old days when the United States have enslaved millions of non-white Americans …

Good stock

Slavery was abolished by the war, but white supremacism was not. The problem was that white Americans could abhor slavery, and fight a war to end it, and also abhor Black people. They could believe that slavery was a moral abomination, and also believe in eugenicist racial science that claimed non-white people were biologically inferior to white people, and that racism was the natural order of things, even if slavery was not …

Gone with the Wind appeared a mere decade after the Scopes Monkey Trial took Darwinism to court to try to deny that humans will be related to apes. The immense anxiety sparked by this idea was bound up in older racist tropes which held the Black people were apes and white people were human. Proof that white people were also descended from apes challenged the racial hierarchy …

Once white people were forced to concede that they might’ve come out of jungles two, scientific gracious, and sort through that they had emerged much earlier, and how much farther and Black people

Playing along with lesser folks, taking from them what you can, and then, kicking them to the curb, is also the secret of social Darwinism, which is inextricable from the novels racism. Both preach survival of the fittest, defining fitness through biological determinism, as heritable traits that mean survivalism is a question of innate character rather than environmental good fortune These ideas are fundamentally eugenicist, claiming not only that some humans “stock” is biologically superior to others, but that such groups come racially and ethnically presorted. Presumptions of lesser and greater beings, the right of merit to rule, was at the heart of the argument: an aristocratic entitlement to title that claimed privilege was founded on inherited superiority, rather than brute force or the dumb luck of circumstance … the notion of “good stock” and “breeding” that underpinned scientific racism …

In the wake of first first world war and the Russian revolution, the “red scare” enabled the second Klan to maintained its white supremacism but expanded its list of enemies to include most foreigners, especially Catholics, Jews, eastern and southern Europeans, as well as communist, socialist and labor organizations, all of whom it generally equated. This broad, stroke nativism was strongly eugenicist, promising to protect the “pure stock” of white American Protestantism from the racial “pollution” of mixing with inferior breeds …

Heirs to the white supremacist cause, the replacement theorists, Tucker Carlson, Kyle Rittenhouse. Fox host Tucker Carlson professed to be “shocked” that “seventeen year olds with rifles decided they had to maintain order when no one else would”. This is precisely the alibi that was always offered for white supremacist violence, straight out of Gone with the Wind and the newspaper lynching reports that that accompanied it. Scapegoating makes violence redemptive, as savagery is projected onto its victims, who deserve what they’re getting. The Klan was a group shaped around projection and scapegoating. Apologists of white supremacist from Thomas Dixon and Margaret Mitchell to Tucker, Carlson and Ann Coulter to the hyper partisan mob that stormed the Capitol all insisted that they were defending “extralegal justice”, as if extralegal were not just another word for illegal …

History is endlessly revised, even when it’s been chiseled in stone. Newly discovered facts can improve our understanding of the past, and sometimes people even ask new questions about the same old facts.

… Black Americans are left arguing that they are the ones owed by a nation which is yet to redeem the promises it made to the makes to them. That is the entire import of Dr. King’s 1963 “I have a dream” speech, a metaphor of redemption that he makes explicit, and explicitly economic: “we’ve come to our national capital to cash a check”, King said, on the “promissory note” signed by the architects of our republic, a promise of “unalienable rights” to “life, liberty and the pursuit of happiness”. But America has “defaulted on this promissory note” King charged. “America has given the Negro people a bad check, a check which has come back marked “insufficient funds” .

… the seed of white grievance, a nostalgic, resentment that perceives only loss of individual power, refusing to consider the question of collective equality. Grievance is the politics of narcissism, the refusal to shift your ground, nursing your grudges, building spite into politics, while telling your enemies to move on in the interest of unity, a unity in which you do not believe, and which you have no intention of compromising.

Women’s rights and suffrage

Mitchell was outraged that Blacks could vote and women could not … Real estate was also entangled with women’s rights, as women gradually bou property and paid tax, but still could not vote. Her mother argued the women’s suffrage, and is very terms woman paid taxes, but we’re not allowed to vote drunken bums on the sidewalk because they were men that they haven’t paid a dime when titled to vote, and we are not …

White wealth through property ownership is what Gone with the Wind wants to exult – while trying, less than successfully, to ignore the role of slavery and it’s aftermath in the creation of that wealth.

Gone with the Wind Shows how the mythology of American success stories, including those of immigrants, were also inculpated in the bloody history of institutionalized slavery. The triumphalism of the end of the immigrant success story has worked to school the question of complicity, the suppose and dog in this town, making good does so at the expense, And More, senses of one, of an entire Other, racially marked, underclass.

Fascism and the kloning of the Klan

My summary: Fascism as represented by the KKK and the plethora of “clothes line” political groups distinguished by a colourful array of shirts was characterized by an American nativism, xenophobic, and white supremacist, conspiratorially anti-Semitic and anti-communist paramilitary groups, leveraging existing bigotries on behalf of state violence, consolidating power for one small group, while dehumanizing, persecuting, and annihilating – the eugenicist exultation of certain “bloodlines” of over others, white grievance displaced onto racialized enemies within.

Fascism as represented by the KKK and the plethora of “clothes line” political groups distinguished by a colourful array of shirts was characterized by an American nativism, xenophobic, and white supremacist, conspiratorially anti-Semitic and anti-communist paramilitary groups, leveraging existing bigotries on behalf of state violence, consolidating power for one small group, while dehumanizing, persecuting, and annihilating – the eugenicist exultation of certain “bloodlines” of over others, white grievance displaced onto racialized enemies within.

The affinities between the second Klan and European fascism had only grown clearer since they are simultaneous start in the early 20s, with their shared cults of paramilitary violence, legal apartheids, eugenicist, ideologies, and paranoid cultures … a mast native about the sacredness of the course, the purity of the nation, and the exultation of violence to defend against the enemy within.

… there is a strong case for the fascism of the Klan with its paramilitary violence, it’s extra-legal assertions of power, it’s uniforms and rituals, it’s love of esoterica, its nostalgic racial fantasies, its conspiracy theories, and its existential rejection of the legitimacy of any government that opposes it, as historians of fascism pointed out … It was ennobled by myths of national purity, performed by masculinist cults of the leader, and sold as the will of the people.

Robert O Paxton, in the five stages of fascism, characterized it as a politics, “marked by obsessive preoccupation with community decline, humiliation, or victimhood, and by compensatory cults of unity, energy, and purity, in which a mass based party of committed nationalist militants, working in un easy, but effective collaboration with traditional elites, abandons democratic liberties and pursues, with redemptive violence, and without ethical or legal restraints, goals of internal cleansing and external expansion“.

The Black and brown shirts of European fascism were met by America’s own clothesline politics, all declaring sympathy with European fascism and espousing the rights of the white Christian American herrenvolk to dominate their nation too. The American right wing “haberdashery brigade” includes silver shirts, white shirts, dress shirts, and gray shirts. They were joined by the black Legion, the order of ‘76 and as well as Cristo-fascist groups, including defenders of the Christian faith and the Christian Front, whose members called themselves the brown shirts. The Friends of the Hitler movement, the official Nazi Association in America, was established in 1933, eventually becoming the German American Bund.

Denialism it had nothing to do with European Fascism ….

Racial bigotry in America, the times insisted, was just unthinking in the good, old, thickheaded, prejudiced, irrational human fashion. Whether unthinking racism is preferable to thinking racism is probably immaterial to its victims, as if lynching would be less objectionable if it weren’t defended on the grounds of rationality … i.e. white supremacism was just good old thickheaded American prejudice.

If Gone with the Wind is broadly fascistic in its outlook, the lost cause is even more so, in its glorification of the confederate causus belli, the cults of its leaders of its dead, its propaganda, it’s wars for territorial expansion, and the insistence on the sacred rebirth of the nation in the ashes reconstruction, the new order founded on the ongoing defiance of the federalist government of the United States, and a fundamental rejection of pluralist democracy.

A collection of material at Ferris State’s Jim Crow Museum of Racist Memorabilia, Grand Rapids, Michigan, 2004. Jim Prichard/AP

The Grapes of Wrath

Eight months before the film premiered in Atlanta, John Steinbeck published the grapes of broth, which would become the most popular novel of 1939. Widely hailed as a testament to human endurance, the novel took its title from the battle hymn of the Republic, Julia Ward Howe’s mighty Civil War anthem …Howe’s Bible steeped language comes from the book of revelation, in invoking divine Justice, when God’s truth will force the wine of freedom from the grapes of wrath. It is an image of anger, accumulated, even cultivated, long march of times.

What defined fascist propaganda was never its lies, wrote Hannah Arendt in 1945, for all propaganda is based on lies. What distinguishes fascist lies is that they are intended to negate reality, making “that true, which, until then could only be stated as a lie”. Fascists don’t lie to deceive; they lie to change reality. Lies about the Lost Cause did just that, using fiction to displace reality until the fiction has become a reality. Soon that fiction spread beyond the cult of true believers, normalizing itself in the body, politic for the best part of the century, a cancer legitimating unreason that metastasized long ago Mythology replaced history as the arbiter of American truth.

Line is not only the Hitlerian big lie of propaganda, but a culture of perversive, lying, what a Arendt called “lying as a way of life” and “lying on principle”. It is a systematic dishonesty that destroys the collective space of historical-factual reality.

The Birth of a Nation

In February 1915, upon viewing The Birth of a Nation at a special White House screening, President Woodrow Wilson reportedly remarked, “It’s like writing history with lightning. My only regret is that it is all so terribly true. This line has appeared in numerous books and articles over the past seventy years. But it was appended twenty years after the event to add a spurious authority- from a former president no less – to the mythical account of reconstruction told in the birth of a nation that gone with the wind recycled, creating a very efficient closed circle of mythmaking.

The Birth of a Nation, by all accounts the first American blockbuster, the first historical epic, the first Hollywood film to resemble what movies are like today, premiered in Los Angeles exactly 100 years ago on Sunday. But the centennial won’t be celebratory. It will likely be awkward, sobering even — because in director D.W. Griffith’s 12-reel Civil War saga, the Ku Klux Klan members are the glorious heroes.

Since its premiere on Feb. 8, 1915, the film has been at once wildly popular and widely condemned. It inspired the revival of the KKK but also galvanized what was then a nascent NAACP into action. It helped define what cinema means for American audiences. It was the first film ever shown inside the White House.

After 100 years, it has left a complicated, powerful legacy, but a legacy of what, exactly?

“Excuses are sometimes made by scholars of film for the content, but I don’t think that for the last ten to 15 years there has been any doubt that this is an unequivocally, viciously racist film,” says Paul McEwan, Associate Professor of Media and Communications at Muhlenberg College. McEwan has been studying and writing about the history of Birth of a Nation for 12 years. “I mean, this film makes Gone With the Wind look very progressive.”

Griffith claimed to be filming history, but Birth of a Nation, based on the novel The Clansman by Thomas Dixon, features a stunning revision of Reconstruction. White actors in blackface portray members of a barbaric, sex-crazed militia of freedmen that terrorizes and disenfranchises cowering whites. Black men overtake South Carolina’s judicial system and legislature, swigging whiskey and eating fried chicken on the floor of the State House. After the blackface character Gus attempts to rape a white woman, the protagonists don their hoods and apprehend him, lynching him after their version of a fair trial. The film is ostensibly about white national reconciliation at the expense of emancipated black Americans. A title card punctuates the action toward the end of the silent film to declare, “The former enemies of North and South are united again in defense of their Aryan birthright.” Despite its objectionable content, the film remains an essential part of the discussion about American cinema because of Griffith’s pioneering technical innovations. Things that today are completely taken for granted — like close-ups, fade-outs and even varying camera angles — originated with The Birth of a Nation‘s director and crew.

From the poverty shacks, he looks from the cracks to the tracks
And the hoofbeats pound in his brain
And he’s taught how to walk in a pack
Shoot in the back
With his fist in a clinch
To hang and to lynch
To hide ‘neath the hood
To kill with no pain
Like a dog on a chain
He ain’t got no name
But it ain’t him to blame
He’s only a pawn in their game
Bob Dylan

In the courtroom of honor, the judge pounded his gavel
To show that all’s equal and that the courts are on the level
And that the strings in the books ain’t pulled and persuaded
And that even the nobles get properly handled
Once that the cops have chased after and caught ’em
And that the ladder of law has no top and no bottom
Stared at the person who killed for no reason
Who just happened to be feelin’ that way without warnin’
And he spoke through his cloak, most deep and distinguished
And handed out strongly for penalty and repentance
William Zanzinger with a six-month sentence
Bob Dylan, The Lonesome Death of Hattie Carroll

In !955, Ella Fitzgerald was jailed for singing to an integrated audience in  Houston, Texas

Goosestepping back to political relevance

Artist Barry Blitt’s “Back to the Future.” In another year of political chaos, he “looks forward to depicting the pageantry, solemnity, and awe of the upcoming Presidential election”.

A slave writes to a Sydney paper

I’m trying to imagine what it might have been like to be the editor of a little Sydney newspaper called The Empire in the 1850s when a “fugitive slave” – owned from birth by the invalid daughter of an innkeeper in North Carolina – walked through the door, asking for a copy of the US Constitution.

He wanted to write about the slavery endured by whole branches of his family, and he needed the Constitution for reference.

It seems that this actually happened in Sydney in 1855. The New York Times had a story about it on the weekend. And you’re not going to believe how that story ends.

The slave in question was John Swanson Jacobs, described by the editors of The Empire (they are sadly not named) as “a man of colour, with bright intelligent eyes, a gentle firm voice, and a style of speech decidedly American.”

Jacobs had escaped bondage and made his way to Australia where he was desperate to find somebody willing to tell the story of slavery. By chance, the editors had “the last edition of the United States’ Constitution authorised by Congress” in their offices, and they agreed to lend it to Jacobs, who returned it after a fortnight, with an 18,000 word essay about slavery, titled The United States Governed by Six Hundred Thousand Despots.

The editors of The Empire agreed to publish it, and “scarcely altered a word”.

A first-hand account of slavery by an escaped slave has been found in an Australian newspaper archive.

A first-hand account of slavery by an escaped slave has been found in an Australian newspaper archive.

“The writer is in Sydney; we understand he has been among the successful gold-diggers,” they said. “We shall be much mistaken if his narrative is not read with a lively interest.”

More than 160 years later, you are being offered the opportunity to read that essay, because it has rather amazingly been re-discovered, and published in book form, and oh, it’s so harrowing.

It begins: “I was born in Edenton, North Carolina, one of the oldest States in the Union, and had five different owners in 18 years.

“My first owner was Miss Penelope Hannablue, the invalid daughter of an innkeeper. After her death I became the property of her mother.”

He describes the slavery endured by his father: “To be a man, and not to be. A father without authority – a husband and no protector … Such is the condition of every slave throughout the United States; he owns nothing – he can claim nothing. His wife is not his – his children are not his; they can be taken from him, and sold at any minute, as far as the fleshmonger may see fit to carry them.

“Slaves are recognised as property by the law and can own nothing except at the consent of their masters.

“A slave’s wife or daughter may be insulted before his eyes with impunity; he himself may be called on to torture them, and dare not refuse. To raise his hand in their defence, is death by the law. He must bear all things and resist nothing. If he leaves his master’s premises at any time without a written permit, he is liable to be flogged; yet they say we are happy and contented.”

He describes the death of Mrs Hannablue, and the sale of her slaves: “Here they are, old and young, male and female, married and single, to be sold to the highest bidder … They began to sell off the old slaves first, as rubbish; one very old man sold for one dollar; the old cook sold for 17 dollars; from that to 1,600 dollars, which was the price of a young man who was a carpenter.

“Dr Norcom, whose daughter owned my sister, bought me for a shop boy. It would be in vain for me to attempt to give a description of my feelings while standing under the auctioneer’s hammer.”

