Cross the Green Mountain – Bob Dylan’s Americana

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

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

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

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

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

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

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

In the his NYRB essay, Sean Wilentz writes:

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

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

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

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

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

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

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

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

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

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

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

Bob Dylan, Historian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bob Dylan – ‘Cross the Green Mountain

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

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

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

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

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

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

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

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

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

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

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

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

 

تصور عودة الفلسطينيين – فن إسماعيل شموط

As a COVID-19 lock-down diversion, In That Howling Infinite has translated the story of the life and art of Ismail Shammout into Arabic:  Visualizing the Palestinian Return – the art of Ismail Shammout. Please excuse any grammatical and vocabulary errors.

قمنا بترجمة قصة حياة وفن إسماعيل شموط إلى اللغة العربية. يرجى إعفاء أي أخطاء نحوية ومفردات

المفتاح والعودة – فلسطين كمجاز

رأى الشاعر الفلسطيني محمود درويش فلسطين وطنًا ولكن أيضًا مجازًا – لفقدان عدن ، وأحزان الطرد والنفي ، من أجل القوة الباهتة للعالم العربي في علاقته مع الغرب (محمود درويش ، فلسطين كمجاز)

نشرت النجمة والأستاذة الفلسطينية الأسترالية نجمة خليل حبيب – ومدرسي للغة العربية في العديد من الفصول الدراسية في جامعة سيدني – ورقة بحثية في مجلة نيبولا عام 2008 تبحث في كيفية عودة “العودة” – موضوع متكرر في الأدب العربي المعاصر. – تم تناوله في الرواية العربية ، وكيف يصور من يعيش حلم “العودة” ومن عاد بالفعل إلى فلسطين بعد حرب 1967 أو بعد اتفاقيات أوسلو.

تكتب: “يتجلى مفهوم” العودة “في هذا الأدب بطرق مختلفة بما في ذلك العودة الروحية (كما يتجلى في الأحلام والتطلعات) ؛ العائد المادي الحرفي ؛ عودة الفرد (“العودة” على أساس لم شمل الأسرة) ؛ “العودة” نتيجة احتلال غزة والضفة الغربية بعد حرب 1967 ؛ و “العودة” نتيجة لعملية السلام بعداتفاقيات أوسلو“.

Al Mufta مفتاح

المفتاح ، المفتاح ، المفتاح هو رمز دائم للعودة. وهي موجودة في فن الشارع وفي اللافتات والملصقات في جميع أنحاء فلسطين وفي مخيمات اللاجئين. إنه رمز ، لذكرى ، يعود في يوم من الأيام – إلى المنازل الضائعة ، القرى ، الضواحي ، البلدات ، الأرواح وسبل العيش. كما يكتب نغمه ، “العودة” (العودة) متأصلة بعمق في الذاكرة الجماعية الفلسطينية. إنها متجذرة في ضميرهم كإيمان لا يمكن إنكاره ، لأن إنكاره سيعني اقتلاع العقدة التي يعتمد عليها التاريخ والهوية الفلسطينية الحديثة ”.

ولكن بالنسبة للكثيرين ، هو أكثر من ذلك. كتب نجمة: “سواء حدث النفي طوعًا أو في ظل ظروف قمعية ، فإن حلم العودة إلى الوطن يبقى على قيد الحياة في ذهن الشخص المنفي. يتوهج أو يتلاشى من شخص لآخر ومن ظرف إلى آخر ؛ ومع ذلك ، فإن مفهوم “العودة” لم يعد معناه الأساسي ، ولكنه أصبح ينظر إليه على أنه وسيلة للمقاومة وتحدي القمع “.

وتلاحظ الكاتب والناشط الأمريكي الفلسطيني الناشط فواز تركي أن “حق العودة وحلمها هو الصخرة التي تأسست عليها أمتنا والتوازن الاجتماعي الذي يوحد الأمة في هذا العالم البائس”.

إنه الحلم ، الأمل الذي مكن عشرات الآلاف من اللاجئين في المخيمات في جميع أنحاء بلاد الشام من إدراك وضعهم على أنه مؤقت ومقاومة جاذبية الاستيعاب والتعميم في البلدان المضيفة لهم – إذا كان هذا ممكنًا بالفعل نظرًا لأن معظم المضيفين لديهم بثبات قاومت منح الفلسطينيين الحقوق والامتيازات التي يتمتع بها مواطنوهم. في حين أن كونهم جزءًا كبيرًا من الشتات في الغرب قبلوا الإدماج والتجنس ، فإن هؤلاء الفلسطينيين يتواصلون مع شعبهم وثقافتهم في فلسطين ، ولا يزالون يحتفلون بأعيادهم الوطنية.

