Mo Ghile Mear – Irish myth and melody

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen, and listen again. It is a gem.

© Paul Hemphill 2017  All rights reserved

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

Also, in In That Howling Infinite, O’Donnel Abú – the Red Earl no history in a song, and .Over the Sea to Skye.

And here are the Choral Students again:

TheChoral Scholars of University College, Dublin

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

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

Deep In The Heart of Texas

America’s Future is Texas, by Lawrence Wright, The New Yorker, July 10 &17, 2017:

“Texas is as politically divided as the rest of the U.S., but a recurrent crop of crackpots and ideologues has fed its reputation for proud know-nothingism and retrograde thinking”.
This is a cracker. And a must-read for political junkies and all who are fascinated and frightened by the absurdities of recent US politics”.

This is a cracker. And a must-read for political junkies and all who are fascinated and frightened by the absurdities of recent US politics.

I haven’t enjoyed a lengthy American “fly on the wall” opinion piece since Variety despatched a writer to spend time with Lyndsay Lohan on the set of the The Canyons, her doomed porno-thriller (in case you are tempted, and it is indeed a hoot, there’s a link to it below).

Lawrence Wright’s piece reads like a tragicomical dystopian thriller, and indeed, Thomas Pynchon and Michael Chabon would find some great storylines here. His tale becomes increasingly surreal as the author charts the passions, policies and personalities that collude and collide in this chronicle of the recent legislative session of Texas’ State House.

It is full of stories short and tall, quips and quotes, and daring and dastardly deeds that would be hilarious and worthy of the best political satires if only they were not actually true! An Austin newspaper columnist recounts the story of an absconding representative: the police “tracked him to earth at his momma’s house, where he was found hiding in the stereo cabinet.” She added, “He always did want to be the Speaker.” A wannabe Republican candidate for the State Board of Education posts on Facebook that Barack Obama had worked as a male prostitute in his twenties: “That is how he paid for his drugs,” she reasons, (and) went on to assert that climate change is a “ridiculous hoax,” and that dinosaurs are extinct because the ones on Noah’s Ark were too young to reproduce”. Another representative tweets: “Top priority for Travis GOP: beautiful Big Titty women!!” A former governor once said of then presidential nominee, George H. W. Bush. “He can’t help it. He was born with a silver foot in his mouth.” She wore designer suits but picked her teeth, and she cleaned her fingernails with a Swiss Army knife. Successively opposing the placing of a Christmas manger scene in the state capitol, she said ““I’m afraid so…and it’s a shame, because it’s about the only time we ever had three wise men in the capitol.”

These are a selection of the more anodyne tales. Many others are downright scary, and one shakes one head in disbelief at what legislators and elected officials think and do. To bowdlerize the Bard, “what brave, bad world that has such people in it”.

“Texans…are hardly monolithic. The state is as politically divided as the rest of the nation. One can drive across it and be in two different states at the same time: FM Texas and AM Texas. FM Texas is the silky voice of city dwellers, the kingdom of NPR. It is progressive, blue, reasonable, secular, and smug—almost like California. AM Texas speaks to the suburbs and the rural areas: Trumpland. It’s endless bluster and endless ads. Paranoia and piety are the main items on the menu”.

Accordingly, Wright presses all the red (and blue) buttons that inspire, ignite and implode, delight, dismay and divide US politics and society, including in no particular order:

Abortion, gender and toilets. Obamacare, health insurance, and death panels (rememeber those?). Public schools, vouchers, and toilets. Gerrymandering, voter registration and electoral fraud. Lobbyists, political donations, and corruption. Immigration, Muslims, latinos, and sanctuary cities. Guns of all calibers, mass-shootings and pig hunting. Budgets, appropriations, and toilets. Donald Trump, the religious right, and the liberal menace – and, yes, toilets. You have to read the article if you want to understand how things always seem to come back to the rest room.

Maternal mortality rates (up), foster-care and child protection (down). The Poo Poo Choo Choo (really!), texting whilst driving, the right to say Happy Christmas instead of Happy Holiday, and a proposed law to fine masturbation outside of a woman’s parts or of a medical faculty – “an act against an unborn child, and failing to preserve the sanctity of life”. There’s the heroes : William Travis, Sam Houston, Davy Crockett, and, naturally, the Alamo (see below). Famous Texans Willie Nelson, Marty Robbins, and Kinky Friedman (and his band, the Texas Jewboys) get cameos, and Bruce Springsteen, a passing reference. But no Jimmy Webb or Galveston (Wichita is in Kansas in case you ask, and Phoenix is in Arizona), whilst Oklahoma is a refuge for dissenting Democrat legislators. And, whatever “they” do, “don’t California Texas!”

You will be amazed and horrified in equal measure as Lawrence Wright connects these dizzying dots. I never thought that politics could be so exciting. It makes the schoolyard bluster and the minor party shenanigans of our Australian Parliament seem like Children’s Play Time.

As we often say DownUnder: “Only in America Texas!”

And for some light relief (no pun intended) here’s Lindsay Lohan’s adventures in PornoLand.