Jacobs escaped, and spent years on a whaling ship before landing in Australia. His essay was discovered just a few years ago, by an American literary scholar, Jonathan D.S. Schroeder, who came across it while digging through the Australian online newspaper database, Trove.

It is being published by the University of Chicago Press, who says accounts of slavery by the slaves themselves are exceedingly rare, and precious. They believe that Jacob was the brother of Harriet Jacobs, whose 1861 autobiography, Incidents in the Life of a Slave Girl is revered in the US as one of the first, first-hand published accounts of slavery, and therefore a treasure, as this essay also so very clearly is. You may read the whole thing on Trove or buy the book here.

Gone with the Lost Cause: O’Hara, Butler recast as ‘homicidal white supremacists’

The 20th century’s most famous fictional lovers had ‘profoundly fascistic worldviews’, according to an author who has mounted an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery.

Actors Clark Gable and Vivien Leigh in 1939 film Gone with the Wind. Picture: Supplied

Clark Gable and Vivien Leigh in Gone with the Wind

American author Margaret Mitchell expected her first and only novel, Gone With The Wind, to sell about 5000 copies. Yet from the day it was published on June 30 1936, Mitchell’s 1037-page fable about the American Civil War and the pampered, manipulative daughter of a Georgia plantation owner, was not merely a bestseller: it evolved into an enduring – and polarising – cultural phenomenon.

Within six months of its release, Mitchell’s tale of tangled love set against the northern invasion and fall of the Old South, sold one million copies, making it the biggest-selling American novel to that date. It won a Pulitzer Prize and National Book Award and has sold more than 30 million copies internationally.

The 1939 film adaptation starring Vivien Leigh as willful anti-heroine Scarlett O’Hara and Clark Gable as her rakish third husband Rhett Butler, won eight Academy Awards, including best picture, best actress for Leigh and best supporting actress for African American actress Hattie McDaniel. McDaniel portrayed Scarlett’s outspoken chief house slave, Mammy, and made film history as the first black woman to take home an Oscar.

The film’s melodramatic love story — Scarlett spends years pining for a man she cannot have — along with its elegant balls, burnt orange skies, hooped gowns and epic scenes of dead and injured Confederate troops, proved a hit with moviegoers around the world. When adjusted for inflation, Gone with the Wind, which tracks Scarlett’s journey through civil war, near-starvation, three marriages and the loss of her only child, remains the highest-grossing film of all time, ahead of Avatar and Titanic.

American author Sarah Churchwell recounts these milestones in her provocative book, The Wrath to Come: Gone with the Wind and the Lies America Tells — and goes on to mount an excoriating critique of the novel-turned-film for its denialism of the horrors of slavery and “shameless” historical distortions about the civil war and its aftermath. Such denialism, she contends, continues to divide America today.

In fact, Churchwell — one of the headline speakers at next month’s Melbourne Writers Festival — argues that society belle-turned-wily survivor, Scarlett O’Hara, and gambler turned doting father, Rhett Butler, are “homicidal white supremacists with profoundly fascistic worldviews’’. Not the kind of academic who pulls her punches, she adds that Mitchell’s novel is “about enslavers busily pretending that slavery doesn’t matter — which is pretty much the story of American history’’.

The novel and film’s depiction of loyal, happy enslaved people — neither Scarlett’s family nor their wealthy plantation neighbours mistreat their slaves — has long been criticised. “Gone with the Wind does such violence to American history that it practically lynches it,’’ black journalist Ben Davis Jr wrote in 1940.

Scarlett (Vivien Leigh) being laced into a corset by Mammy (Hattie McDaniel) in Gone With the Wind.

Scarlett (Vivien Leigh) being laced into a corset by Mammy (Hattie McDaniel)

Churchwell’s book adds a contemporary, political twist to such criticism: she argues America’s “most famous epic romance … provides a kind of skeleton key, unlocking America’s illusions about itself” and she links its sanitised treatment of slavery and promotion of white nationalism to Trumpism and the January 6, 2021 attack on Washington’s Capitol. Significantly, just months before this attack, Donald Trump invoked Gone with the Wind at a rally while complaining about the South Korean film, Parasite, winning the Best Picture Oscar. Trump said he wished America would “bring back” films like the 1939 classic: “Can we get, like, Gone with the Wind back please?’’

As an American who lives in London and writes about US culture and history, Churchwell is often asked, “What has happened to America?”, since the 2016 election of Trump as US president “dumbfounded most of the watching world’’. She writes: “When we understand the dark truths of American experience that have been veiled by one of the nation’s favourite fantasies (Gone With The Wind), we can see how the country travelled from the start of the Civil War in 1861 to parading the flag of the side that lost that war (the Confederate flag) through the US Capitol in 2021.’’

In a Zoom interview, Review asks Churchwell whether she has faced pushback over her claims Scarlett and Rhett are homicidal white supremacists. A professor of American Literature at the University of London, she grins and says: “People have noticed it.’’

She says the book hasn’t come out in the US yet – it will be published there in June – “so we’ll see what they think’’ of her revisionist history of this popular American classic.

With her curtain of long blonde hair, Churchwell cuts a glamorous figure as she delivers her rapid-fire answers, which, like her writing, are mercifully free of academic jargon. She says of her denunciation of Scarlett and Rhett: “It is a statement of fact because they both espouse white supremacism over and over and over again. So it’s not an interpretation. It is a simple description of the things that they do and the things that they say.’’

The Wrath to Come – which British critics have described as “extraordinary” and as prising opening “often jaw-dropping history’’ – documents how, when under pressure, Scarlett uses the n-word in the novel. This racial slur appears in Mitchell’s book more than 100 times but was removed from the film’s script after black cast members and activists lobbied the blockbuster’s powerful producer, David O. Selznick.

Gone With the Wind author Margaret Mitchell

In Mitchell’s novel, during one wartime crisis, Scarlett threatens to sell a young, flighty slave, Prissy, “down the river’’ and also threatens her with: “You’ll never see your mother again or anybody you know’’. Later, when Scarlett and her Tara household are facing starvation following the siege of Atlanta, she again loses her temper with Prissy, uses the n-word against her for the first time and threatens to “wear this whip out on you’’.

During Reconstruction, Scarlett refers in disparaging terms to “damned n—-r lovers” and when she starts a timber mill business, she is troubled by “free nxxxxrs’” who won’t work for her (because ex-slaves now have the right to resign). All of these racial insults are omitted or softened in the film.

As for those homicidal claims, Scarlett shoots a white Yankee deserter who invades her family’s plantation house, in self-defence, takes his money and hides the body. In the novel, she is initially shocked at her violence, but Churchwell notes how she later mused she “could have … taken sweet pleasure in the feel of his warm blood on her bare feet’’. Rhett Butler, a self-interested gambler who eventually joins the Confederacy, admits in the book he killed a Yankee soldier in a bar-room argument, and murdered a black man because “he was uppity to a lady, and what else could a Southern gentleman do?’’

Then there is the racist language of Mitchell’s novel, which is “far more extreme”, says Churchwell, “than those who haven’t read it probably imagine’’. She argues: “Gone with the Wind never once refers to Black people as people or human beings – not a single time. They are only dehumanised and generic racial categories. Black people are either (various) animals, especially all sorts of apes; or they are savages, just out of the jungle; or they are ‘slaves’, ‘blacks’, ‘darkies’, ‘pickaninnies’, ‘negroes’, ‘mulattos’, or ‘nxxxxrs’.

“ … Tara’s field hands have ‘huge black paws’ and ‘caper with delight’ at encountering Scarlett, while freed slaves run wild ‘like monkeys or small children’ after emancipation, ‘as creatures of small intelligence might naturally be expected to do’.’’

The film uses the now-objectionable term “darkies” and as mentioned above, dropped the n-word. This toning down of the book’s racism “had the perverse outcome of reinforcing the Lost Cause myth that white Southerners treated Black people courteously,’’ Churchwell argues.

For the academic and author, the novel’s racial prejudice goes beyond its extensive use of offensive words: “It’s unreflective in its racism. It thinks there’s such a thing as a willing slave without stopping to think about the fact that those two words literally mean the opposite.’’ Although slavery ended because of the Civil War, she also contends that Gone with the Wind presents America’s post-war reconstruction and new era of rights for freed slaves as a tragedy – for Scarlett, and her slave-owning plantation class.

Churchwell, who has also written cultural histories of other American icons Marilyn Monroe and The Great Gatsby, says Gone with the Wind advances a misleading version of American history known as the Lost Cause. This is the notion that “the Confederacy fought the Civil War (1861–65) as a principled defence of a noble civilisation (the Old South) and its democratic rights, rather than as an unprincipled defence of the white supremacist system of chattel slavery … The specific rights in question were individual states’ rights to keep and trade enslaved people, but the Lost Cause skipped that part.’’

Extending this mythology, the film’s opening title cards briefly mention slavery but also refer to the Old South – which was home to four million slaves – as “a land of Cavaliers and Cotton fields,” and a “pretty world where Gallantry took its last bow.”

Churchwell, who has a PhD in English and American literature from Princeton University, is not the only cultural expert to question Gone with the Wind’s use of racist terms and extreme euphemism. This month, British journalists revealed that Pan Macmillan, publisher of Mitchell’s epic, had added a detailed trigger warning to the 2022 edition, pointing out the novel “includes problematic elements including the romanticisation of a shocking era in our history and the horrors of slavery’’.

In 2020, HBO Max temporarily pulled the film in the wake of George Floyd’s murder. It has since been restored to the streaming service with accompanying videos that denounce its racial representations and examine the film’s historical context.

The African-American rapper Queen Latifah has said the film should have been permanently banned by HBO Max. “Let Gone with the Wind be gone with the wind,’’ she said. Actress and TV host Whoopi Goldberg – the second black woman to win an acting Oscar after McDaniel – disagreed. She favoured educating viewers on the film’s context, adding: “If you start pulling every film, you’re going to have to pull … a very long list of films.’’

Churchwell’s inspiration for her book, which took her five years to write, were the American and UK statue wars. “I initially envisioned it as a much shorter, faster book,’’ she says. “ … At the same time, history kept galloping forward and Gone With the Wind kept coming into the news and Donald Trump kept pushing things forward. And so it was like it had more and more to say to our moment.’’

Sarah Churchwell.

Sarah Churchwell

She does not advocate cancelling Gone with the Wind or destroying statues. She argues it is better to place key statues of controversial historical figures in museums, with accurate contextual information. Similarly, she writes that Gone with the Wind “marks a cultural breakdown, the point where mythology triumphed over history’’. Therefore, “urging the erasure of Gone with the Wind would simply reinforce that failure’’.

Mitchell disliked nostalgic characterisations of the Old South as a land of “magnolias and moonlight’’. She describes Rhett – the embodiment of masculine virility – as “dark of face, swarthy as a pirate”, and conceived of Scarlett as a not especially beautiful anti-heroine: she was perplexed when her self-centred protagonist became a national heroine. An ex-journalist from Atlanta, Mitchell saw the adoration of Scarlett as “bad for the mental and moral attitude of a nation” and once complained: “The mythical Old South has too strong a hold on their (the public’s) imaginations to be altered by the mere reading of a 1037-page book.’’

The Wrath to Come acknowledges all this but notes that while Mitchell condemns Scarlett’s failings such as her greed and lack of self-awareness, she doesn’t challenge her racism. “Her white supremacism isn’t part of what makes her not admirable for Mitchell,’’ Churchwell tells Review.

Mitchell maintained that her black characters, including Tara’s slaves Mammy, Pork and Big Sam – the latter saves Scarlett’s life when she is attacked – behaved in a more noble manner than their white mistress. “It’s true most of the black characters in the novel are admirable in the sense they’re not evil,’’ responds Churchwell. However, she says that after the Civil War, as slaves were freed, Mitchell’s text often falsely characterised them as “a danger to civilised society’’.

Published in 27 languages, the novel has often been praised as a powerful account of the effects of war on innocent civilians, especially women, and Scarlett has been seen as a proto-feminist — a selfish but determined young woman who endures the chaos of war and flouts the stifling gender conventions of her time by going into business for herself. Former Democrat first lady Eleanor Roosevelt was a fan of the book, writing that it made the lingering enmity of the south “easy to understand … even to those who haven’t understood it before”. As a result, she sympathised, she said, with southern women whose “bitterness persisted so long” against the “northern invaders”.

Churchwell writes scornfully of this: “Even a white liberal like Eleanor Roosevelt sympathised after reading the novel not with enslaved people but with the women fighting to keep them in chains. This is what it means to naturalise a value system.’’ In our interview, Churchwell says Roosevelt’s sympathetic take “was obviously very representative of the ways that Americans read the book at that time’’.

The university professor concedes Scarlett has some winning qualities: “Vivien Leigh’s portrayal of Scarlett is one of the things that makes the film quite indelible. I think it’s an incredible performance. And she takes this character who is unlikable in all kinds of ways — is kind of stupid — and makes her a lot more interesting, charming and sympathetic.’’

McDaniel’s parents had been enslaved and she famously retorted to critics of her devoted house-slave role that she had chosen between $7 a week to be a maid, or $700 a week to play a maid. Even so, on the night she made Oscars history, McDaniel was forced to sit apart from white cast members during the awards ceremony in Los Angeles. Says Churchwell: “A lot of people now have the idea of a Jim Crow segregation in the US as being something that only happened in the south, but …. a kind of an apartheid line ran all the way across the US.’’

What about the notion Mitchell was a product of the early 20th century era, and that adult readers of her saga would understand this? “It’s true up to a point,” replies Churchwell. She says Mitchell’s contemporaries, Hemingway and Fitzgerald, also reflected the casual racism of their era, but “considerably less viciously” than she did. Unlike Mitchell, who defended her right to use the n-word, “they both evolved”.

Although Leigh’s Scarlett and Gable’s Rhett were arguably 20th century film’s most recognisable lovers, Churchwell maintains that Gone with the Wind’s historical distortions are still “vastly underestimated.’’.

“The book has always been recognised as racist,’’ she says. “I certainly didn’t write the book to be like, ‘Hey, I’ve got a revelation, ‘Gone With the Wind is racist – we never knew’.

“But the more that you go into it, the more you realise that there are ways in which we still haven’t reckoned with some of the truths about their (Scarlett and Rhett’s) positions. And (this is) despite the fact that they are both homicidal white supremacists — they just are.’’

Deconstructing Donald – translating Trumpspeak

“America is in a mess. We need someone to clean it up. And his name is …”

So run the opening titles of Tim Robbin’s’ 1992 satire Bob Roberts. In a dark case of life imitating art, the story of a Wall Street millionaire who begins his political career as a reactionary folk singer foreshadows the rise of a uniquely American autocrat who channels the pain and anger of millions who feel that they’ve been left behind. The eponymous Bob Roberts is portrayed as a rightwing Bob Dylan, right down to a parody of the famous Subterranean Homesick Blues story boards to the iconoclastic song Times are a’changin’ … Back. Read a 2020 retrospective of this prescient film HERE


False prophets and siren songs

The only path to a subversion of the republican system of the Country is, by flattering the prejudices of the people, and exciting their jealousies and apprehensions, to throw affairs into confusion, and bring on civil commotion,”When a man unprincipled in private life[,] desperate in his fortune, bold in his temper … is seen to mount the hobby horse of popularity … It may justly be suspected that his object is to throw things into confusion that he may ‘ride the storm and direct the whirlwind. Alexander Hamilton to George Washington in 1792.