فر ما بين سبعمائة وثمانمائة فلسطيني من منازلهم في إسرائيل الحالية أو تم طردهم خلال حرب عام 1948. بقي العديد في إسرائيل إما في منازلهم الأصلية أو حيث لجأوا. لقد أصبحوا مواطنين إسرائيليين ، ولكن حتى بالنسبة لهم ، تستمر الذكريات ويستمر الكثيرون في الإشارة إلى المدن والقرى والمحليات بالأسماء التي كانت لديهم قبل قيام دولة إسرائيل.

ومع ذلك ، فإن العودة وحق العودة هو وهم ، حلم يتدلى أمام أعينهم من قبل قادتهم مثل عرض منوم مغناطيسي. ووضع لاجئ الأمم المتحدة ، وهم قديم متعب دأبت عليه الأونروا لتبرير وجودها ورواتبها الجيدة ، وجامعة الدول العربية كورقة تين لنبضها. كان تعريف وتأسيس الأونروا مخطئًا منذ اليوم الأول ، وبينما خلق اللجوء إلى الأجيال ، ولّد أملًا زائفًا ، وأحلامًا غير قابلة للتحقيق ، وحاجزًا لجهود السلام اللاحقة هناك بالفعل اقتصاد كامل ، وعيش ، ونمط حياة مكرس ويعتمد على إدارة الصراع ومشكلة اللاجئين بدلاً من حلها. كان المنفى غير معقول وغير عادل ، لكن الماضي لن يتراجع أبدًا – وبالتأكيد قرارات الأمم المتحدة.

المفتاح ، إذن ، هو أمل بائس ، باب مغلق لا يمكن لأي كمية من المفاتيح فتحه ؛ والواقع هو أن يكون هناك حظر ، خارج السياسة ، خارج المجتمع ، خارج سوق العمل والإسكان. اللاجئون هم أقلية في فلسطين. لا توجد مفاتيح للمنازل والشقق الجديدة التي ترتفع في مدن الضفة الغربية وحولها في طفرة عقارية مستمرة منذ عدة سنوات ولا يمكن الوصول إليها وبأسعار معقولة إلا للطبقة المتوسطة المتنامية من موظفي السلطة الفلسطينية والمنظمات غير الحكومية الأجنبية والمهنيين الشباب.

ولكن بالنسبة للاجئين ، كل هذا مفارقة. إنهم محرومون من فلسطين القديمة من آبائهم وأجدادهم وأسلافهم. لكنهم أيضاً أغلقوا فلسطين الجديدة التي تناضل من أجل الولادة.

شعراء مثل درويش والروائيين استوعبوا وعكسوا النكبة والعودة في عملهم. ينعكس حلم العودة في كتاباتهم. كما هو الحال مع فناني الجرافيك – لا شيء بنفس القوة والحيوية مثل إسماعيل شموط ، المولود في ليديا ، فلسطين عام 1930. عندما وصل آخر مرة في رام الله ، “عاصمة” إدارية بحكم الأمر الواقع لهذا الجزء من حكومة الضفة الغربية من قبل السلطة الفلسطينية – المنطقة أ (لعباس ، نكتة الذكاء) من إدارة أوسلو ، قمنا بزيارة المركز الثقافي دار زهران ، وهو منزل عثماني تم ترميمه بشكل جميل جنوب وسط المدينة مباشرة (وساحته المركزية المليئة بالصور من المفتاح).

من خلال الصدفة المحظوظة ، كانت دار زهران تستضيف معرضًا صغيرًا للوحات بالتذكير بسلسلة مذهلة من اللوحات للفنان الفلسطيني الراحل إسماعيل شموط التي تحكي قصة النكبة والطيران والمنفى.

لقد نشرت من جديد أدناه سيرة موجزة لشموط من مدونة

Palijounrneys.

https://www.paljourneys.org/en/biography/9727/ismail-shammut

فن إسماعيل شموط

يتذكر إسماعيل شموط ويحتفل به لتصويره للحياة اليومية في القرى الفلسطينية قبل النكبة ، لتصويره المروع لهروب وطرد الكثير من سكان فلسطين العرب المنتدبين ، ولوحاته الرمزية للشتات التالي.

إن فلسطين هي مكان خالد ، يكاد يكون منامياً ، شبه بعيد عن الزمان والمكان بواقعه المعاصر. كان الحنين والفنانين والشعراء في عصر سابق يصفونه بأنه رعوي مع صوره للحياة اليومية في الريف ، ونقوشه من الشباب والكبار الشباب والرجال والنساء والأطفال والرضع. هناك أزواج من الشباب في الأزياء التقليدية ، والأمهات الشابات مع الأطفال في الأسلحة ، والمزارعين في الحقول ، ومجموعات عائلية من أجيال عديدة. هم في الصالات والمطابخ ، في الساحات والحدائق والحقول والبساتين وأسواق الشوارع كمشترين وبائعين. هناك موسيقيون ومغنون وراقصون في بيئات اجتماعية لا تعد ولا تحصى – في الحفلات والاحتفالات والزواج والمهرجانات والعروض والمواكب.