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

 In the dark times will there also be singing?
Yes, there will also be singing. About the dark times.
Berthold Brecht

Rhiannon Giddens, a multifaceted singer, musician, folklorist and storyteller brings American history alive in her her drive to unearth the stories of forgotten people so that her audiences and listeners may remember them.
On Moon Meets The Sun,  a defiantly joyous song, Giddens and her comrades of Our Native Daughters sing in the round over a polyrhythmic lacework of banjo and guitar, vowing not to let radical suffering diminish humanity. “You put the shackles on our feet, but we’re dancing”, she sings, “You steal our very tongue, but we’re dancing” “Ah, you sell our work for your profit, but we’re dancing,” she scoffs. “Ah, you think our home we have forgotten, but we’re dancing.” Then she recedes into the jubilant tangle of voices: “You can’t stop us now (We’ll be dancing). You can’t keep us down (We’ll be dancing)”.
Rhiannon Giddens: “There is surely racism in this country — it’s baked into our oldest institutions – just as there is sexism, millennia old. At the intersection of the two stands the African American woman. Used, abused, ignored and scorned, she has in the face of these things been unbelievably brave, groundbreaking and insistent. Black women have historically had the most to lose, and have therefore been the fiercest fighters for justice — in large, public ways that are only beginning to be highlighted, and in countless domestic ways that will most likely never be acknowledged.”

https://www.youtube.com/watch?v=F0FfAagEkH8

https://www.youtube.com/watch?v=iZa1AMr7Kk0

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

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

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

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

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

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

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

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

https://www.youtube.com/watch?v=zse7aJodkKg

 

Kingston, Jamaica 1983

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

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

Here is the wondrous Éabha McMahon of Celtic Woman:

https://www.youtube.com/watch?v=Z9hth14hokI

 

Gerry's avatarThat's How The Light Gets In

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

In an essay called ‘Undefeated Despair’, John Berger wrote of ‘Despair without fear, without resignation, without a sense of defeat.’ ‘However you look at it’, the Guardian editorialised a few days ago, ‘2017 offers a fearful prospect for America and the world.’ In the words of Paul Simon’s ‘American Tune’, I don’t have a friend who feels at ease when weighing the prospects for the year ahead. In the spirit that some solace may be found in poetry in these dark times, I offer a selection of poems or brief extracts – some have which have appeared in posts here before – which seem to offer meaning and hope; they may reflect Berger’s stance of undefeated despair, offering not ‘a promise, or a consolation, or an oath…

View original post 1,467 more words

Pity the nation that is full of beliefs and empty of religion

I was inspired to write this post on viewing the video below, a harrowing picture gallery of the Bosnian War, the bloodiest but not the last of the Wars of the Yugoslav Succession. I was reminded  of the iconic Lebanese poet Khalil Gibran’s poem, Pity the Nation,  a sardonic and incisive take on the politics of his time and his homeland. It is chilling in its prescience with regard to contemporary politics in the Middle East and indeed, much, much closer to home on in our liberal democracies where les mots de jour, and indeed, des temps are ‘populism’ and ‘post-truth’,  where allegations of ‘alternative facts’ and ‘fake news are ubiquitous and duplicitous, and where, in a milieu of fear, anger and loathing, intolerance and ignorance appear to be on the rise.

Today, in America, 1984 and The Handmaid’s Tale are best-sellers, and doubtless, as resignation and surrender sink in, Fahrenheit 451 and Catch 22 will catch on with intellectually and numerically inclined. The one is the temperature at which paper burns (“Remember, the firemen are rarely necessary. The public itself stopped reading”), the other, the mother of all vicious circles. The 22 was meant to be 18, but Joseph Heller was gazzumped by Leon Uris’ holocaust melodrama Mila 18  (which I do happen to like).

I was also reminded of a book of the same name. In Pity the Nation, his tombstone of a book about Lebanon’s civil war, and Israel’s intervention therein (inspired by Gibran’s poem, and by the fact the he has been a resident of Lebanon for going on half a century), the redoubtable British  journalist Robert Fisk writes of a Lebanese doctor, Amal Shamaa: “I had to take the babies and put them in buckets of water to put out the flames. When I took them out half an hour after, they were still burning. Even in the mortuary, they smouldered for hours”. “Next morning”, Fisk continues, “Amal Shamaa took the tiny corpses out of the mortuary for burial. To her horror, they again burst into flames”. Such is the effect of phosphorous shells on mortals. Made in America, used on Arabs, by Jews. But it happens anywhere and everywhere, inflicted by anyone on everyone.

And that, is in essence, the underlying message of Gibran’s poem, published posthumously after his death in 1931.

Pity the nation that is full of beliefs and empty of religion.
Pity the nation that wears a cloth it does not weave
and eats a bread it does not harvest.

Pity the nation that acclaims the bully as hero,
and that deems the glittering conqueror bountiful.

Pity a nation that despises a passion in its dream,
yet submits in its awakening.

Pity the nation that raises not its voice
save when it walks in a funeral,
boasts not except among its ruins,
and will rebel not save when its neck is laid
between the sword and the block.