One cannot and ought not underestimate the power and sheer durability of populism – a political style offering unworkably simple solutions to complex problems, an ebullient rejection of elite expertise in defense of homespun obscurantism. It is a particularly attractive to the many who cleave to populism, nativism, tribalism and atavism, and equate these with nationalism and patriotism – and feel that, nay believe that they’ve been ignored by the powers that be and left behind in life’s rat-race. Trust is in short supply, and indeed, people’s faith in democratic traditions and processes is shaking as populism and a taste for autocracy spreads throughout the ostensibly democratic world. And as the old epigram runs, “cometh the hour, cometh the man” …

We live, it feels, in a time of false prophets. A generation of different and dangerous populists now moves to centre stage. Some like Trump, are undisguised in their racial, sexist and selfish pitches. Trump knows the key to being a successful fraud is to be a grand fraud. He pledges “to make America great again” and wins wide applause. This is because he is an anti-politician, shaking the system, abusing the established politicians, trashing their ideas. He thrives on shock and extravagance in a culture drunk with mindless celebrity. He stands for economic nationalism, trade protectionism, xenophobic hostility,  towards Muslims particularly and a US strategic withdrawal from the world and much of its alliance system. As a wannabe autocrat, he admires actual autocrats, whom, he believes get things done because they break the rules and brook no dissent or contradiction. Nor Americans too averse to the prospect of an American strongman. For decades, polls have suggested that many Americans prefer the smack of strong leadership, even at the cost of jettisoning democratic norms. Back in the mid-1990s, for example, one in 16 Americans thought that a military dictatorship would be a “good” or “very good” thing. By 2014, two years before Trump’s shock victory over Hillary Clinton, that figure had leapt to one in six.

Trump is the vessel through which vast numbers of angry Americans can  channel their rage with the establishment. Back in March 2023, he told a Texas rally: “For those who have been wronged and betrayed … I am your retribution!” His ascent reflects not so much his political brilliance but the absolute contempt an increasing share of Americans have for the nation’s institutions. Hugh Hewitt, in an opinion piece in The Washington Post, wrote recently: “Trump’s fervent supporters continue to believe he is a noble Jean Valjean of American politics being pursued by a mob of Javerts”. Columnist Maureen Dowd is more blunt: “His hallucinatory worshippers admire him as a strongman, even when he’s shown to be liable for sexual assault and an aggrandising con man whose real estate empire was a Potemkin village”.

Irish writer Fintan O’Toole wrote in the New York Review of Book on January 19th how Trump “… exudes a dark energy. His is perhaps the most radical mainstream presidential candidacy in US history. He offers a program of organized revenge, telling his fans that “I am your warrior. I am your justice. And for those who have been wronged and betrayed, I am your retribution.” He promises a transformation of democracy into authoritarianism. He envisages a war on all the “vermin” who have thwarted him. He plans, as The New York Times has reported, “to scour the country for unauthorized immigrants and deport people by the millions per year.” He wants to build giant camps to house those awaiting deportation and to vet would-be travelers to the US for political (and presumably also religious) purity: “US consular officials abroad will be directed to expand ideological screening of visa applicants to block people the Trump administration considers to have undesirable attitudes.” The relentlessness of this determination to reshape the US into an autocracy may be horrifying, but it has the vigor of grand ambition”.

Small wonder the US was recently named a “backsliding democracy” by a Swedish based think-tank, an assessment based on the attempted Capitol coup and restrictions on voting rights in Red states.

Trump could well win, against Biden or against another candidate. The issues he’s running on – illegal immigration, the cost of living, lawlessness and crime – are huge and real. Trump may defeat himself if he campaigns about the injustices done to him. If he campaigns on issues as the champion of ordinary Americans, he’s got a big chance. He is is both instinctively talented as a campaigner but also capable of grievous self harm through wildly undisciplined statements – as with NATO – and narcissistic self-absorption. Driven by grievance and will to power, and behaving, some say, like a mafia boss, he is in so many ways lawless and dangerous.

So dangerous indeed, that many pundits believe that individually, many of his positions and actions, actual and promised, pose existential threats to the United States and its institutions that are far more threatening than any concerns raised by Biden’s age. Some rush to remind Americans of the time when Benjamin Franklin, one of the original framers of the US Constitution, was walking out of Independence Hall after the Constitutional Convention in 1787, and someone shouted out, “Doctor, what have we got? A republic or a monarchy?” To which Franklin supposedly responded, with a rejoinder at once witty and ominous: “A republic, if you can keep it.” 

If once elected, and at a second or third election outvoted by one or two votes, he will pretend false votes, foul play, hold possession of the reins of government, be supported by the States voting for him. Thomas  Jefferson to James Madison in 1787

[The quotations of the founding fathers come courtesy of Jeffrey Rosen, The Washington Post]

Found in translation …

British writer and columnist Gerard Baker does not agree with these latter day Cassandras. I republish below an entertaining and informative article written by this self-ordained translator of Trumpspeak, who describes himself as a “right-wing curmudgeon, writer and media critic. Actually, he is quite Right, a Eurosceptic and according to some, a closet Trumpista. But his piece is quite perceptive.

“Parsing Donald Trump is a uniquely difficult linguistic task …There are multiple layers of challenge. First, you can never have more than 50 per cent confidence that what he is saying is true. Second, much of what he says is intended to entertain, rather than inform or inspire. Third, and most confoundingly, the meaning of what he says is often quite different from the actual content.

In what must be the only feature of Trump’s ministry on earth that is like that of Jesus Christ’s, the former president speaks in parables. Unlike Christ’s, Trump’s stories are primarily designed to showcase his own greatness but, crucially, like the Son of Man’s, they also convey an important larger message … in focusing just on the words – and frequently distorting them – to paint a picture of a deranged despot, they [his critics] miss the meaning, the meta-story, if you like. That is a problem because it means they miss a critical part of understanding what is happening in America.

The truth about Trump and his enduring appeal to so many Americans is that, beyond the unsettling mix of Borscht-belt schtick and Munich-beerhall menace, beyond the verbal minefields of untruths, half-truths and narcissistic bombast, is a serious message channeling the reasonable fears and doubts of at least half the country … Trump understands better than anyone the dissatisfaction of Americans, their weariness with burdens …Trump’s greatest political asset has always been an almost animal-like ability to sniff out public sentiment, and then, in hyperbolic manner, to articulate it; sentiments on immigration, crime or American self-identity that are unsayable, willfully ignored by the established political class”.

© Paul Hemphill 2024.  All rights reserved.

For more in In That Howling Infinite on American politics, see My Country ’tis of Thee

Trump flogging joggers at Sneaker Con, February 2024


Trumpspeak crazy but attuned to Americans’ dissatisfaction with their burdens

Republican presidential hopeful Donald Trump raises his fist at an event in Iowa in January. Picture: AFP

The Republican presidential hopeful at an event in Iowa in January.  AFP

Parsing Donald Trump is a uniquely difficult linguistic task. There are multiple layers of challenge. First, you can never have more than 50 per cent confidence that what he is saying is true. Second, much of what he says is intended to entertain, rather than inform or inspire. Third, and most confoundingly, the meaning of what he says is often quite different from the actual content.

In what must be the only feature of Trump’s ministry on earth that is like that of Jesus Christ’s, the former president speaks in parables. Unlike Christ’s, Trump’s stories are primarily designed to showcase his own greatness but, crucially, like the Son of Man’s, they also convey an important larger message. The task of parsing this is so complicated that much of the media doesn’t even try. As with Pavlov’s dog, Trump rings their bell and away they go, barking like mad about some terrifying new thing the man is threatening.

“It is impacting the flow of support,” the NATO Secretary General said on Wednesday afternoon after a two-day meeting of defence ministers in Brussels. “To some extent, this can be compensated by increased support from… other allies. And European allies and Canada are stepping up, are doing more.
It’s understandable but in focusing just on the words – and frequently distorting them – to paint a picture of a deranged despot, they miss the meaning, the meta-story, if you like. That is a problem because it means they miss a critical part of understanding what is happening in America.

The truth about Trump and his enduring appeal to so many Americans is that, beyond the unsettling mix of Borscht-belt schtick and Munich-beerhall menace, beyond the verbal minefields of untruths, half-truths and narcissistic bombast, is a serious message channeling the reasonable fears and doubts of at least half the country.

So when the permanently unfinished Rubik’s cube of Trump’s mind last weekend produced another multisided Technicolor shocker of an outburst – this time on the subject of the US and NATO – the media as usual gave us the version they wanted us to hear: “Trump says he would encourage Russia to invade NATO countries who do not pay their bills,” says the headline on a story that is still on the BBC website. “I want Russia to invade Europe” in other words.

The first thing to point out is that Trump didn’t say this. He was instead recounting a story from his presidency – telling a campaign audience that when he was pressing European governments to spend more on their own defence, he was asked by a NATO country leader if the US would still protect them from Russian invasion if they didn’t pay up.

“No, I would not. In fact I would encourage them to do whatever they hell they wanted,” he said.

As your reliable translator of Trumpspeak, I’ll say there are three key takeaways from this. First, it didn’t happen. Don’t you think we might have heard about this some time in the past five years if it did?

Second, the point of the story is primarily to emphasise Trump’s own negotiating prowess. This has always been central to his bloated self-image. From casino construction to global security, it’s always about his unique ability to get the deal done. The irony is that the point of Trump’s story was precisely the opposite of what’s been said about it – instead of representing the end of NATO, it is about how (in his own mind) Trump saved the alliance with an act of bravado that forced Europeans to action.

But the most important truth in this fictional story is that Trump understands better than anyone the dissatisfaction of Americans, their weariness with burdens.

Trump’s greatest political asset has always been an almost animal-like ability to sniff out public sentiment, and then, in hyperbolic manner, to articulate it; sentiments on immigration, crime or American self-identity that are unsayable, wilfully ignored by the established political class.

One of these is the idea that the world Americans inhabit is dramatically changed. It is 75 years since the founding of NATO, more than 30 years since the end of the Cold War. It is remarkable how little the foreign policy establishment in the US, or America’s allies, understand the world as it appears to Americans themselves.

This is obviously true of the conspectus of global threats. In this century, first Islamist terrorism and then the rise of China have imposed themselves on the American consciousness. It’s true that NATO allies were reliable contributors to the war in Afghanistan. But that ended in disarray and disillusion – hardly an advertisement for the power of the alliance.

But more important than all that is Americans’ own, very new, sense of their own precariousness. This is not just about the changing global threats but their confidence in the success of their own country.

For more than two decades, with very brief exceptions, the vast majority of Americans have told pollsters they think their country is on the wrong track. For the first time in history most Americans think their children will be worse off than they are.

In these circumstances NATO is increasingly seen not as a critical part of America’s own security but as a costly obligation to others. The statistics – a US that contributes well beyond its economic resources – tell only half the story.

With a few exceptions, most European nations would be unable and even unwilling to stand up to an aggressor. Americans watch as Europeans have grown prosperous but dependent on US security and they resent the obligation, particularly from Europeans who seem to go out of their way to express disdain for America.

This isn’t 1930s isolationism, which reaped its own whirlwind in the 1940s. America then was an emerging superpower reluctant to get into another world war.

Today Americans see themselves as a nation in decline, under siege from global forces – uncontrolled immigration streaming across their southern border, terrorists pledging to murder them at home and abroad, a rising nuclear-armed superpower across the Pacific. And they don’t see where NATO fits in.

Trump’s words are typically extreme. Don’t let the crazy blind you to the deeper message.

The Times

Goosestepping back to political relevance

Outlander – if I didna hae bad luck, I’d hae no luck at all …

History can’t be trusted
Brianna Randall

It’s good I’m Scottish. I’m Scottish. I am Scottish.
I can complain about things, I can really complain about things.

Peter Capaldi, the Twelfth Doctor, discovers he has a Scottish accent

The pipes, the pipes are calling …

Well, after nearly a decade, we heard them at last and surrendered to Outlander  

The promise of exotic Celtic locations, steamy sex scenes, and graphic violence was too irresistible – all this and the fact that we’d run out of tempting things to watch on Foxtel, SBS and Netflix … And so we settled down to what would be eight  seasons of the celebrated time-shifting highland fling (before bingeing on Game of Thrones for the umpteenth time. By happenstance, the final episodes dropped on Netflix on the same day as GoT’s imaginative prequel The House of the Dragons – a fine time for fantasy fans. 

If you’re into stories with eye-candy, period costume, great music, loads of gratuitous violence and soft porn garnished with some history, this one’s for you. It’s a bit like reading Playboy for the stories.

And, of course, there’s time-travel, a perennial fantasy and science fiction trope. Nor is time travel involving Scotland original. The many incarnations of Doctor Who have made many visits to Scotland during their adventures. Way back in 1966 The Highlanders saw Patrick Troughton’s Second Doctor arrive in the Scottish Highlands in 1746 just after the Battle of Culloden. It was here that The Doctor met Jamie McCrimmon (actually, Yorkshire actor, Frazer Hines), a piper of the Clan MacLeod who would go on to be a regular and popular companion to the Doctor. Since then, there have been four Scottish Doctors and many Scottish lead characters. American author Diana Gabaldon says she created the Outlander stories (on which the series is based – there are nine of them) after watching Hines in Doctor Who and based her leading man on him. Hines actually has a role in the 21st century Doctor,  Season 1, episode 11.

Fraser Hines as Jamie, 1966

The Whovian Paradox

So, here we were, time-hopping back and forth between 1745 and 1945, the ‘45 Scottish Highland rising and the end of WWII, and then, the American colonies before and during the American War of Independence, the late nineteen sixties and early eighties. The traffic at the magical stone rings of Craigh na Dun, somewhere near Inverness (they’re actually on Lewis in the Outer Hebrides) and North Carolina (apparently, they’re styrofoam) reaches rush hour proportions as one, two, one again, three and four, family members and other sundry “travelers” pass to and fro’.

The title of this piece, as everybody ought to know, is borrowed from the old blues song Born Under A  Bad Sign, immortalised, of course by the best rock trio ever, Cream. It describes a narrative arc which follows a “Groundhog Day” formula. The heroine Clare Fraser late of 1945, a former WWII battlefield nurse, after landing in the Scottish Highlands in 1744, is over ensuing years captured by British Army Redcoats, press-ganged by the Royal Navy, arrested by colonial vigilantes, almost burnt for a witch by superstitious puritans, has sex with Bonnie Prince Charlie, and is serially rescued in the nick of time by her husband, rebellious and handsome highlander Jamie Fraser. Jamie is captured, arrested, flogged, enslaved, kidnapped and worse, and is rescued, in the nick of time by his resilient spouse. This happens numerous times, with sundry villains outwitted, overcome and served their just desserts – with plenty of time to spare for many interminable sex-scenes (why take five minutes of screen time when you’ve seven seasons to fill), and one excruciatingly graphic and gratuitous episode of sexual violence which, counting flashbacks, must’ve taken up to a hour or more of screen time. It must have caused consumer conniptions because by series seven, the show runners had seriously toned down the adult content.

Their ill-starred son in law Roger Mackenzie endures a similar helter-skelter ride as he embarks on a literal “hero’s journey” from academic and folksinger to preacher to late twentieth century “househusband” – his adventures including being press-ganged by pirates, “sold” to native Americans, and fighting successively for the British army and the insurgent Continental Army. 

For all the back and forth, the melodramatic fol-de-rol, the surfeit of rumpy-pumpy and violence, and the gorgeous highland and American scenery, as a historical and well-costumed drama, it presents a well-researched and historically accurate – if simplified – portrayal of society and politics leading up to the Jacobite Rebellion of 1745-46, including a brutal reenactment of the Battle of Culloden, the last battle fought on British soil, and the American Revolutionary War, of the French court at Versailles, of medical techniques in the 18th Century (Clare is an experienced battlefield nurse and qualified twentieth century doctor), and of the original sins that still haunt the United States today: the institution of slavery and the fate of the indigenous Americans. There are many historical characters including an unflattering portrayal of Bonnie Prince Charlie, the leader of the Jacobite forces, and a more sympathetic George Washington (but not his alleged wooden teeth). There is also a brief cameo for the not yet treasonous Benedict Arnold. 