Pity the nation whose statesman is a fox,
whose philosopher is a juggler,
and whose art is the art of patching and mimicking

Pity the nation that welcomes its new ruler with trumpeting,
and farewells him with hooting,
only to welcome another with trumpeting again.

Pity the nation whose sages are dumb with years
and whose strongmen are yet in the cradle.

Pity the nation divided into fragments,
each fragment deeming itself a nation.

Kahlil Gibran, The Garden of The Prophet (1933)

ارحم على الامة
ارحم على الأمة المليئة بالمعتقدات والخالية من الدين.
ارحم على الأمة التي تلبس ثوبا لا يحاك.
وتأكل خبزا لا تحصد.
أشفق على الأمة التي تعتبر المتنمر بطلاً ،
ويعتبر منتصرها رائعا.
ارحم أمة تحتقر الشغف في أحلامها
لكنه يخضع لها عندما تستيقظ.
ارحم على الأمة التي لا ترفع صوتها
إلا عندما تمشي في جنازة ،
وتفتخر فقط بين أطلالها ،
ولن تنقذ نفسها عندما توضع رقبتها
بين السيف والكتلة.
ارحم على الأمة التي فيها رجل الدولة وهو ثعلب ،
والفيلسوف مشعوذ
فنه من الترقيع والتقليد
ارحم على الأمة التي تستقبل حاكمها الجديد بصوت عالٍ ،
ويقول وداعا له بسخرية ،
فقط للترحيب بآخر من خلال الاحتفال الصاخب مرة أخرى
ارحم على أمة حكماؤها أغبياء السنين ،
وأولئك الذين لا يزال رجالهم الأقوياء في المهد.
ارحموا الأمة منقسمة ،
وكل قطعة تعتبر نفسها أمة.

خليل جبران

The following song, E Lucevan Le Stelle, encapsulates all this:

“And time, ’tis said reveals its dead, and we will speak what was unsaid. How he was wrong, and I was led – his song I sing who gives me bread. It wasn’t me! I kept my head – I had my kin and kind to serve. It wasn’t me – I kept the faith. It wasn’t me who lost his nerve”.

It charts the cartography of carnage: Bali, Beslan, Gaza, Grozny, Kabul, Kigali, Sabra, Srebrenica, and other “far-away places with strange sounding names”. ”Many have perished, and more most surely will”. This latter quotation is adapted from Auden’s often overlooked masterpiece The Age of Anxiety, a meditation on a world in pain. “The bane of bad geography, the burden of topography, lines where they’re not meant to be are letters carved in stone”. “Bombs and babies, girls and guns, dollars, drugs and more betides, wash like waves on strangers’ shores: damnation takes no sides”.

Related posts In That Howling Infinite:

A House Divided – the nature of civil war
Pity the Nation
A brief history of the rise and fall of the west
Bombs and Babies
Solitudinem faciunt pacemappellant

Postscript

Lawrence Ferlinghetti, American poet, painter, liberal activist, and co-founder of the legendary City Lights Booksellers & Publishers in San Francisco, wrote the following poem in 2007 as a tribute to Gibran, and as a sad testament to the aphorism “plus ça change, plus c’est la même chose”.

“Pity the nation whose people are sheep and whose shepherds mislead them.

Pity the nation whose leaders are liars, whose sages are silenced, and whose bigots haunt the airwaves.

Pity the nation that raises not its voice except to praise conquerors and acclaim the bully as heroand aims to rule the world with force and by torture.

Pity the nation that knows no other language but its own and no other culture but its own.

Pity the nation whose breath is money and sleeps the sleep of the too well fed.

Pity the nation – oh, pity the people who allow their rights to erode and their freedoms to be washed away.

My country, tears of thee, sweet land of liberty.

Oh, Jerusalem – a song

“Bear me up on angels’ wings, and other transcendental things. Where the golden walls still glow, let my people go to Jerusalem”. 

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

Recorded by Charles Tyler at Susan Street, Annandale, 14th May 2017. © Paul Hemphill 2014 All rights reserved

Messianic Carpet Rides

Amazing Grace : There’s Magic In The Air

Sailing to Byzantium

“Byzantium, Byzantium, Constantinople, Kostaniniyye, Istanbul – The City has tangled with or represented an “idea” for so many, its influence has spun so far that her story, whether imperial, spiritual, cultural or political, frequently ends up being played out anywhere and everywhere other than in the city itself”.  Bethany Hughes , Istanbul – A Tale of Three Cities

As we observe Turkish president Recep Tayyib Erdogan’s apparent drive to reestablish Ottoman autocracy, those who take a longer view of history will assert that there is nothing new under the sun. There is nothing unprecedented about Erdogan’s apparent urge to don the imperial purple, and join the long cavalcade of colourful emperors and sultans that ruled the land that now constitute modern Turkey.

Richard Fidler reminds of this as he literally walks us through the streets of Istanbul.

Part father-son quest, part travel story, ‘Ghost Empire’ is at once a history, and a treasury of tales both true and far-fetched. The Australian author and broadcaster, and onetime member of the comedy trio, the Doug Anthony Allstars, has written a blend of popular history and meditation on the significance of history.

image

Although ‘Ghost Empire’ might in seem in parts overly breezy and lightweight, as an introduction to the ancient and wondrous city of Byzantium, Constantinople or Istanbul, it is an highly informative portal to weightier albeit less entertaining books. This is not to say it is without its more harrowing moments. Fidler dwells as much on the gory as on the glory. And indeed, for many, particularly the sons of emperors and sultans, confidants and conspirators, life could indeed be nasty, brutish and short.

Whilst Fidler’s primary focus is the story of the Byzantines, concluding with the fall of Constantinople in 1453, he travels back and forth in Istanbul’s long and storied history, between the violent past and the tumultuous present, from Julius Caesar and Constantine the Great, and the power couple Justinian and Theodosia, through Mehmet the Conqueror and Suleiman the Magnificent, to Ataturk and Erdogan, and captures the magic and at times, mayhem of the fabled metropolis that inspired WB Yeats to write:

“Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come”

© Paul Hemphill 2017.  All rights reserved

If Ghost Empire has whetted you appetite, i would recommend Bethany Hughes’ more substantial – “encyclopedic ” would a better description – Istanbul – A Tale of Three Cities (Orion 2017). It is a lengthy, comprehensive and fascinating journey from the prehistoric past to the polarizing present. There is also Simon Sebag Montefiore’s documentary, which personally, I found disappointing after his Jerusalem – The Biography.

Some photographs of Istanbul from our visit to Türkiye in 2014 follow …

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

Here are some reviews of Ghost Empire: 

http://www.smh.com.au/entertainment/books/ghost-empire-review-richard-fidler-journeys-back-to-the-glory-of-constantinople-20160811-gqq6xo.html

http://www.canberratimes.com.au/act-news/canberra-life/richard-fidler-blends-the-historical-and-contemporary-in-his-new-book-ghost-empire-20160720-gq9js6.html

Istanbul, from Galata Tower Istanbul, from Galata Tower
Cruising the Golden Horn Cruising the Golden Horn
The Sulaymaniya Mosque The Sulaymaniya Mosque
Aya Sofya Aya Sofya
The Hippodrome and the Blue Mosque The Hippodrome and the Blue Mosque
The Fortress of Europe The Fortress of Europe
Valen's Aqueduct Valen’s Aqueduct
Galata Tower Galata Tower
Aya Sofya Aya Sofya
Aya Sofya Aya Sofya
Aya Sofya Aya Sofya
Aya Sofya Aya Sofya
Halfden the Viking's Grafitti in Hagia Sofia Halfden the Viking’s Grafitti in Aya Sofya
Aya Sofya Aya Sofya
The Blue Mosque Aya Sofya
Sulaymaniya Sulaymaniya
Justinian's Cistern Justinian’s Cistern

image

Apollo and MedusaApollo and Medusa

 

 

That was the year that was – may you live in interesting times

As I contemplate my annual review of In That Howling Infinite, I am reminded, with clichéd predictability, of that well-worn Chinese curse: “may you live in interesting times”.

A torturous and seemingly endless US election campaign defied all the pundits by producing an colourful and unpredictable POTUS. In the UK, the unthinkable Brexit came to pass, dividing the polity and discombobulating the establishment. Next year is certainly going to be worth watching.

The slow and tragic death of Syria continued unabated with Russian and Turkey wading into the quagmire alongside Americans, British, French, Australians, Iran, Lebanon, Gulf tyrants, and Uncle Tom Cobley and all. Da’esh might be on the the ropes in Iraq, but the long term survival of the unitary state is doubtful. And the proxy wars of the Ottoman Succession have spread to Yemen, the poorest country in the Middle Eas as Gulf tyrants face off against Shia Iran’s alleged puppets, and, armed and abetted by British and American weaponry, South American mercenaries, and Australian officers, bomb the shit out of the place.

Whilst the grim reaper scythed through the world from Baghdad to Berlin, from Aleppo to Ankara, the Year saw the passing of a record number of icons of the seventies and eighties, two of whom who have provided a continuing soundtrack for my life, Leonard Cohen and David Bowie. We shall not see the like of them again.

In our little corner of the cosmos, we endured the longest and most boring election campaign in living memory, resulting in an outcome that only accentuates Australians’ disenchantment with a lacklustre Tory government, a depressingly dysfunctional political system, and politicians of all stripes who, blinkered by short-termism, and devoid of vision, insist on fiddling whilst the antipodean Roman burns.

Meanwhile, in our own rustic backyard, we find that we too are “going up against chaos”, to quote that wonderful Canadian songster Bruce Cockburn. For much of the year, we have been engaged in combat with the Forestry Corporation of New South Wales as it proceeds to lay waste to the state forest that surrounds us. As the year draws to a close, our adversary has withdrawn with only half of its proposed harvest completed. But it will return in 2017, and the struggle will continue – as it will throughout the state and indeed the nation as timber, coal and gas corporations, empowered by legislation, trash the common treasury with the assent of our many governments.