There was an original and to my mind amusing walk-on role which may have gone over the heads of most viewers, particularly as no reference is made to her back story. When Charles Stewart was on the run after Culloden, he was aided in his flight by minor aristocrat Flora MacDonald who was subsequently arrested for her role and consigned to the Tower of London, but later amnestied. She married an army captain also named McDonald, and they emigrated to the American colonies, where she is fleetingly introduced to our Jamie at a society soirée. Her captain actually served with the British forces during the American War of Independence, and as a result, their property was confiscated. They relocated to Canada and soon, after, returned to Scotland. 

One early criticism I had of Outlander was that the highlanders all spoke Scottish Gaelic. Not that I’ve a problem with the tongue because it’s a beautiful language and I wish I could’ve learned Gaelic in the past – it was my Irish mother’s native tongue, though she lost it after years of living in England. But because there were no subtitles. I realized very soon that this was intentional as it emphasised just how alien the whole scene must’ve been to English Claire, now dependent upon Jamie, who, like Mel Gibson’s William Wallace, was multilingual, and a handful of bilingual clansmen to understand what was being said around and about her. Jamie’s pet name for her is Sassenach, meaning foreigner or, indeed, Outlander, derived from the English saxonīs or saxons, and used by Catholic highlanders for protestants of the Anglican persuasion. By the second season, to borrow from Jamie, I “dinnae fash”.

Many books and films of the fantasy genre have endeavoured to resolve what one could call the Whovian Paradox – the desire to go back and change history for the better. But, as the ever-regenerating Doctor himself always cautioned his constantly changing and ever-enthusiastic companions, you can’t just go back and alter history.  We’ve seen it often in films like Terminator, 12 Monkeys and Looper.  For all its melodrama and conjecture, Outlander manages to weave, at times clumsily, through the conundrums and contradictions. But no spoilers here … 

Songs of Rebellion 

Now, let’s talk about the music. The Outlander books by Diana Gabaldon make constant references to songs and music from the periods in which the stories are set, be these eighteenth century Scotland and America or the twentieth century. The series’ soundtrack created by American composer and musician Bear McCreary works well in providing a sense of place and time. As an old folkie of Celtic blood, I enjoyed hearing snippets of songs and tunes that I’ve known since childhood, including Marie’s Wedding and Johnny Cope.

The main theme, in the opening TikTok’s, and as a leitmotif throughout story  is the ersatz Jacobite song Over The Sea to Skye. It’s a grand old song, and I’ve written about it before:

There are many folk songs that we are convinced are authentically “traditional”, composed in the days gone by an unknown hand and passed down to us by word of mouth and then, perhaps, by broadsheets and handbills, rustic kitchens and Victorian parlours, until finally pressed into vinyl during the mid-twentieth century folk revival. And yet many such songs were indeed written by poets and songwriters of variable fame. One such is The Skye Boat Song. 

This famous song is one of many inspired by the Scottish Jacobite Rising against Protestant England’s rule in 1745. It recalls the journey of Prince Charles Edward Stuart, “Bonny Prince Charlie”, from Benbecula to the Isle of Skye as he evaded capture by government troops after his defeat at the Battle of Culloden in 1746. The Jacobite Rebellion was sparked by many political, cultural and economic factors. but essentially, it was a dynastic civil war. 

Songwriter and philanthropist Sir Harold Boulton, 2nd Baronet composed the lyrics to an air collected by Anne Campbelle MacLeod in the 1870s. According to Andrew Kuntz, a collector of folk music lore, MacLeod was on a trip to the isle of Skye and was being rowed over Loch Coruisk (Coire Uisg, the “Cauldron of Waters”) when the rowers broke into a Gaelic rowing song “Cuachag nan Craobh” (“The Cuckoo in the Grove”). MacLeod set down what she remembered of the air, with the intention of using it later in a book she was to co-author with Boulton.

It was first published in 1884 Around 1885 the famed author Robert Louis Stevenson, considering Boulton’s lyrics words “ unworthy”, composed verses “more in harmony with the plaintive tune”. Purged of Jacobite content, these mentioned neither Charlie nor Culloden.

Boulton’s is the one that endured, along with the sentimental perspective Bonny Prince Charlie

But historical fact has never dimmed the popularity of the song. It is often played as a slow lullaby or waltz in many and varied contexts including soundtracks, including Outlander (adapting the text of the text Robert Lewis Stevenson’s poem “Sing Me a Song of a Lad That Is Gone” (1892).

Billow and breeze, islands and seas,
Mountains of rain and sun,
All that was good, all that was fair,
All that was me is gone.

The rendering of the song changes through the seasons, with female and male solos, a capella and choral. The most poignant is that of season 7, featuring as it does Irish singer Sinéad O’Connor, who passed away this July , not long after the season aired fir the first time. Listen to it below. 

There was another piece that was used to excellent and atmospheric effect in the lead up to the Battle of Culloden. Bear McCreary has written: “To properly underscore these episodes, I needed a song that was written during the Jacobite uprising as opposed to after it, a song that makes no comment about loss, only promises of victory.
 I turned to famed Scottish composer and music historian John Purser, who was gracious with his time and assembled a collection a historically-accurate songs for me. I was immediately drawn to the soaring melody in Moch Sa Mhadainn, song composed by Scottish Gaelic poet Alasdair mac Mghaighstir Alasdair (known in English as Alexander MacDonald), a member of Clan MacDonald of Clanranald). A celebrated poet of the Jacobite era, Alasdair composed this song upon hearing the news that Prince Charles Edward Stuart had landed at Glenfinnan. That was perfect!  When Jamie opens the letter in “The Fox’s Lair” and learns he has been roped into the revolution, this song was actually being composed somewhere in Scotland at that very moment.“ Moch sa Mhadainn ‘s Mi a’ Dùsgadh (Early As I Awaken), also known as Oran Eile Don Phrionnsa (Song to the Prince) or Clan Ranald’s Welcome. I have published it at the end of this post.

A Scottish footnote

The two Scottish rebellions of the 18th century were as much civil wars as insurrections against the English Crown. Lowland Scots of the south were against the highlanders of the north. Catholics fought Presbyterians – but many Protestants fought the Crown, a legacy perhaps of the English Civil War, Cromwell’s Commonwealth, the Restoration in the previous century. Clan chiefs allied themselves to the Crown or to the Jacobite cause based upon family ties and self interest. The Crown’s forces at Culloden contained many Scottish soldiers, including senior commanders. Irish Catholic forces who had no love for protestant England fought on the side of the Jacobites. The forces who tracked down the rebels after the battle were often Scots, as were the soldiers and officers carrying out the reprisals and infamous Highland Clearances that followed – the latter being dictated by economics as much as politics, often in the interests of Glasgow and Edinburgh landowners who wanted the land cleared of residents so they could run lucrative sheep farms. A larger than life character like the celebrated Rob Roy MacGregor was very much a charming scoundrel who always had some sort of scheme going, and like most clan leaders, he had contacts in the highest places, including the palace.

I recently rewatched a televisual recreation of the battle of Culloden that I’d first seen in 1964 by British film maker Peter Watkins. For its time, it was a well-balanced account, featuring “interviews” with the principal protagonists on both sides, an engrossing narrative, and some pretty harrowing scenes of the carnage inflicted on the Highland forces by the well-armed and well-trained Redcoats. There is a link to the full film below. 

The Jacobite Rebellion itself was sparked by many political, cultural and economic factors. but essentially, it was a dynastic civil war. The battle on Culloden Moor dashed for two and a half centuries the Scots’ dreams of independence. Charles Edward Stuart, the “Young Pretender” to the Protestant Hanoverian English throne that once belonged to the Roman Catholic Stuart clan, fled into exile in France. And that’s where he remained, although his last resting place is in the crypt of Saint Peter’s Basilica in Rome – an ironic ending for this could’ve been champion of Catholic hopes. Bonny Prince Charlie had many romantic and rousing songs written about him. But in reality he wasn’t the dashing, gallant leader that the songs portrayed and that the Scots and their Celtic Irish allies yearned for. He was an indecisive and vacillating leader who thought himself much cleverer and popular than he actually was. portrayal in Outlander is most unflattering. When the going got rough, he got going – and left the the Scots and Irish who supported him with blood and treasure to the tender mercies of the Sassenach foe”.

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

Thou art the choicest of all rulers
Here’s a health to thy returning,
Charlie His the royal blood unmingled
Great the modesty in his visage
Moch Sa Mhadainn (Song to the Prince)

The Jacobites: ‘Don’t let romanticism obscure the threat they posed

Alison Campsie, 19th Nov 2020

The Battle of Culloden as depicted by Swiss painter David Morier, who was paid a pension by the Duke of Cumberland, the commander of the British Army at the battle. PIC: Creative Commons.
The Battle of Culloden, David Morier, who was paid a pension by the Duke of Cumberland, the commander of the British Army at the battle. PIC: Creative Commons.

The romanticism of Jacobites should not obscure the threat they posed to the British Army in the years following the Battle of Culloden, a leading historian has said.

They soldiers were stationed in 400 cantonment camps – from forts to staging posts – from Lerwick to the Western Isles and from Aberdeen to Gretna, with 60 patrols remaining in Scotland a decade after the battle.

 
Professor Pittock, in an online lecture hosted by History Scotland magazine, said: “Although Jacobitism became romanticized, that romanticism should not be obscured by its reality.
 
“Its reality was that it had to be contained so extensively in such a prolonged way and so completely.”
 
He added: “Although the Jacobites became romanticised the romanticisation was itself a reaction to the seriousness of the threat it was seen as posing at the time.

“Romanticism kept the Jacobites alive but it also kept it at a safe distance.”

Prof Pittock noted that around 1,000 Jacobites died at Culloden with another 2,000 killed in the days that followed given the army’s ‘licence to kill’ supporters of the cause.

Soldiers were paid 16 guineas for the capture of Jacobite colours and 2s and 6d for every Jacobite musket or broadsword seized, Prof Pittock said.

He added that Cumberland and his commanders rotated their soldiers every three months in order to prevent connections being forged with local people.

 

Their longer term role was to police ‘Highland dress’, protect the collection of taxes and “overawe the local population”.

But residents chose not to help the soldiers in some cases with a report from Glen Dessary noting that ‘the people are unwilling to part with any provisions’ for the forces.

Desertions were not uncommon, with two deserters from Pulteney’s Regiment sentenced to death. However, it was decided that one should be spared, with a roll of a dice determining who should live, research by Prof Pittock found.

He pointed to the building of Fort George at Arderseir, which served as a British Army garrison from 1757, which cost around £2m to build at a time when Britain was heading into the Seven Years War while servicing a massive national debt.

“What that should tell us that whatever people might think about the Jacobite cause being romanticised, or it being wrong, it was not what their enemies thought at the time,” Prof Pittock added.

“That is extremely important. You cannot understand Jacobitism by looking down the wrong end of a telescope,” he said.

Details of the British Army occupation of Scotland following Culloden have also been brought to light by the Stennis Historical Society, which has researched and digitised hundreds of records of cantonment camps set up across the country post-Culloden.

The Jacobites who fought on after Culloden

The Scotsman, 16th Apr 2019

The battle was lost, the rising was over, and the rebels were told by their leader to go home. But for hundreds of Jacobites, the fight was still on, despite their defeat at the Battle of Culloden, with many remaining armed and engaged long after Bonnie Prince Charlie went on the run on April 16, 1746.

Around 1000 Jacobites ­gathered the following day at Ruthven ­Barracks, where a written order from Prince Charles Edward Stuart told them to “seek their own safety” and disband,

But, for many, surrendering was too dangerous an option, according to Professor Murray ­Pittock, ­historian and pro-vice principal of Glasgow University.

As time went on, the risks of Jacobites handing themselves in became clear.

Prof Pittock said: “The mood of the Ruthven meetings was downcast. Many fought on to avoid capture or because the risk of surrendering was high.

“To see how the British Army is dealing with people, there is not really a lot of incentive to go home. They think they will be at more risk.

“In June, a number of Jacobites went into Fort William after the British government ­promised six weeks’ immunity. Captain Scott drowned them in a salmon net.”

Jacobites engaged in low-level disruption, raiding and ­protection of vulnerable tenantry as well as recruitment to the Irish Brigade and probably Scottish regiments in French service, including Ecossais Royales.

Assassinations of unpopular ­government officers or sympathizers were also recorded. The British government still considered the Jacobite threat to be “major” at this time with around 12,000 to 13,000 soldiers deployed across the entire country – from Berwick and Stranraer to Elgin, Forres, Stonehaven, Inverbervie and Montrose – by the end of August 1746.

As government forces mobilized, significant units of armed Jacobites continued to appear in the field, said Prof Pittock, who is due to publish a book on the British Army between 1746 and 1760.

At the end of April, 120 armed MacGregor men were recorded in Balqhuidder after marching home ‘colours flying and pipes playing’ with the Army unwilling to tackle or pursue Jacobite units that maintained discipline, Prof Pittock said.

One battalion of Lochiel’s ­regiment was still operational in May – as were 500 men under ­Clanranald. Orkney remained under Jacobite control until late that month and, despite British attacks, four local Jacobite lairds remained successfully hidden.

Clans made concerted attempts to resist Cumberland and his men with around a dozen chiefs meeting at Mortlaig in early May.

“At the meeting… they entered into a bond for their mutual defence and agreed never to lay down their arms, or make a general peace without the consent of the whole,” according to an 1832 account by James Browne.

“By the bond of association, the chiefs agreed…to raise on behalf of the prince and in defense of their country, as many able-bodied armed men as they could on their respective properties.”

Around 600 men gathered later that month across the north and west but the clans “ultimately did not have the time or morale to raise or retain enough men in the field,” Prof Pittock said.

Although a unified response failed to materialize, Jacobites remained active across Scotland. Jacobite expresses – the non-stop delivery of letters by horse – continued until August. A British regiment was deployed across Banffshire in the summer of 1746 with insurgents reported in Argyll that September.

Arms were surrendered in the Mearns right into the summer of 1748.

“British atrocities may have been carried out against innocent ­victims, but there were plenty of continuing Jacobite threats,” Prof Pittock said.

© Paul Hemphill 2023 All rights reserved

Over the sea to Skye

Mo Ghile Mear – Irish myth and melody

The Shoah and America’s Shame – Ken Burns’ sorrowful masterpiece

And high up above my eyes could clearly see
The Statue of Liberty
Sailing away to sea
And I dreamed I was flying
Paul Simon, American Tune

Ken Burns is a documentary maker and storyteller without equal. All his films are masterpieces of American history. I’ve watched much if not most of his work. They are among the most unforgettable histories I’ve ever viewed, high up in what I’d consider the pantheon of the genre, alongside The Sorrow and the Pity, The Battle of Algiers, Salvador and Waco – Terms of EngagementThe Civil War raised the bar so high that very few documentary filmmakers have reached it, with its mix of surviving photographic images (in an style that Apple now promotes as its “Ken Burns Effect”) and the mesmerizing recitation of diaries, letters home, and official communications. The West confronted his country’s enduring creation myth with an honesty balanced by empathy. The Dustbowl was breathtaking in its images, its narrative and the spoken testimonies it presented. The Vietnam War was a relentless, harrowing story told in pictures and the witness of the people ground zero of a a conflict that has been called “chaos without a compass”.

The US and the Holocaust is Burns’ latest film. It does not make for easy viewing being a searing indictment of America’s response to the catastrophe that was approaching for European Jewry. It’s a significant exposition centred on just how much evidence was accessible to Americans during that appalling time, and asks just why rescuing Jews was no priority, except for those few individuals who actually took risks to help. As Burns observed: “There is an American reckoning with this, and it had to be told. If we are an exceptional country, we have to be tough on ourselves and hold ourselves to the highest standard. We cannot encrust our story with barnacles or sanitise our history into a feel-good story”. As historian Rebecca Erbelding suggests, “There is no real perception in the 1930s that America is a force for good in the world or that we should be involved in the world at all. There is no sense among the American people, among the international community, that it is anyone else’s business what is happening in your own country”. There is indeed a disconnect between America’s self regard as the land of the free and the “light on the hill”, and the cold reality – and realpolitik – of its actual record at home and abroad. There is a none too subtle irony in the titles Burns has chosen for each two hour episode, drawn from extracts from the poem by Emily Lazarus that adorns the base of The Statue of Liberty (see below).

Burns work reminds us that historical memory in America, Europe, and indeed Australia is often like a sieve. Give it a good shake and only the big chunks are left. The story of the US’ public opinion and government policy regarding the worsening plight of European Jewry during the nineteen thirties and the a second World War is not one of those. When I posted an article about the film on Facebook, many Americans commented that they were unaware of their country’s disregard and outright obstruction. Burns has opened a crack that has let the light in.  

The quotations cited above are from a review published recently in the Weekend Australian which I have republished below – it is an excellent and quite detailed account of the issues and the incidents featured in this sorry tale, and I cannot better it. But I will note one distinctive feature of Ken Burns’ documentaries – his skill at recounting unfolding stories which he interweaves through the ongoing narrative, drawing viewers inexorably in and acquainting them with the characters, their hopes and their fears, and ultimately, their fates be these tragic – alas. in the most part – or fortunate.

In The Vietnam War, I followed the journey of an eager and patriotic young soldier, Denton “Mogie” Crocker, as he roved out from mall town USA to the battlefields of Indochina. I recount it. in The Ballad of Denton Crocker – a Vietnam elegy. In America and the Holocaust, there is the story of Anne Frank’s family as they sought asylum in the USA from the moment the the Nazi regime started to come down hard on Germany’s Jewish community. We all know how that ended for Anne and her sister. There is also the saga of what Hollywood called “the voyage of the damned”, the subject of an overwrought and overacted feature film, which nevertheless was based upon the actual voyage of the SS St.Louis which departed Hamburg with nearly a thousand desperate but hopeful travellers, but was refused entry into American and Canadian ports, and returned eventfully to Rotterdam where Britain, Belgium, France and the Netherlands gave them shelter. The latter three were conquered by the Wehrmacht in 1940, with harrowing consequences for those passengers who settled there, but a half of the St. Louis’ human cargo survived the war, predominantly those who were permitted to settle in Britain. 

On a personal note, whilst I am myself of Irish descent, Catholic and Protestant in equal measure on each side, my wife’s father’s family were Jews from eastern Germany and Czechoslovakia and experienced the same travails as those described in Burns’ film. Many, including her father’s elderly parents, perished in the death camps, and are memorialised the Yad Vashem shrine of remembrance in Jerusalem – which I have visited many times. Others managed to leave Germany, including her father, who settled in London, where she was born, and her uncle who a  lawyer who left Germany in 1933 after the promulgation of the infamous Nuremberg Laws, who settled in England and  and then made Aliyah to Palestine, ending his days in Haifa, in an independent Israel. Others headed westwards to Latin America in the hope of securing entry to the US from there.

Epilogue. Antisemitism, the devil that never dies

It has been said, with reason, that antisemitism is the devil that never dies. And yet, is antisemitism a unique and distinct form of racism, or a subset of a wider fear and loathing insofar as people who dislike Jews rarely dislike only Jews?

Fear of “the other” is a default position of our species wherein preconceptions, prejudice and politics intertwine – often side by side with ignorance and opportunism. it is no coincidence that what is regarded as a dangerous rise in antisemitism in Europe, among the extreme left as much as the extreme right, is being accompanied by an increase in Islamophobia, in racism against Roma people, and indeed, in prejudice in general, with an increase in hate-speech and incitement in the media and online, and hate-crimes.

We are seeing once again the rise of nationalism and populism, of isolationism and protectionism, of atavistic nativism and tribalism, of demagogic leaders, and of political movements wherein supporting your own kind supplants notions of equality and tolerance, and the acceptance of difference – the keystones of multicultural societies. It is as if people atomized, marginalized and disenfranchised by globalization, left behind by technological, social and cultural change, and marginalized by widening economic inequality, are, paradoxically, empowered, energized, and mobilized by social media echo-chambers, opportunistic politicians, and charismatic charlatans who assure them that payback time is at hand. These days, people want to build walls instead of bridges to hold back the perceived barbarians at the gates.

© Paul Hemphill 2023 All rights reserved

From Little Sir Hugh – Old England’s Jewish Question

Also, on American history and politics, My country, ’tis of thee- on matters American

The New Colossus

     Emily Lazarus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Ken Burns’ “The US and the Holocaust” tells of a shameful past

Graeme Blundell, The Weekend Australian, 11th March 2023

A scene from The US and the Holocaust
A scene from The US and the Holocaust
The latest documentary series from Ken Burns’s Florentine Films, The US and the Holocaust, is inspired in part by the US Memorial Museum’s “America and the Holocaust” exhibition. The series was developed with the assistance of the museum’s historians (many of whom appear in it) and its extensive archives.

It’s a significant exposition centred on just how much evidence was accessible to Americans during that appalling time, and asks just why rescuing Jews was no priority, except for those few individuals who took the risk to help.

For Burns, the series is the most important work of his professional career.

“There is an American reckoning with this, and it had to be told,” he says. “If we are an exceptional country, we have to be tough on ourselves and hold ourselves to the highest standard. We cannot encrust our story with barnacles or sanitise our history into a feel-good story.”

The US and the Holocaust was originally supposed to be released in 2023 but Burns accelerated production by several months, “much to the consternation of my colleagues, just because I felt the urgency that we needed to be part of a conversation”. That conversation for Burns and his colleagues is about “the fragility of democracies” and demonstrating how, “we’re obligated then to not close our eyes and pretend this is some comfortable thing in the past that doesn’t rhyme with the present”.

The filmmaker is fond of quoting Mark Twain’s, “History doesn’t repeat itself but it often rhymes,” and like all his films he wants this one to rhyme with the present.

“We remind people that it’s important that these impulses are not relegated to a past historical event,” Burns says. “It’s important to understand the fragility of our institutions and the fragility of our civilised impulses.”

As Holocaust historian Deborah Lipstadt, a significant voice in Burns’s documentary, says with some alarm in the series, “The time to stop a genocide is before it starts”.

And Peter Hayes, also a revered historian, says, underling the subtext of the documentary, “exclusion of people, and shutting them out, has been as American as apple pie”.

The three-part, six-hour series is directed and produced by Burns, Lynn Novick and Sarah Botstein, two of his long-term collaborators, and beautifully written by another Burns regular, Geoffrey Ward. As always Burns manages to find major actors to play the parts of his central characters in voice over, including Liam Neeson, Matthew Rhys, Paul Giamatti, Meryl Streep, Werner Herzog, Elliott Gould, Joe Morton and Hope Davis.

And like so many of Burns’s films it’s narrated in that mesmerising way by Peter Coyote, who Burns calls “God’s stenographer”. Coyote is able to voice such complex ideas with authority and empathy, often with a kind of beguiling liturgical intonation.

Stylistically recognisable and cinematically audacious, Burns’s memorable documentaries (many of which he has co-produced with Lynn Novick) include The Civil War, Baseball, Jazz, The War, The National Parks, The Dust Bowl, Prohibition, Country Music and more recently Hemingway. He constructs a compelling narrative by using almost novelistic techniques, imaginatively selecting archival material, photographed in his now famous way, immersing us in photographs, developing characters and arranging details around their stories.

The filmmakers present their story in this new series across three overflowing episodes in six challenging, engrossing hours: the first The Golden Door (Beginnings-1938); the second Yearning to Breathe Free (1938-1942); and the final The Homeless, Tempest-Tossed (1941-).

There are two parallel storylines that continuously reverberate off each other – the American side details the history of American anti-Semitism, the notion of “race betterment” and the evolving immigration policy; the German narrative arc deals with the way hatred of the Jews sprouted over time, how the Nazis pursued the end of Jewish intellectualism, and of course the process of their extermination.

The first episode covers the period from roughly the end of the 19th century to the late 1930s, a historical background that delivers context and perspective for the complex narrative that follows.

A scene from The US and the Holocaust
A scene from The US and the Holocaust

It’s broken by a short pre-titles sequence that involves new archival material from the centre of Frankfurt in 1933 of Otto Frank, father of Anne, Hitler having been in power for some months. Otto is desperate to get his family to America, but in the absence of an asylum policy, Jews seeking to escape Nazi persecution in Europe had to go through a protracted emigration procedure. It’s an unanticipated and surprising piece of the Franks’s story highlighting an American connection to the Holocaust.

(It’s a lovely, if distressing, example of the way Burns likes compelling personal narrative to wrap his ideas around, finding “characters” who become involved as events dictate.)

There was limited willingness to accept Jewish refugees. America did not want them, as Coyote says. Frank would continue to apply when they moved to Amsterdam but his immigration visa application to the American consulate in Rotterdam was never processed.

As the filmmakers later show so tragically, existence for European Jews became a deadly, exhausting pursuit of passports, identification cards, transit visas, and affidavits. As the journalist Dorothy Thompson, who features in the series, said, “For thousands and thousands of people a piece of paper with a stamp on it is the difference between life and death.”

We then cut to a beautiful period film sequence of the Statue of Liberty, Mother of Exiles, surrounded by slowly floating clouds, and a beautiful reading of the famous poem by 19th-century poet Emma Lazarus printed on a bronze plaque mounted inside the lower level of the pedestal:

Give me your tired, your poor,

Your huddled masses yearning to breathe free …,

I lift my lamp beside the golden door!

But the Golden Door, which gives the title for the first episode, had begun to close. The filmmakers take us back through history at quotas and the favouring of northerners over immigrants from southern or eastern Europe. Asians were largely locked out by the time of the Chinese Exclusion Act of 1882.

A so-called “racial abyss” was feared by Americans as the new century began; white people feared they would be outbred by the newcomers and their offspring. The white Protestant majority at the end of 19th century was certain that unless things changed they were about to be replaced.

A part meeting with a sign reading "Kauft nicht bei Juden"- Don't buy from Jews.
A US Nazi Party meeting with a sign reading “Kauft nicht bei Juden”- Don’t buy from Jews.

A “mordant sentimentalism” was blamed by some for the US becoming “a sanctuary for the oppressed”, and “suicidal ethics” were leading to the extermination of the white people.

Helen Keller called it “cowardly sentimentalism” and Henry Ford, the series reveals, blamed Jews “for everything from Lincoln’s assassination to the change he thought he detected in his favourite candy bar”. He even published a hugely successful newspaper to triumphantly publish anti-Semitic harangues.

Jews were dismissed as “uncouth Asiatics” and the hogwash “science” of eugenics, the theory that humans can be improved through selective breeding of populations, was promulgated by conservationist Madison Grant’s The Passing of the Great Race. The filmmakers show how it evolved and thrived in response to America’s changing demographics.

It was a concept taken up by Hitler who also admired America’s expansion across the continent from east to west, brushing aside those who were already there. This was manifest destiny. “The immense inner strength of the US came from the ruthless but necessary act of murdering native people and herding the rest into cages,” he wrote. His dream was of territorial expansion and Germany would in time conquer the wild east of Europe he believed. “Our Mississippi,” he said, “must be the Volga”.

Jews, scapegoats for centuries, watched as anti-Semitism was normalised in the US, in and out of Washington. Burns and his colleagues closely follow the complex manoeuvrings of President Roosevelt as he coped with the anti-immigrant xenophobiaas well as a wilful, and for many, all-consuming obsession with white supremacy.

As historian Rebecca Erbelding suggests, “There is no real perception in the 1930s that America is a force for good in the world or that we should be involved in the world at all. There is no sense among the American people, among the international community, that it is anyone else’s business what is happening in your own country”.

The series unfolds with Burns’s typical elegance: the stylised organisation of personal anecdote, Coyote’s sonorous narration, erudite, subdued commentary from historians and some ageing witnesses to atrocities, an elegiac soundtrack from Johnny Gandelsman, and gracefully realised visual documentation.

Much of the German archival footage is not unfamiliar but some new sequences horrify and disturb deeply. SS soldiers parade in the streets, chanting “When Jewish blood spurts off a knife, everything will be all right”. And the midnight book burnings on May 10, 1933, are a frenzied, phantasmagoria of volumes hurled into bonfires, including the works of Jewish authors like Albert Einstein and Sigmund Freud as well as blacklisted American authors such as Ernest Hemingway and Helen Keller.

The series is an extraordinary piece of work, resonant and at times frightening. As historian Nell Irvin Painter says, “Part of this nation’s mythology is that we’re good people. We are a democracy, and in our better moments we are very good people. But that’s not all there is to the story”.

The US and the Holocaust is streaming on SBS On Demand.

Actor, director, producer and writer, Graeme Blundell has been associated with many pivotal moments in Australian theatre, film and television. He has directed over 100 plays, acted in about the same number, appeared in more than 40 films and hundreds of hours of television. He is also a prolific reporter, and is the national television critic for The Australian.

The great outdoors – camping days

And the bush hath friends to meet him, and their kindly voices greet him
In the murmur of the breezes and the river on its bars,
And he sees the vision splendid of the sunlit plains extended,
And at night the wond’rous glory of the everlasting stars.
Clancy of the Overflow, AB (Banjo) Paterson

Sleeping under the stars, close to nature and exposed to the elements has a timeless allure, whether under canvas or on a bedroll or in a swag. It’s almost atavistic – a harking back to simpler and indeed, primeval days, a retreat albeit temporary from the workaday world and the ties that bind us to it, and a genuine pleasure of the open road.

For those with a drop of vagabond blood in their veins, and the echoes of a gypsy soul, it’s a sure cure for those “summertime blues”!

The Travelling People

Countries where the nomadic life has long been consigned to history and where the sedentary lifestyle is regarded as the civilised norm, individuals and authorities have long struggled to decide what camping is, and who is allowed to do it. Over the decades, the act of sleeping outside has served wildly varying ends: as a return to agrarian ideals, a rite of passage, a route to self-improvement. But whilst some camp for leisure and pleasure, for many, it is a economic and social necessity that has often been condemned as uncivilised, unsanitary, indigent, and even criminal – and it has also served as a proxy for disputes about race, class, discrimination and rootlessness.

For centuries, sleeping outside has been embraced or condemned, depending on who’s doing it. A recent book on the history of camping in the US explores what, exactly, camping is, and how the pursuit intersects with protest culture, homelessness, and identity. A excellent review in The New Yorker is republished below.