And yet, life on the farm remains pleasant and delightful, though dams are low and rain would be most welcome. The bird and reptilian life continues to amaze us, and an ironic corollary to the clear felling of the Tarkeeth Forest is that “refugees” are seeking shelter here. Wallabies rarely seen on our land are now quite common, whilst echidnas, and, we suspect, endangered spotted quolls have been sighted hereabouts

We took time out mid-year to revisit Israel and Palestine, and road-trip through the two countries was much an education as a holiday. We certainly got our history and archeology fix, and in travelling through the Golan and the Negev, we found respite in a stunning natural environment. But the answers to our many political questions merely threw up more questions. We have unfinished business in this divine but divided land, and will return.

In That Howling Infinite addressed all these concerns during 2016, and matters more eclectic and exotic.

And so, to the year in review:

The new year commenced with a reprise of our memorable journey to Hadrians Wall, and of the Victorian lawyer who helped preserve it for posterity, the saga of the viking Harald Hardraga and also, my subjective overview of world history. In a more lighthearted vein, I indulged in an unscholarly discussion of how film and fiction have portrayed or distorted history, and in a review of Mary Beard’s superlative history of Rome, I asked the immortal question “what have the Romans done for us?”

The Life of Brian

In April, in response to a discussion with a Facebook friend in Oklahoma, I wrote a trilogy of exotically-titled posts examining the nature of rebellion, revolution, and repression: Thermidorian Thinking, Solitudinem Faciunt Pacem Appellant, and Sic Semper Tyrannis. The origin of these Latin aphorisms is explained, by the way, in the aforementioned Roman review.

Nightwatch

Our travels through Israel and Palestine inspired numerous real-time posts, and a several retrospectives as we contemplated what we had experienced during what was as much an educational tour as a holiday. Historical vignettes included a tribute to bad-boy and builder King Herod the Great, a brief history of the famous Damascus Gate, and its place in Palestinian national consciousness, and a contemplation on the story of King David’s Citadel which overlooked our home-away-from home, the New Imperial Hotel. Thorny contemporary issues were covered with an optimistic piece on the Jerusalem Light Rail, a brief if controversial post about  Jewish settlers in the Old City, the story of Israel’s ‘Eastern’ Jews, the Mizrahim, and what appears to be a potentially problematic Palestinian property boom. Th e-magazine Muftah published an article I wrote about the conflicting claims to the city of Hebron. And finally, there is a poem recalling our visit to the Shrine of Remembrance at Yad Vashem and honouring the Righteous Gentiles who saved thousand of Jewish lives during the Shoah.

Carnivale

Wintertime passed with our minds on the Tarkeeth Forest. I had the pleasure discovering the history of our locality, and connecting via Facebook with the relatives of the Fells family of Twin Pines. But the latter half of the year was very much taken up with enduring and bearing witness to the clear- felling of the forest to our east. “If you go down to the woods today, you’re in for a big surprise.  If you go down to the woods today, you’ll never believe your eyes”. And you’d ask “what would JRR Tolkien have thought?”

Nothing quite prepares you for the devastation of clear felling. Joby, a Gumbaynggirr elder, surveys the Tarkeeth

The UK And US paroxysms fascinated and exasperated the mainstream and social media in equal measure, whilst the outcome of the Brexit referendum and the presidential election has initiated an a veritable orgy of punditry. Never have so many column inches and kilobytes been spent on loud sounding nothings as the sifting through the entrails of such events as Brexit, the US election, and the Australian senate! With half a dozen elections coming up in Europe, Trump’s inauguration and the triggering of Article 50 to take Britain out the European Union, we’re gonna have to endure a lot more. I confined my posts to two insightful pieces by respected right-wing Australian commentators, Paul Kelly’s Living in Interesting Times, and Greg Sheridan’s The Loss of American Virtue, and my own reflection on the right-wing media’s strange fascination with “insiders” and “outsiders”.

Finally, in comparison to last year, this year was very light on music and poetry. But American satirist Tom Lehrer got a retrospective, and murdered Pakistani qawwali singer Madhaf Sabri, an obituary, whilst an abridged and vernacular version of John Milton’s Paradise Lost told the tale of Lilith, the first and greatest femme fatale. In the words of the gloriously-named jockey Rueben Bedford Walker III says in EC Morgan’s magnificent The Sport of Kings, the subject of my first post for 2017, “Malt does more than Milton can to justify God’s ways to man”.

On that wise note,  I wish the world a Happy New Year – and may it be less interesting than this one.

In That Howling Infinite  is now on FaceBook. Check it out.  And just for the fun of it, here’s my review of 2015.

The Sabri Brothers

Dore Luciifer

The Mizrahi Factor

Strangers in a strange land

When I first visited Israel in the early ‘seventies, it seemed to me a white man’s land with the look and feel of a European colony transplanted in Levantine soil. But first impressions were deceptive. Subsequent visits made it very clear to me that State of Israel is anything but monochrome, but rather, a technicolor cultural melting pot.

Back then, European Ashkenazim (literally, “German” Jews), the returnees of the diaspora, were in the majority. They had dominated politics and culture from the days of the first Zionist immigration, and through the mandate years of the Yishuv when Eastern Europeans predominated in the movement and in the fledgling military. The republic that the Ashkenazim prepared for during the Mandate and then built after 1948 was, in intent and in actuality, a white, secular, socialist outpost of Central and Eastern Europe. But then things changed  utterly.

The Sephardim, Jews who had lived in Palestine for centuries, and up to a million Jews expelled from Arab countries after 1948, were, for some forty years of Israel’s existence, a disadvantaged minority. The name itself was misleading. ‘Sephardi’ originally described Jews who had been expelled from Spain in the late fifteenth century. But it came to be applied to anyone who was not Ashkenazi. These Jews of Middle Eastern origin are now generally referred to as Mizrahim – “eastern” or “oriental” Jews. They were discriminated against in many spheres of Israeli life, regarded as primitive, backward, ill-educated, and poor – and more like Arabs than Jews.

And this was indeed the case in many respects. Jewish communities had been an integral part of Arab society for centuries. From Morocco to Iran, they had lived, thrived, and prospered among the their Muslim neigbours. The Jewish communities in Morocco, Algeria, Tunisia, Egypt, Iraq, Lebanon, Syria, Yemen and Iran were old and populous, and indeed often predated Christianity. From high to low, they were entwined in their local politics and economics.The lower classes were as poor and as downtrodden as their Arab neighbours. The professional and mercantile middle class lived very comfortable lives, and under late Ottoman rule, and British and French suzerainty, enjoyed a cosmopolitan lifestyle.

Embedded in the heart and soul of their Arab homelands, they shared the same history, suffered the same depredations, wore the same clothes, ate the same food, made and listened to the same music. Many of their values and cultural norms had more in common with the east than the west.

Oriental Jewish culture was based on three pillars: the community, the synagogue and the father. Faith was the cornerstone and family paramount, and with these, the authority of the rabbi and the head of the household. Piety was respected, chastity honoured, modesty and decorum observed, and marriages arranged. Religion, tradition and patriarchy preserved the community for a millennium. It did not experience European-style secularization, western enlightenment, or a revolt against religion. Even when modernization came, the father and the rabbi remained dominant.

There was harmony between Arab and Jew. Life had order, meaning, and a timeless rhythm. No one imagined that one day, they would have to abandon their lives, their homes and possessions and the graves of their ancestors. Never did they contemplate having to flee, in fear of their lives from the people among whom they had lived for generations, and seek refuge in a fledgling European, secular, modern state on the edge of the Mediterranean.

After 1948, the relatively charmed existence of oriental Jews in North Africa, the Levant, and Mesopotamia ended, and thousand year old communities disintegrated. A million Jewish Arabs were uprooted, their world destroyed, their culture ruined, their homes lost.

In an ironic twist, their Aliyah (literally “ascent” to Eretz Israel) confounded the Zionist model. Israel was created to be the home of European Jewry – until the Shoah brought those Jews to the brink of extinction. Young Israel had to populate or perish, and whilst designed for a European population and culture, it had no choice but to accommodate an oriental one. .

In yet another ironic twist, the creation of the State of Israel doomed the Jews of the Middle East by making mortal enemies of its Arab neighbours. But by giving these exiles refuge, Israel saved them from a life of repression, misery and backwardness in an unstable and violent Middle East. And yet, even as their numbers rose from under ten percent of the population to over fifty today, they were looked down upon, humiliated, discriminated against, neglected, and indeed, ignored by the secular Ashkenazi establishment. They were the Israeli “other”.

Destitute and grieving for their lost world and their old identities, and for the manner in which their longtime Arab compatriots turned on them, they were like flotsam on the shore of a new land. But it was an unfamiliar world, a world made for and ruled by European Zionists with an ethos alien to their own. This was a pioneer society, spartan yet permissive, that valued the individual and his or her contribution to the new state’s collective enterprises above the ties of family, custom and congregation. And for sound if not satisfactory reasons: the ties that bound European Jews to their centuries-old communities had been severed in the killing fields of Mitteleuropa – so many had few or no surviving relatives and friends from the prewar days – and new loyalties forged in the displaced persons camps of Europe, the mass Aliyah into disputed Palestine, and the cauldron on the Independence War.

The immigrant nation of Israel was conceived as a melting pot. The goal of the education system, the exclusive use of a reinvented and modernized Hebrew, and mandatory national service in the IDF, was to assimilate all who made Aliyah as Israelis. To make them Ashkenazis, in fact. The Ashkenazi social engineers encouraged European Jews to get over the Diaspora and the Shoah, and the struggle for independence and national survival, and to get on with the challenges of nation building. These orphans of Europe neither appreciated nor accommodated the eastern Jews’ attachment to their Arab identity, tradition, and culture. And indeed, may have resented, both consciously and subliminally, the fact that these Arab Jews had not come through the Holocaust or fought in the War of Independence

In the national project, the easterners were banished to existential shadow lands. Isolated, marginalized, dispersed, and cut off from their roots and heritage, their rabbis and synagogues, they were consigned to arid development towns in the Negev, to remote villages, and to the impoverished suburbs of the major cities. The state provided refuge, housing, schooling, and jobs. But it took away community, honour and tradition, the social and normative structures that kept Jews together in the eastern diaspora. They were given few tools to deal with the new world of physical and economic hardship, no authority, no bearings, no compass, no meaning. They took low paid, menial jobs, and a lost generation of youngsters drifted into crime and gang culture, drugs and prostitution.