In some countries that are seeking to modernise rapidly, heavy-handed authorities have endeavoured to curtail the wandering life by regulation and resettlement, at times, by brute force. Recall the sad conclusion to James A Michener’s novel Caravans, set in Afghanistanand the its movie adaptation, and also British historian Vincent Cronin’s The Last Migration (1957), a  account of the Pahlavi shah’s regime’s repression of the Falqani nomads in the name of “progress”. I can’t recommend it enough. It is tragic and beautiful, and authentic in every finely drawn detail, like a Persian miniature on ivory. Closer to our western consciousness and consciences, is the savage repression and dispossession of the Native American and Australian First Nations. It is historically and culturally ironic that a loop-hole in Australian law decreed that camping was permitted on the lawns of Old Parliament House in Canberra, the Australian capital provided no more than twenty tents were erected. So it was that on Australia Day, 26th January 1972, indigenous activists established an Aboriginal Tent Embassy to protest against the the Australian government’s refusal to recognize indigenous land rights. It is there to this day, drawing national attention to unresolved indigenous issues. Read about the Aboriginal Tent Embassy HERE 

The early light is breaking
The morning sun is waiting in the sky
And I think I’m gonna break away
And follow where the birds of freedom fly

Caravans, Mike Batt

Aboriginal Tent Embassy 26th January 1972

The big backyard

As a nipper in Birmingham back in the late fifties, we had a very large backyard, with a lawn, apple and pear trees and a huge veggie garden. And one of our pleasures during the few warm months of school summer holidays was to erect a tent on that lawn. My brothers and I would spend our days outdoors, with a picnic and an old wind-up phonogram record player, until ordered in at sundown. We’d always wanted to spend the night there but our folks wouldn’t let us. We never understand why – we were perfectly safe in our own garden, and in our suburban backyard, there were none of the wild things we encounter in the wild. Looking back, I surmised that it had a lot to do with social norms. The folks grew up in rural Ireland, and probably associated camping out with the peregrinating ‘travellers’ who were regarded very much as unsightly and shady – a prejudice that persevered into their new lives in Birmingham. Back then, we had other names for them, for which I’ve been called to order on many a Facebook post.

In those days, “the travellers” would camp with their caravans and lorries on the “waste land” (yes, that what we called it, for reasons that were never explained – there was a lot that was not explained back the but was just taken for granted) that used to be homes and factories before the Luftwaffe destroyed them over ten years before. They had Irish accents, and this created an affinity with these itinerant folk as our parents and relatives were Irish immigrants, and we lived in an Irish world of Irish history, politics and music – as a young teen, I loved Ewan MacColl’s beautiful song Freeborn Man of the Travelling People, and it was the very first folk song I ever sang in public – in a billet in Southall during an Easter CND march.

As teens, we joined the Boy Scouts – where camping was deemed not only acceptable when under the auspices of the institution, but also, character building, and a means to learning resilience, self-reliance, and of acquiring valuable Baden-Powell bushcraft skills. To my folks, this gave camping the tick of respectability.

I must’ve been eleven or twelve when I first went off to camp, the whole troop   on the back of an open lorry with all our gear and supplies. That was was my first night away from home, in the middle of nowhere, and it was, well, unsettling. Two blankets pinned together, rucksack for a pillow, rubber groundsheet on the cold hard ground. Washing in the freezing country river. Drop latrines that we had first to dig . Tea “brewed” in a huge dixie, fry-ups in a big frying pan, and “spud bashing”. “Bush” walks and “survival” tips, and the famous “wide game”. Cocoa around a roaring camp of a summer evening fire at night singing jolly scouting songs.

The annual summer camp became a permanent fixture of my early adolescence, and off I went every year until I left senior scouts and grew out of “god, queen and country”. But it was an important and enjoyable experience. I still remember those songs, and snatches often pop into my memory unannounced.

We’d see parts of our land that few of us had the means to travel to, and experience a rural England that city folk had long lost touch with. On overnight hikes we’d tote our backpacks along country lanes and byways, compass and ordinance survey map in hand, and set up a flimsy tent in an open field when the sun went down. The following hazy pictures were taken at a combined South Birmingham troop scout camp in Echternach, Luxembourg, on the German border. We were an eclectic crew – it even included a trio of Sea Scouts (incongruous as Birmingham was a long way from the sea). Of its time – nowadays, such a group shot would be so much more cosmopolitan. That’s me, arms folded.

Echternach Scout Camp, August 1963

Echternach Scout Camp, August 1963

As I grew to manhood – and outgrew scouting, I remained accustomed to sleeping out. At music festivals in rural England in the late sixties, it was a given that we would bed down on site come all weather – as the lovely pictures of the retro-medieval fayres provided by my good friend Charles Tyler show (Charles in the lad with the guitar in the featured photograph). I would often sleep on the side of the road when hitchhiking throughout the land. I’ve slept under the stars in England and Scotland, in Greece and Yugoslavia, Syria and Jordan, Iran and Afghanistan, Pakistan and India.

I’ve awoken covered in snow near the Culloden battlefield outside Inverness; been moved on by Yugoslav police when I’d mistakenly turned in for the night next to a military base outside Niš; settled down in a shabby park by the Sea of Galilee, wary of scorpions; slept on a precarious ledge high above the rose city of Petra in Jordan; bedded down in the desert on the border between Iran and Afghanistan; and battled mosquitoes on the banks of the Hawkesbury River. In latter years, on safari in Tanzania, we awoke in the night in our tent by the Rufiji river to see a big eye staring at us through the flimsy window as an old tusker proceeded to do his business right beside our tent; and sat around a fire of acacia sticks in a makeshift bush camp on the Serengeti savanna.

Just the other day, I was browsing through my travel diary for 26th August 1971 and came upon the description of my nighttime arrival in the outskirts of Amman, Jordan, on my way to Petra and Aqaba – a night I had long forgotten: “In my lostness, I came upon a policeman. And soon, three traffic cops were crashing the ash and buying me tea and bread. At last, they took me to a park, where King Hussein had a palace,  and bade me sleep – under their protection. Come morning, I was gently awoken by the coppers who bought me breakfast and commandeered a taxi to take me into the town centre (where) again, police assisted me by asking a taxi driver to take me to the Aqaba road”. We took risks, we travellers of “the Overland” back in the day, and many times we were blessed with the charity and caring of our fellow humans.

My hitching days are now long gone, and so is the urge to set up camp in the great outdoors – apart from that African journey, when there was little alternative. And yet, I still love the great outdoors and being close to nature. Living off-grid on a rural property far from the madding crowd and surrounded by forest, with birdsong by day and frog song by night, I reckon I have have the best of both worlds.

© Paul Hemphill 2023 All rights reserved

Read also in In That Howling Infinite, Song of the Road (1) – my hitchhiking days, and Song of the Road (2) – The Accidental Traveller

Barsham Faire 1973

Meagan Fair, Pembrokeshire, 1975

The Confounding Politics of Camping in America

For centuries, sleeping outside has been embraced or condemned, depending on who’s doing it. A recent book by the historian Phoebe S. K. Young explores what, exactly, camping is, and how the pursuit intersects with protest culture, homelessness, and identity.
Illustration by Sally Deng 

Just a drop would do, though. Early campers didn’t wish to be mistaken for actual vagabonds, and the line between the two was easily smudged. In 1884, Samuel June Barrows, an outdoors enthusiast and, later, a one-term congressman, warned that a traveller carrying a “motley array of bedding, boxes, bags, and bundles” might arouse “suspicions of vagrancy”; to distinguish oneself from the riffraff, it was best to pack a “de luxe” tent and fashionable attire. Barrows’s anxiety underscored the contradictions of recreational camping, which he described as “a luxurious state of privation.” One of its luxuries was that it was temporary. In the name of leisure, well-heeled campers sought out the same conditions that, in other contexts, they condemned as uncivilized, unsanitary, or criminal.

In “Camping Grounds: Public Nature in American Life from the Civil War to the Occupy Movement” (Oxford University Press), the historian Phoebe S. K. Young finds that Americans have long struggled to decide what camping is, and who is allowed to do it. Over the decades, the act of sleeping outside has served wildly varying ends: as a return to agrarian ideals, a means of survival, a rite of passage for the nuclear family, a route to self-improvement, and a form of First Amendment expression. In Young’s account, it becomes a proxy for disputes about race, class, and rootlessness—all the schisms in the American experiment.

As Barrows slept beneath the stars, countless workers were forced to do the same. In the eighteen-seventies, a boom-and-bust economy and a burgeoning network of railroads compelled laborers to crisscross the nation, following the cycles of the market. The “tramp problem” vexed those of means. Allan Pinkerton, the founder of the ruthless, union-busting Pinkerton National Detective Agency, blamed the Civil War for giving men a taste of “the lazy habits of camp-life.” In 1878’s “Strikers, Communists, Tramps and Detectives,” Pinkerton detailed the “grotesque company” tramps kept by moonlight, writing that debauchees would doze “in a stupid sodden way that told of brutish instincts and experiences.” Scarier than the encampments was the fear that some Americans might find them appealing, retreating from society to enjoy “the genuine pleasure of the road.”

The travel industry soon recognized those pleasures by making tramping an aesthetic, something that campers could slip into and shuck off as they pleased. A writer for Outing, a magazine aimed at moneyed outdoorsmen, preferred to “rough it in the most approved ‘tramp’ style—to abjure boiled shirts and feather beds and dainty food, and even good grammar.” As Young points out, the quotation marks around “tramp” raised a barricade between the imitation and the original. Real tramps led a precarious existence, subject to arrest, surveillance, poverty, and ostracism. When élite campers wore their costume, they shrugged at a world in which, as Pinkerton wrote, “a man may be eminent to-day and tomorrow a tramp.”

The double standard was especially glaring in Native communities. White Americans, including Barrows, saw tribal settlements as the epitome of savagery. The U.S. Office of Indian Affairs hoped that Native populations would disavow their “barbarous life” and take up “a distaste for the camp-fire.” Such goals were presented as matters of public health, but the message diverged sharply depending on the audience. Although Native groups “learned that the only way to prevent consumption was to give up camp life,” Young writes, “recreational campers read that exposure to fresh air and sunlight” could cure the illness. The government forced Native children to attend boarding school and subjected adults to dehumanizing reëducation projects. Meanwhile, Outing, as it had with tramps, presented Indianness as an identity to be adopted and discarded on a camper’s whim. One contributor confessed that summer gave him “an irresistible desire” to “live the life of a savage in all of its most primitive simplicity.”

In the early twentieth century, the automobile allowed legions of new drivers to flock to the countryside. Camping shed some of its élitist pretensions, but its popularity exposed new rifts. Eager for traffic, many towns constructed no-frills auto camps at their outskirts, where entry was often free, at least until the camps attracted hordes of families and their Model Ts. These “tin-can” tourists, as Sunset magazine called them, ate canned food heated on the engine—or, more boldly, by a camp stove connected to the exhaust pipe. Camps couldn’t keep such people away; now that the backcountry, or even the frontcountry, was within reach, Americans intended to pitch their tents wherever they could. From 1910 to 1920, national parks and monuments saw a fivefold increase in visitors, reaching a million a year; by 1930, that figure had jumped to more than three million. The deluge was unmanageable. In addition to arresting vistas and pristine forests, campers expected generous amenities—firewood, electric lights, running water, garbage collection—and they were not in the habit of leaving nature as they found it. California’s redwoods, in particular, were so frequently, heedlessly beheld that their roots began to choke underfoot.

To save the trees, Emilio Meinecke, a plant pathologist for the U.S. Forest Service, conceived a template still in use today: a one-way loop road with short “garage-spurs,” each of which functioned as parking for a designated campsite. By presenting campers with private, manicured spaces, Meinecke hoped to spare the surrounding plant life, reminding visitors that they were “guests of the nation.” Intentionally or not, his campsites had the flavor of the suburbs—the land, once for farming, was now to be savored as a consumer, and every family had its plot. The New Deal funded the “Meineckizing” of almost ninety thousand acres of federal campgrounds, about half of which were new, signalling the rise of what Young calls “the campers’ republic.” “Mixing leisure with nature,” she writes, “became a potent way for citizens to demonstrate national belonging.”

But all was not well in the republic. The Great Depression had pushed record numbers of Americans into homelessness: by one estimate, during one day in the spring of 1933, a million and a half people were sleeping outside or in public shelters, and the actual number was likely higher. Because camping was so popular, budget-minded vacationers were sometimes cheek by jowl with the down-and-out. Who could say which was which? Manufacturers of camping trailers went out of their way to disclaim the use of their products as “a permanent address.” Others argued that campgrounds were too affordable or unsupervised. In 1940, J. Edgar Hoover, never one for understatement, alleged that roadside tourist camps had become “dens of vice and corruption” for “gangs of desperados.” Even Meinecke, for all his talk of hospitality, did not look kindly on extended stays at national parks. In an internal report, he complained that some visitors, “evidently camped for a long time,” had given one of his campsites a “ ‘used,’ second-hand look,” spoiling it for “decent people who are not slum-minded.”

If the U.S. has dithered about the basics of camping—who can do it, where, and for how long—it’s been outright bewildered by camping as political speech. Could anyone have a message so urgent that it can be delivered only by sleeping outdoors? The answer is yes, as thousands of protesters have made clear, but the government has seldom taken them at their word, instead casting them as devious freeloaders or closet indigents. Occupy Wall Street, which famously enjoined its participants to bring tents, honed an approach popularized after the Civil War, when the Grand Army of the Republic, a Union veterans’ group, camped near the Washington Monument to raise awareness of their sacrifices. In 1932, the Bonus Army—thousands of out-of-work veterans seeking their service bonuses—followed suit, encamping in plain view of the Capitol. For weeks, the public debated whether the soldiers were heroes or hobos. President Herbert Hoover, deciding on the latter, ordered the clearing of the camps, resulting in a fiery conflict that claimed at least one life.

But a tent makes a forceful statement: someone is here, and that someone intends to stay. When Martin Luther King, Jr., and the Southern Christian Leadership Conference wanted to show Washington the true toll of poverty, they decided that camping was the only suitable action. The Poor People’s Campaign brought more than two thousand people to the Lincoln Memorial Reflecting Pool in May, 1968, a month after King’s assassination. Known as Resurrection City, the encampment lasted for six weeks, drawing support and ire. A concerned citizen wrote to President Lyndon B. Johnson that “a hoard [sic] of locusts” was abusing “hallowed ground.” Calvin Trillin, writing for this magazine, noted the irony: the poor had intended to show America that they were “sick, dirty, disorganized, and powerless—and they are criticized daily for being sick, dirty, disorganized, and powerless.” By June 24th, the camp had dwindled to five hundred, and police fired tear gas to expel those remaining. A demonstration about homelessness, it seemed, was no different than homelessness itself.

Just three years later, Vietnam Veterans Against the War began planning to camp near the Capitol, and the Nixon Administration, fearing a repeat of Resurrection City, refused to give them a permit. The V.V.A.W. requested a stay on the ban, and the case went to court. Determining the legality of protest encampments, Young writes, “required finding an elusive balance between Constitutional freedoms and public safety.” The N.P.S. would allow only a “simulated” camp on federal grounds: no fires, no tents. John Kerry, who argued for the V.V.A.W., maintained that a real campsite was the only way to “tell our story to the people of this country.” The judge hearing the case, meanwhile, felt that to camp was essentially to sleep and was an act that couldn’t “express a single idea”—and that couldn’t claim First Amendment protection. He upheld the camping ban; the Court of Appeals reversed it; the Supreme Court reinstated it. The V.V.A.W. decided to camp anyway, and, not wanting a public-relations disaster, Nixon let them be. The Washington Post quoted a Park Police officer who, looking over a National Mall clotted with sleeping bags, waxed philosophical: “What’s the definition of camping? You tell me. I don’t know.”

The ensuing decades did little to answer that question. By 2012, Congress was holding hearings on the subject, in which Trey Gowdy, a House member from South Carolina, grilled Jonathan Jarvis, the director of the N.P.S at the time. “What is the definition of camping?” Gowdy demanded. Occupy D.C. had been staying in McPherson Square, in downtown Washington, for months, and Jarvis had been reluctant to say that the protesters were camping—their actions were a means to an end, not the end itself, which was reason enough to avoid enforcing the N.P.S. ban. Gowdy seemed to understand the Occupiers as recreational campers in disguise; their politics were a cover story for a good time, and taxpayers were footing the bill. But the Occupiers emphasized that they weren’t camping at all. (“WE ARE NOT CAMPING,” signs on their tents read.) Campers slept outside for the joy of it; Occupiers wanted “a redress of grievances.” Gowdy couldn’t compute how people camping “for fun” were permitted only in certain areas, while those “pitching a camp in protest of fun” were welcomed by the National Park Service. Without a clear distinction between camping and not-camping—the distinction that generations of Americans had tried and failed to make—he felt that “the fabric of this republic” was “going to unravel.”