Decades later, these “forgotten people” rose up against the (self)chosen race in a political and cultural revolution that saw “downstairs” gate crash the “upstairs” party. In the political turmoil that followed the Yom Kippur war, they found a political voice and demanded a seat at the top table. They backed Likud against “born to rule”, secular, Ashkenazi Labour, and precipitated a new political dispensation based on faith and values-based political parties and shifting and opportunistic coalitions. They were the working class, the factory hands, the tradies, and the small business owners. They were the parvenus, the usurpers, the nouveau riche, rising about their station, and as such, were scorned and maligned by many Ashkenazim. But they were now the majority. Through immigration and natural increase, their numbers grew, and with it, their political clout. One no longer heard the term ‘Sephardi’ – but rather, ‘Mizrahim’, literally ‘easterners’ – the descendants of Jews from Middle Eastern countries. Their values, interests and expectations were different to those held by the secular, liberal-minded Ashkenazim.

The Garibaldi of this Mizrahim Risorgimento was the charismatic Moroccan Jew Ariyeh Deri who formed the ultra-Orthodox Shas party – Shomrei Sfarad, literally, “(Religious) Guardians of the Sephardim”. Through the late nineties and into the twenty first century, Shas has become a pivotal political player. In the hurly-burly of Israeli coalition politics, its Mizrahi constituency has delivered parliamentary numbers that can make or break governments, and through the torturous wheeling and dealing, it influences policies as diverse and as critical as education and defense.

One of Binyamin Netanyahu’s key people in the current right-wing government is his Minister of Culture Miri Regev, whose family came from Morocco, a former brigadier general in the IDF, where she served as chief spokesperson during the Gaza pullout. She is a member of Likud, not Shas, and Netanyahu needs her backing in order to maintain his support among the Mizrahim. Regev likes to rail against what she calls “the haughty left-wing Ashkenazi elite” and once proudly told an interviewer that she’d never read Chekhov and didn’t like classical music. She has sought to give greater prominence to Mizrahi culture and to deprive “less than patriotic” artists of government subsidies. Many of the government’s recent actions appear designed to address the traditional disenfranchisement of the Mizrahim and of citizens living in the country’s “periphery” (that is, far from the central Tel Aviv–Jerusalem corridor), whilst other measures are aimed at promoting social mobility amongst these “outsiders”.

A changing world

Which brings me back the present and to my return to Israel after an absence of thirty years.

The dazzling sunlight reflected off the limestone brickage was the same. The history literally oozing from the stones was still exhilarating and addictive. The dry heat of summer in Jerusalem was as ever cleansing and enervating. The sociability, conviviality, argumentativeness, and at times obstreperousness of Israelis was the same. But Israel, as a society, had changed – and not just the cosmopolitan cafe and restaurant strips, the vibrant arts scene, the high-tech, wired-to-the-world communication systems, and the ever-present security presence.

Israel’s complexion has changed. Over half of the Israeli population are now Mizrahim (and some twenty percent are Arabs), and Russians and Ethiopians have come in by tens of thousands. There is intermarriage between Jews of all colours and cultures, and the place has taken on a coffee-coloured hue. Israel became the multicultural country it is now.

And it is changing still. As more and more foreign workers come in to work here – one of the consequences of the lock-down and separation that followed the 2002 Intifada, as Chinese and Southeast Asians replaced Palestinian Arabs in many sectors of the booming economy, there will be an increasing number of Israelis taking Filipina, Thai and Indonesian brides..

On our recent visits, we noted the high proportion of Mizrahim, and also, to a lesser degree, Ethiopians – most particularly, among young people. In the street, in the cafes, on the light rail, and especially with respect to the conscript army in which all young Israelis, boys and girls, must serve when they turn eighteen (with the exception of the ultra-orthodox Haredim and Israeli Arabs).

We had been contemplating why in recent years, and particularly, during the last Israeli election, right wing politicians were able to capitalize on an anti-Arab sentiment so incongruent (to liberal-minded outsiders, at any rate) among a people that proclaims itself to be conscious of its history of victimization and oppression. Why Israeli street protests and social media feature virulent tirades and slogans against the country’s Arab citizens and Palestinian neigbours (such inflammatory sentiment is returned with equal if not more vigour on the Arab street, on tabloid television, and from the mana-bir of mosques during Friday sermons). And why, therefore, Bibi Netanyahu’s election dog-whistle was so effective, resulting in a coalition government that is probably the most nationalistic, anti-Arab and anti-Palestinian in memory.