The ride of the psychotic Valkyries – Apocalypse Now Redux

Photographs of guns and flame
Scarlet skull and distant game
Bayonet and jungle grin
Nightmares dreamed by bleeding men
Lookouts tremble on the shore
But no man can find the war
Tim Buckley 1976

Our recently departed friend Tim Page was the central character in the 1992 ABC miniseries Frankie’s House, the story of the celebrated, inebriated Vietnamese home-away-from home and party house in Saigon for transiting newsmen – a decadent, dissolute, de facto foreign correspondents club. Tim was portrayed by Scottish actor Iain Glen, famous nowadays for his role as Ser Jorah Mormont in Game of Thrones. This was not Tim’s first first portrayal in film. Denis Hopper’s strung-out photojournalist in the 1979 film Apocalypse Now was said to have been inspired by Tim’s Vietnam adventures. This was referred to many times in the many media tributes that followed his passing and at his farewell in August last year.

Rewatching the film recently, for the first time in decades, I thought Hopper’s over the top, incongruous and unexplained character bears little resemblance to the Tim Page we knew. And yet, as Tim and his partner Mau were later to point out to me, Hopper’s cracked and crazed camera cowboy illustrated exactly what the soldiers at ground zero experienced in America’s war, a war that has since been defined as chaos without compass.

The film is loosely based on Joseph Conrad’s novel Heart of Darkness, set in a dark and deadly Belgium-ravaged Congo. A special forces officer is sent on a mission to assassinate a rogue officer who has established a quasi-kingdom in the heart of the Jungle. With poetic and creative license Francis Ford Coppola created a psychedelic fever dream somewhere up the crazy river on a journey through a war that had already been lost while the powers that be had concealed the fact to the American public and to the world at large.

The Vietnam War’s echoes reverberate to this day. In the United States, it has taken more than 50 years for such a traumatic defeat to fade. The deepest scars, inevitably, belong to those who suffered most. Author and Vietnam veteran Philip Caputo in the preface to his memoir A Rumor of War  wrote:

“I came home from the war with the curious feeling that I had grown older than my father, who was then 51,” writes. “A man saw the heights and depths of human behaviour in Vietnam, all manner of violence and horrors so grotesque that they evoked more fascination than disgust. Once I had seen pigs eating napalm-charred corpses – a memorable sight, pigs eating roast people.”

The scars on Vietnam itself were much much deeper and long lasting – on its politics, still a authoritarian communist regime; its people – millions died, were wounded or suffered long term psychological and genetic damage; and its environment – the effects of broad-acre defoliants and the damage and debris of war.

Two seminal scenes in the film encapsulate the carnage wrought in a country the US government wanted to “bomb back into the stone-age”.

Ou first introduction is where “little spots on the horizon, into gunships grow”, to borrow from Canadian songwriter Bruce Cockburn, as a squadron of US helicopters approach a tropical shore and attack a Vietcong camp in an idyllic seaside village to the exhilarating accompaniment of Richard Wagner’s rollicking The Ride of the Valkyries. Amidst the rattle of machine guns, the explosions and the flames, the American crews are portrayed as gung-ho and dispassionate participants in a real-time video game. The Vietnamese men, women and children are tiny black-garbed figures running around in panic like a disturbed ant’s nest, falling, flailing and flying through the air. Yet you know that this is no computer game. These helpless and doomed people are merely targets with nowhere to run to.

The second scene is set towards the end of the film, up that crazy river. The assassin, Willard, is about to slay his target, Colonel Kurtz – but not before Kurtz, filmed in a flame-lit semi-darkness, declares that he wants to die as a soldier and “not like some poor, crazed rag-assed renegade”. He then delivers his final testament on a war that has been all for nothing, and on why it has been lost:

“I’ve seen horrors … horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that … but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror. Horror has a face … and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies. I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us, and he was crying. He couldn’t see. We went back there, and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember … I … I … I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn’t know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized … like I was shot … like I was shot with a diamond … a diamond bullet right through my forehead. And I thought: My God … the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men … trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love … but they had the strength … the strength … to do that. If I had ten divisions of those men, then our troubles here would be over very quickly. You have to have men who are moral … and at the same time who are able to utilize their primordial instincts to kill without feeling … without passion … without judgment … without judgment. Because it’s judgment that defeats us”.

The film itself is much better than I recall it first time around. Perhaps it is because I now know substantially more about the Vietnam War than I did then. But also, because the 2001 directors cut, Apocalypse Now Redux has nearly an hour of footage that never reached the original cinema release, much of it quite crucial to an understanding of how pointless and crazy the war became.

The film contains several changes, mostly subtle, and two entirely new scenes, both of which enhance and serve to illustrate just how inchoate and crazy the war had become by the end of the sixties. By the time Richard Nixon was elected president in November 1968 with a promise to end the war and “bring the boys home”, it had almost seven years still to run.

One of the new scenes is set on the tiny US Navy river boat taking Willard up-country, Earlier in the story, the famous Penthouse Playmates arrive at a rear-base to entertain the troops. We now meet  them again at a neglected and run-down forward fire base further up the river. It is a bizarre scene with an equally bizarre script in which two stranded and befuddled beauties struggle with the surreal setting and its drug and combat addled garrison. The other has Captain Willard and the team encounter a family of well-armed holdout French colonists on their remote rubber plantation. Here we have the film’s the only solid explication of the origins and inevitable outcome of the Indochina conflict. Having denounced his country’s folly in being surrounded and defeated in the battle of Dien Bien Phu in 1954, which precipitated the end of French colonial rule and the beginning of US involvement in Indochina, patriarch Hubert de Marais declares: “You are fighting for the biggest nothing in history”.

© Paul Hemphill 2023 All rights reserved

Read more about the Vietnam War in In That Howling Infinite: The Ballad of Denton Crocker – a Vietnam elegy; Tim Page’s War – a photographer’s Vietnam journey; Journey’s end – photographer Tim Page’s wild ride; Things fall apart, the centre cannot hold – 1968 revisited 

Colonel Kurtz’s “Horror” monologue from Apocalypse Now,  performed by Marlon Brando

Lost in the rain with no direction home – Dylan’s poem for Woody

Stop this day and night with me and you shall possess the origin of all poems.
Walt Whitman, Song of Myself.

The words of America’s national bard came to me as I read for the first time this very morning Last Thoughts on Woody Guthrie, written by Bob Dylan in honour of his idol Woody Guthrie, who at the time was dying from Huntington’s disease.

I hear America singing, the varied carols I hear, wrote Walt Whitman, setting song lines for a young nation, and what was seen at the time as its promise and its bold, independent identity. He reflected his country’s growing up and coming of age to his own personal awakening and awareness, in his seeing and being enlightened. Dylan was to become the young voice of an older but not wiser nation that seemed very much like it was not busy being born, but, rather, under the weight of its myriad contradictions – of the old and the new, the youth and their elders, of war and peace,  black and white. Dylan heard the his country’s song in the turbulent, transformed and transforming sixties declaiming that he’d know my song well before I start singing.

In 1855, when Whitman published his first incarnation of Leaves of Grass, no one had yet heard anything like the raw, declamatory, and jubilant voice of this self- proclaimed “American”.  And the same could be said of the young Bob Dylan when he broke out from the pack that had gathered in the folk cafés and clubs of New York City in the early years of the nineteen sixties, an enigmatic poetic figure whose songs spotlighted the chaos and division that have long defined what it meant to be an American. It is no wonder that in later years,  Dylan would acknowledge his debt to Whitman in I Contain Multitudes – unoriginal and some would argue, pretentious, but then Bob has always borrowed, be it from the Anthology of American Folk Music, the British folk tradition, the avant guard poets of Europe, and the great books of the western literary canon.

Dylan read his poem for Woody aloud once only, reciting it at New York City’s Town Hall on April 12th 1963.

Introducing the poem, he told the audience he’d been asked to “write something about Woody … what does Woody Guthrie mean to you in twenty-five words,” for an upcoming book on the icon left wing singer-songwriter. He explained that he “couldn’t do it – I wrote out five pages, and, I have it here, have it here by accident, actually.” What followed was not a simple eulogy, but a lengthy, 1705 word stream of consciousness treatise on the importance of hope.

Dylan sets the scene by describing the stresses and strains of everyday life and challenging choices we have to make as we navigate it. He describes how these can cause us to feel alone, lost, and without direction. He then explains the need for hope and how we need something to give our lives meaning. He concludes by suggesting that, for him, Woody Guthrie is as much a source of hope and beauty in the world as God or religion.

Reading it for the first time ever this morning, I could hear words, lines and themes from songs that were yet to be written, songs that have followed me down these past sixty years, from those early albums of anger and introspection, protest and perception, through to My Rough And Rowdy Ways.

The recitation was recorded, but was not officially released until 1991, on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991, after circulating on bootleg releases for years. The poem is published in full below. The images in the video that follows it are clichéd and distracting; just shut your eyes and listen to the words. I prefer just reading and recalling all those uncounted ballads, songs and snatches and the improbable ‘echoes’ of things to come. I have added a gallery of favourite pictures of the man himself. Enjoy.

More on Bob Dylan in In That Howling InfiniteWhat’s Bob got to do with it?; Legends, bibles, plagues – Bob Dylan’s Nobel Lecture; Blind Willie McTell – Bob Dylan’s Americana; Cross the Green Mountain – Bob Dylan’s Americana; Still tangled up in Bob

In That Howling Infinite, read also, I hear America singing – happy birthday, Walt Whitman; The last rains came gently – Steinbeck’s dustbowl ballad, and The Sport of Kings – CE Morgan’s “great American novel”

Bob and Woody

Last Thoughts On Woody Guthrie

When yer head gets twisted and yer mind grows numb
When you think you’re too old, too young, too smart or too dumb
When yer laggin’ behind an’ losin’ yer pace
In a slow-motion crawl of life’s busy race
No matter what yer doing if you start givin’ up
If the wine don’t come to the top of yer cup
If the wind’s got you sideways with with one hand holdin’ on
And the other starts slipping and the feeling is gone
And yer train engine fire needs a new spark to catch it
And the wood’s easy findin’ but yer lazy to fetch it
And yer sidewalk starts curlin’ and the street gets too long
And you start walkin’ backwards though you know its wrong
And lonesome comes up as down goes the day
And tomorrow’s mornin’ seems so far away
And you feel the reins from yer pony are slippin’
And yer rope is a-slidin’ ’cause yer hands are a-drippin’
And yer sun-decked desert and evergreen valleys
Turn to broken down slums and trash-can alleys
And yer sky cries water and yer drain pipe’s a-pourin’
And the lightnin’s a-flashing and the thunder’s a-crashin’
And the windows are rattlin’ and breakin’ and the roof tops a-shakin’
And yer whole world’s a-slammin’ and bangin’
And yer minutes of sun turn to hours of storm
And to yourself you sometimes say
“I never knew it was gonna be this way
Why didn’t they tell me the day I was born”
And you start gettin’ chills and yer jumping from sweat
And you’re lookin’ for somethin’ you ain’t quite found yet
And yer knee-deep in the dark water with yer hands in the air
And the whole world’s a-watchin’ with a window peek stare
And yer good gal leaves and she’s long gone a-flying
And yer heart feels sick like fish when they’re fryin’
And yer jackhammer falls from yer hand to yer feet
And you need it badly but it lays on the street
And yer bell’s bangin’ loudly but you can’t hear its beat
And you think yer ears might a been hurt
Or yer eyes’ve turned filthy from the sight-blindin’ dirt
And you figured you failed in yesterdays rush
When you were faked out an’ fooled while facing a four flush
And all the time you were holdin’ three queens
And it’s makin you mad, it’s makin’ you mean
Like in the middle of Life magazine
Bouncin’ around a pinball machine
And there’s something on yer mind you wanna be saying
That somebody someplace oughta be hearin’
But it’s trapped on yer tongue and sealed in yer head
And it bothers you badly when your layin’ in bed
And no matter how you try you just can’t say it
And yer scared to yer soul you just might forget it
And yer eyes get swimmy from the tears in yer head
And yer pillows of feathers turn to blankets of lead
And the lion’s mouth opens and yer staring at his teeth
And his jaws start closin with you underneath
And yer flat on your belly with yer hands tied behind
And you wish you’d never taken that last detour sign
And you say to yourself just what am I doin’
On this road I’m walkin’, on this trail I’m turnin’
On this curve I’m hanging
On this pathway I’m strolling, in the space I’m taking
In this air I’m inhaling
Am I mixed up too much, am I mixed up too hard
Why am I walking, where am I running
What am I saying, what am I knowing
On this guitar I’m playing, on this banjo I’m frailin’
On this mandolin I’m strummin’, in the song I’m singin’
In the tune I’m hummin’, in the words I’m writin’
In the words that I’m thinkin’
In this ocean of hours I’m all the time drinkin’
Who am I helping, what am I breaking
What am I giving, what am I taking
But you try with your whole soul best
Never to think these thoughts and never to let
Them kind of thoughts gain ground
Or make yer heart pound
But then again you know why they’re around
Just waiting for a chance to slip and drop down
“Cause sometimes you hear’em when the night times comes creeping
And you fear that they might catch you a-sleeping
And you jump from yer bed, from yer last chapter of dreamin’
And you can’t remember for the best of yer thinking
If that was you in the dream that was screaming
And you know that it’s something special you’re needin’
And you know that there’s no drug that’ll do for the healin’
And no liquor in the land to stop yer brain from bleeding
And you need something special
Yeah, you need something special all right
You need a fast flyin’ train on a tornado track
To shoot you someplace and shoot you back
You need a cyclone wind on a stream engine howler
That’s been banging and booming and blowing forever
That knows yer troubles a hundred times over
You need a Greyhound bus that don’t bar no race
That won’t laugh at yer looks
Your voice or your face
And by any number of bets in the book
Will be rollin’ long after the bubblegum craze
You need something to open up a new door
To show you something you seen before
But overlooked a hundred times or more
You need something to open your eyes
You need something to make it known
That it’s you and no one else that owns
That spot that yer standing, that space that you’re sitting
That the world ain’t got you beat
That it ain’t got you licked
It can’t get you crazy no matter how many
Times you might get kicked
You need something special all right
You need something special to give you hope
But hope’s just a word
That maybe you said or maybe you heard
On some windy corner ’round a wide-angled curve
But that’s what you need man, and you need it bad
And yer trouble is you know it too good
“Cause you look an’ you start getting the chills
“Cause you can’t find it on a dollar bill
And it ain’t on Macy’s window sill
And it ain’t on no rich kid’s road map
And it ain’t in no fat kid’s fraternity house
And it ain’t made in no Hollywood wheat germ
And it ain’t on that dimlit stage
With that half-wit comedian on it
Ranting and raving and taking yer money
And you thinks it’s funny
No you can’t find it in no night club or no yacht club
And it ain’t in the seats of a supper club
And sure as hell you’re bound to tell
That no matter how hard you rub
You just ain’t a-gonna find it on yer ticket stub
No, and it ain’t in the rumors people’re tellin’ you
And it ain’t in the pimple-lotion people are sellin’ you
And it ain’t in no cardboard-box house
Or down any movie star’s blouse
And you can’t find it on the golf course
And Uncle Remus can’t tell you and neither can Santa Claus
And it ain’t in the cream puff hair-do or cotton candy clothes
And it ain’t in the dime store dummies or bubblegum goons
And it ain’t in the marshmallow noises of the chocolate cake voices
That come knockin’ and tappin’ in Christmas wrappin’
Sayin’ ain’t I pretty and ain’t I cute and look at my skin
Look at my skin shine, look at my skin glow
Look at my skin laugh, look at my skin cry
When you can’t even sense if they got any insides
These people so pretty in their ribbons and bows
No you’ll not now or no other day
Find it on the doorsteps made out-a paper mache¥
And inside it the people made of molasses
That every other day buy a new pair of sunglasses
And it ain’t in the fifty-star generals and flipped-out phonies
Who’d turn yuh in for a tenth of a penny
Who breathe and burp and bend and crack
And before you can count from one to ten
Do it all over again but this time behind yer back
My friend
The ones that wheel and deal and whirl and twirl
And play games with each other in their sand-box world
And you can’t find it either in the no-talent fools
That run around gallant
And make all rules for the ones that got talent
And it ain’t in the ones that ain’t got any talent but think they do
And think they’re foolin’ you
The ones who jump on the wagon
Just for a while ’cause they know it’s in style
To get their kicks, get out of it quick
And make all kinds of money and chicks
And you yell to yourself and you throw down yer hat
Sayin’, “Christ do I gotta be like that
Ain’t there no one here that knows where I’m at
Ain’t there no one here that knows how I feel
Good God Almighty
THAT STUFF AIN’T REAL”
No but that ain’t yer game, it ain’t even yer race
You can’t hear yer name, you can’t see yer face
You gotta look some other place
And where do you look for this hope that yer seekin’
Where do you look for this lamp that’s a-burnin’
Where do you look for this oil well gushin’
Where do you look for this candle that’s glowin’
Where do you look for this hope that you know is there
And out there somewhere
And your feet can only walk down two kinds of roads
Your eyes can only look through two kinds of windows
Your nose can only smell two kinds of hallways
You can touch and twist
And turn two kinds of doorknobs
You can either go to the church of your choice
Or you can go to Brooklyn State Hospital
You’ll find God in the church of your choice
You’ll find Woody Guthrie in Brooklyn State Hospital
And though it’s only my opinion
I may be right or wrong
You’ll find them both
In the Grand Canyon
At sundown

Bringin’ it all back home …

Bob and Sara

Bob and Joan

Bob and Alan Ginsberg at the grave of Jack Kerouac

21st Century Bob – the Never Ending Tour

From the foggy ruins of time – our favourite history stories

I wear the weave of history like a second skin,
I wake with runes of mystery of how we all begin,
I walk the paths of pioneers who watched the circus start,
The past now beats within me like a second heart.
Paul Hemphill. E Lucivan Le Stelle

Whilst its scope is eclectic and wide ranging in content In That Howling Infinite is especially a history blog. It’s subject matter is diverse. Politics, literature, music, and memoir are featured –  but it is at its most original and informative, a miscellany of matters historical, gathered in Foggy Ruins of Time – from history’s back pages – yes, an appropriation of lyrics from two Bob Dylan Songs.

In compiling the annual retrospective for 2022, I decided I would put together a list of my favourite posts in each of the categories described above, beginning with the history ones. My primary criteria were not so much the subject matter, which is diverse, as can be seen from the ten choices (shown here in alphabetical order) but firstly, what I most enjoyed writing and secondly, those I considered the most original insofar as I referenced and republished few other voices, other than direct quotations from the sources I was consulting and books I was reviewing.

A cowboy key – how the west was sung

Outlaw songs and outlaw gothic are as much apart if the mythic Wild West as cowboys and gunslingers. A nostalgic canter through some of my personal favourites on records and in movies.

Androids Dolores and Teddy enjoy the Westworld view

Al Tariq al Salabiyin – the Crusaders’ Trail 

Western folk, long on romanticism and short on historical knowledge, associate crusades and crusaders with medieval knights, red crosses emblazoned on white surcoats and shields and wielding broadswords battling it out with swarthy scimitar-swinging, be-turbaned Saracens. Here, we widen that orientalist perspective.

The Crusades

A Short History of the Rise and Fall of the West

“… one thing is for certain: we all love a good story. As they say, in Arabic, as indeed in all tongues, times and places, “ka-n ya ma ka-n bil ‘adim izzama-n wa sa-lifi al aSri  wa la-wa-n”‘ or, “once upon an time”. An original,  idiosyncratic and not strictly accurate journey through those foggy ruins of time.

Somewhere in Syria

Beyond Wolf Hall – Icarus ascending 

We know how the story of Thomas Cromwell ends. It’s how Booker prize winner Hilary Mantel gets us there that matters. Our questions here are whether Thomas could sense where it was all headed, and whether he could have quit while he was ahead.

Beyond Wolf Hall – Revolution Road

“A wide-ranging rural road trip through England’s green and pleasant land takes the traveller by antique and desolated abbeys and monasteries, their ageing walls crumbling and lichen covered, their vaulted pediments open to the English elements. The celebrated poets of the romantic era immortalized these relics in poetry, and even today, when one stands in grassy naves, gazing skywards through skeletal pillars, one can almost feel an ode coming on”. A brief dissertation on Thomas Cromwell’s English revolution.

Mark Rylance and Damian Lewis as Tom and Hal

Martin Sparrow’s Blues

It is late summer in 1806, in the colony of New South Wales. After he loses everything he owns in a disastrous flood, former convict, failed farmer, and all-round no-hoper and ne’er-do-well Martin Sparrow heads into the wilderness that is now the Wollemi National Park in the unlikely company of an outlaw gypsy girl and a young wolfhound. Historian Peter Cochrane’s tale of adventure and more often than not, misadventure, set on the middle reaches of the Hawkesbury River at time when two culturally and spiritually disparate peoples collided.

Roman Holiday – the perils of a poet in Nero’s Rome

In the First century, the Roman Empire was a far-ranging and cosmopolitan polity extending from the shores of the Atlantic to the borders of Persia. As far as we can ascertain from the historical record, Meniscus Diabetes was born in Rome in 25 CE. His father was a Greek slave in the Imperial Household of Tiberius Caesar, Emperor of Rome. These were turbulent times for Rome and Romans, but our hero managed to navigate through them.

The Sport of Kings – CE Morgan’s “Great American Novel 

The Sport of Kings’ is not a history book – nor is it an historical novel. But it is most certainly about history. And about identity. As Morgan puts it: “You would never escape the category of your birth”. It is also about memory and myth: “Repeated long enough, stories become memory and memory becomes fact”. It is both a meditation on race, on slavery – America’s “original sin” – and a bitter inversion of the American dream.

The Twilight of the Equine Gods 

An illuminating canter through the story of the “Centaurian Pact” between humans and horses. it is at once a ride andrevelation, and a reminiscence of my short-lived ‘cowboy’ days. The horse” has been man’s most important companion – forget cats and dogs – and the most durable of historical alliances, and yet, over the span of a few decades, a relationship that endured for six millennia went “to the dogs” – excuse my awful pet-food pun. And it happened almost unremarked, unnoticed, and unsung.

Tim Page’s War – a photographer’s Vietnam journey 

Our forest neighbour, recently deceased and internationally acclaimed English photojournalist Tim Page ran away from boring ‘sixties Britain to the exotic East at the age of seventeen, taking the ‘overland’ route that decades later would be called ‘the Hippie Trail’. He washed up in the great war of our generation, and left it critically injured and indeed clinically dead in a medivac chopper. This is the story of a war, and a young man who wandered into that war.

Journey’s end – photographer Tim Page’s wild ride

Time is an ocean but it ends at the shore
You may not see me tomorrow

Bob Dylan

Friends of acclaimed Anglo-Australian photographer, writer and humanist Tim Page, gathered from all across the shire, from the mountains to the sea, and from around Australia on Saturday 10th September to bid him farewell at his bush home in Fernmount next to Tarkeeth Forest to bid him farewell. Bellingen’s resident square-tailed kite did a fly past as if to salute him, and as we sat around the campfire under a full moon, a bevy of fireflies emerged from the forest like faeries coming for to carry him home.

Tim had departed this mortal realm at 4.15pm on Wednesday 24th August 2022, after a relatively short illness. He been sleeping most of the time during those last few days when we dropped by on our way over the hill. We knew it was very close as we’d visited several times, and almost at the exact time of his passing, we’re were actually driving by but decided not to disturb him.

The international and social media response to Tim’s death was astounding and almost instantaneous. Within hours, tributes had been published and posted all over the world. The New York Times published an excellent eulogy, as did the Sydney Morning Herald. The Guardian presented an excellent gallery of his work. An interview by the ABC with Ben Bohane, photojournalist and author and longtime friend and mentee, is both poignant and precise. We had the pleasure of meeting Ben when he visited Bellingen and spent several days with Tim immediately before his death.

He was given a fine send-off. As one mourner noted in a Facebook tribute, “It was a long, melancholic, yet kind of wonderful weekend … the kind of gathering he’d have loved, crammed with people he cared about, the Stones and Dylan rolling out over the Birds of Paradise grove in the gully, a grassy aroma in the air, and tales of his misdemeanours, wisdom and humanity prompting chuckles and affirmations as a light breeze loosened leaves and sent them down in lazy spirals onto his wicker casket …”

Fine eulogies were delivered by Tim’s “brothers” in photo-journalism who’d worked with him over all over the world and down the years. There were tales of battlefields and bar-rooms, of recovery and resilience, of road trips and revelries, of incidents and accidents.

Tim Page 1944-2022

Tim Page 1944-2022

I spoke too, as a friend and a forest neighbour, and also, as a resident of Bellingen Shire. We’d had the privilege and pleasure of sitting with Tim for many an hour during the three months of his decline. We talked of was and when, of our childhoods in Nineteen Fifties England, of life in our valley, of history and politics and of his long and colourful career – and we were able to say goodbye to him in person four days before the end.

This is what I said …

Journey’s End

Living just over the hill, and forever dropping in here at paradise park, Adèle and I spent many an hours sharing stories and gossip with Tim and his partner Marianne and her sister Annette, who we farewelled right here just over a year ago. We all shared a common English heritage, having all grown up in postwar Britain with its rationing, blandness and monochrome conformity – in the midst of the Cold War and under the shadow of the mushroom cloud.

During the three months of his decline, Tim and I would reminisce about our common boyhoods in nineteen fifties England before we both split for foreign parts. 

We were into bicycles with drop handlebars and comics like The Beano and illustrated stories about “the war” – which was still a lived experience for the adults around us whilst the sons and brothers of our friends and acquaintances were called up for national service. We’d built the same Airfix aeroplane kits and hung our trophies from our bedroom ceilings – Tim’s are now hanging in his archive bunker over yonder. I believe he still has his Hornby train set and, no doubt, his Meccano – folks here of a certain vintage will know what I mean. He was and remained a great collector of stuff. He even picked up a UN Toyota “technical” utility truck in Bosnia and brought it back here. [Author’s note: he eventually gave the truck to a friend up the valley and it saw service as a water carrier during the devastating wildfires of our 2019-20 Black Summer]

In the sixties, we’d listened to the same music, and used some of the same drugs – me, much less than he. We both took to the Hippie Trail from Europe to Asia taking the ‘overland’ road that decades later would be called ‘the Hippie Trail’.

But Tim had already been two years “in country” when I was demonstrating in front of the US embassy in London’s Grosvenor Square against what Kenny Rodgers would call “that crazy Asian war”. 

Tim virtually ambled into the Vietnam War, the last of the “great” wars of the Twentieth Century, and though photography was a teenage hobby, in Vietnam, he drifted into the profession almost by accident. The war was a conflict with many names, but the best is probably one from Ken Burns great documentary: “chaos without a compass”. Tim navigated it cannily if carelessly for several but left ‘Nam a few years later critically injured in a minefield and indeed clinically dead in a medivac chopper. Post-op and recuperating in the US, Tim took himself off to Woodstock, New York State. where it was being said that there was going be a cool scene – which indeed there was, as we all remember:  the famous music festival held over three days in August 1969 on Max Yasgur’s dairy farm in Bethel, New York (65 km) southwest of the town of Woodstock. But Tim never got to hear any of the great music – complications from his injuries meant that he had to be medivacced out of Woodstock, probably on the same chopper that had just brought in the legendary Crosby, Stills and Nash.

Tim told us the clear-felled Tarkeeth Forest to our immediate south, just beyond those trees, reminded him of those Vietnam battlegrounds – indeed, the use of fires and herbicides in Forestry Corporation’s “forest re-establishment” reminded him of the devastation wrought by the defoliant Agent Orange in that unfortunate country. Ironically, Agent Orange may have contributed to his illness. He was unable to have MRI scans because of the shrapnel fragments in his liver from one of his many close encounters with the Grim Reaper. 

Listening to Tim’s stories, you wonder whether this peregrinating, ever-restless bloke had more lives than a cat! When he was first diagnosed in early May, as Adèle and sat on his hospital bed, I remarked that he’d already used up his nine lives. He replied: “No matter how many times you’ve faced the prospect of death, you’re never prepared for it”.

But, when the end came, he faced it with stoicism and courage. I hope that when we get there, we’ll all be as brave. 

Farewell wild rover.

Your’s was a life well lived, and to borrow from Rudyard Kipling, filling the unforgiving minute of the unrelenting day with sixty seconds worth of distance run.

As Bob Dylan sang, “Time is an ocean but it ends at the shore – you may not see me tomorrow”.

Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
Jim Morrison 1967

This painting by his friend Joanne Brooker portrays his long and colourful career.

Tim Page by Joanne Brooker

In Country

Tim Page’s War

Any good war picture is an anti-war picture. Tim Page

Almost exactly a year ago, In That Howling Infinite published a piece on Tim’s journey to a war. I had been editing one of his several autobiographical accounts of his adventures and reading Max Hastings’ tombstone of a book, Vietnam – an Epic Tragedy, and spent hours talking to Tim about his life and viewing his splendid if often harrowing pictures. In Tim’s words, written on his archive “bunker”, a converted shipping container that became his last great project (buoyed up on steroids, he’d risen from his bed finished unpacking his collection on the Saturday before he died), “Any good war picture is an anti-war picture”.

In Tim Page’s War – a photographer’s Vietnam Journey, I wrote:

For Tim, it was the worst of times, it was the best of times. “Hot and cold running …” he says, using the vernacular of those days … booze, drugs, girls, he meant – battle injuries and diseases – and action, lots of it, in the air in helicopters and on occasion, fighter bombers, on the land in jeeps, armoured vehicles, and motor bikes, on the rivers in patrol boats, and on foot. The lure of sex, drugs, and excitement – and paid work for a major news agency saw him wash up in Saigon and the celebrated, inebriated Frankie’s House, a kind of home-away-from home and party house for transiting bao chi – ‘round-eye’ newsmen – a decadent, dissolute, de facto foreign correspondents club. From here, they would fan out though war-wracked South Vietnam under the often dodgy and dangerous protection of Uncle Sam. Like the soldiers they accompanied, many came back in body bags or on stretchers. Many just disappeared, and it has been Tim’s mission in life to trace these lost souls. They include his best buddy Sean Flynn, the son of famous actor and pants man Errol Flynn”.

In the 1992 series of Frankie’s House, based on Tim’s Vietnam days, he was portrayed by the Scottish actor Iain Glen, famous nowadays for his role as Ser Jorah Mormont in Game of Thrones.

Iain Glen on the left as Tim Page in Frankie’s House

“Any good war picture is an anti-war picture”.

For what is it to die but to stand naked in the wind and to melt into the sun?
And what is it to cease breathing, but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered?
Only when you drink from the river of silence shall you indeed sing.
And when you have reached the mountain top, then you shall begin to climb.
And when the earth shall claim your limbs, then shall you truly dance.
Khalil Gibran

We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration…

TS Elliot, Little Giddng

© Paul Hemphill 2022. All rights reserved

In In That Howling Infinite, see also, Tall tales, small stories, obituaries and epiphanies

Also in In That Howling InfiniteThe Ballad of Denton Crocker – a Vietnam elegy ; anThings fall apart, the centre cannot hold – 1968 revisited