Commentators have suggested that the political shift to the right and to an increasingly authoritarian character has been due in part to the influx during the nineties of tens of thousands of Russian Jews who have no experience, appreciation and empathy for the occidental democratic model established by Israel’s founding fathers. It has also been said that the shift has been propelled by the exigencies of the security state that has perpetuated a pattern of fear and retaliation with respect to internal and external threats, be these Palestinian resistance to the occupation, as in the violent street protests and and bombings the first and second intifadas, and the lone-wolf vehicle attacks and stabbings of recent times, the ongoing rocket attacks and tunnel construction of Gaza, or the calls for the destruction of the Zionist entity by the Iran and its Hizbollah proxy, and by the televangelists and shock-jocks of the Muslim media.

It may well be “all of the above”, but there is also possibly the Mizrahi factor.

Now the majority of voters – this is where I am going out on a polemical limb with an argument that runs counter to what I have written above about the Mizrahim and their oriental legacy – Mizrahim don’t want Arabs – as friends, as neighbours, as fellow-citizens. Although Arabs and eastern Jews are literally ‘brothers under the skin’, although they shared the same lands, cultures and lifestyles for centuries, have they grown so far apart that the chasm has bred contempt?

They have grown up with the stories of their parents’ and grandparents’ own Nakba, the Arabic word for “the Catastrophe” of the 1948 war, when their families were cast out of their oriental Eden, expelled from Arab countries amidst threats and pogroms, murder and plunder. They spend their military service as conscripts and as reservists either serving in the occupied territories, or subject to deployment there or in Gaza when tensions flare, as they do frequently. They are aware of Arab mainstream and social media denigrating Jews and Israelis and calling for the destruction of their country. They know that any time, they and their loved ones, including particularly their soldier children, could be attacked by car, knife or bomb, or worse still, killed or kidnapped. Young – and not so young – Mizrahim have been hearing all their lives from their families and from the Arabs themselves that “they want to kill us”.

Nowadays, in many quarters, the Arab pogroms of the twenties and thirties appear to feature more prominently in Israel’s creation story than they did in earlier decades, providing an historical leitmotif to contemporary acts of violence. Times past, it was always the about the Zionist pioneers and, inevitably and unavoidably, the Shoah (and left-wing, peacenik Jews are predominately Ashkenazi of pioneer or Shoah heritage). Back then, there was also the image of triumphant David fending off five Arab armies and killing and expelling Arab Palestinians to create a contiguous national territory. Over half of Israel’s Jewish population has no connection to the Shoah, and to the secular and socialist Zionist ethos and once-powerful foundation institutions like the Kibbutz and Histradrut. The Israel of today, and the average Israeli, indeed, are very different to those of forty, fifty, sixty years ago, as are their perceptions and prejudices.

Perhaps the “victim” narrative appeals to and exploits atavistic fears of Arab hordes threatening to push the Jews into the sea. Maybe, too, it is a function of Israel’s dysfunctional place in the turbulent and bloody Arab world: a garrison state of citizen soldiers on a permanent,  war-footing, the only democratic nation in these parts that nevertheless, paradoxically and immorally, maintains a military occupation of a conquered people, and sustains politically, financially, and among many Israelis, ideologically and spiritually, a neocolonial settler society. But in a sinister twist of fate, it is a narrative that would have been music to the ears of those long-gone Revisionist Zionists who harkened to the call of Zeev Jabotinsky and his Eastern European Ashkenazi crew who had resolved during the Mandate years that there could only be one people in Ha’Aretz, and that The Land would range from the Mediterranean to the Jordan River. Zeev’s vision inspired the vicious Irgun and Stern Gang, and these morphed in time into Likud, which is now effectively the ‘party of government, and the driver of all things intransigent.

One thing’s for sure: the Mizrahi factor adds to the many complications that hinder a just and permanent solution to the intractable conflict between Israelis and Palestinians.

__________________________________________________________________________________________________________

In writing this piece, I am indebted to Israeli journalist and author Avi Shavit and his controversial and enlightening “My Promised Land – The Triumph and Tragedy of Israel” (Scribe 2014). Shavit wrote a brief, sad sequel in March 2015:

http://www.politico.com/magazine/story/2015/03/israeli-elections-israel-future-116266

Veteran Zionist, humanist, journalist, and fighter for justice Uri Avnery wrote the following in February 2017: “When and how the Ashkenazi and Mizrahi Rift was born”. It is well worth reading:

http://zope.gush-shalom.org/home/en/channels/avnery/1487945729

See also:

http://www.haaretz.com/life/1.795156
hthttp://www.haaretz.com/life/1.795156tps://en.m.wikipedia.org/wiki/Mizrahi_Jews
https://en.m.wikipedia.org/wiki/Demographics_of_Israel
In the statistics cited herein, there was no distinction made between Sephardim and Mizrachim. (If the Sephardim, Mountain Jews and other non-European groups are included in the Middle East and Asian group, then Middle Eastern and Asian Jews outnumber European and American Jews by a margin of 52 to 48

On a musical note:
From way back, I was particularly familiar with world-famous Israeli singers of eastern origin – Esther Ofarim, of dubious ‘Cinderella Rockefeller’ fame, (with her then-husband Abi, who was, incidentally, of Russian heritage), the late, sublime Ofra Haza, Noa, and latterly, Ladino diva Yasmin Levy].