               

 

واحتفالًا بدائرة الحياة من المهد إلى اللحد وإيقاع الفصول ، هناك مشاهد من وقت الحصاد وجمع ثمار الحقول والبساتين. هناك الحبوب والخضروات والزيتون والبطيخ والمشمش والرمان والتين والعنب والبرتقال الذي اشتهرت فلسطين به منذ زمن طويل.

هذه المشاهد الخلوية لعالم مضى – ذهب لنا جميعًا ، وليس فقط لشعب بلاد شموط – تُقترن بصور بيانية للنكبة ، والمنفى ، والطرد والتشريد ، والغزو والاحتلال ، والاحتجاجات والمقاومة المستمرة . وعبر كل شيء ، هناك زخارف أمل وسلام – أزهار وطيور مغنية وحمامات – وأيضًا صراع ومقاومة – أعلام ولافتات وبنادق وصخور.

وتشمل هذه اللوحات الشهيرة شموط لطيران الفلسطينيين وطردهم ، والطريق الطويل الصعب للطائرة على درب الدموع ، والشمس المعادية تنبض. عرضه للحرارة والجوع والعطش والإرهاق يتذكر قصيدة WH Auden المروعة  “درع أخيل”، مع صورها المتناقضة والمضطربة للفرح والاحتفال والدمار القاتم ، أحادي اللون تقريبًا … “سهل بدون ميزة ، عارية وبنية ، لا شفرة من العشب ، وليس علامة على الجوار ؛ لا شيء يأكله ولا مكان للجلوس فيه ، لكن المجتمعين على فراشه وقفت على جمهور مفهومة ، مليون عين ، ملايين الأحذية في الطابور ، دون تعبير ، في انتظار إشارة “.

تظهر هذه الصور ، النزيهة والخطيرة ، في لوحات أكبر تصور العقود التي تلت ذلك ، سواء المباشرة – المخيمات والتناثر – والمعاصر – الاحتلال ، الانتفاضتان ، المقاومة المستمرة ، وعملية السلام المتعثرة بشكل دائم . تظهر في الخلفية رموز وأيقونات فلسطين في الماضي والحاضر – خاصة القدس والقدس الذهبية ، والأماكن المقدسة الثمينة جدًا للعديد من الأديان – المساجد والكنائس والأديرة والمدارس ، بما في ذلك الحرم الشريف وكنيسة القيامة.

هناك صور لمخيمات اللاجئين ، ومدن الخيام المزدحمة التي استقر فيها المنفيون لأول مرة ، وحقول النفط الخليجية التي يعمل فيها المغتربون ، والمهن التي دخل إليها المغتربون في جميع أنحاء العالم ، من العمال إلى عمال المختبرات. يوجد أطفال المدارس في مكاتبهم وعمال المكاتب على أجهزة الكمبيوتر ، والحشود ، دائمًا ما تكون حشود من الأشخاص الذين لا حصر لهم ، مجهولي الهوية ، تقريبًا مجهولي الهوية. هناك مسيرات ومظاهرات واشتباكات مع جنود مجهولي الهوية مجهولي الهوية. هناك شباب يرمون الحجارة ويواجهون سيارات مدرعة وجنود يحملون أسلحة. وهناك أحداث سياسية مثل اللقاء الذي عقد في كامب ديفيد بين ياسر عرفات واسحق رابين والذي سهله الرئيس كلينتون ، مما أثار الآمال والتوقعات لم تتحقق.

دى اللوحات هي قوية ومؤثرة بشكل خاص. امرأة مسنة وابنتها تعانقان شجرة الزيتون مع اقتراب جرافة. يسعى صبيان صغيران لعرقلة  ;طريقه الذي لا هوادة فيه – وهو مشهد غير معتاد على الإطلاق ، مثل الصورة التي قمت بإقرانها بالعروض

“كيف نجد أشجار الزيتون عندما تختفي جميع أشجار الزيتون؟”

 

 

إسماعيل شموط – سيرة

وُلد إسماعيل شموط في بلدة اللدة في 2 مارس 1930. وكان والده عبد القادر شموط تاجرًا لبيع الفواكه والخضروات. كانت والدته عائشة الحاج ياسين. كان لديه سبعة أشقاء: إبراهيم ، كوثر ، جميل ، ميسر ، انعام ، جمال ، توفيق. كانت زوجته الفنان تمام عارف الأكحل ، المولود في يافا عام 1935. أولاده هم يزيد ، بشار ، وبلال.

في عام 1936 بدأ المدرسة الابتدائية ، ورصدت موهبته الفنية في سن مبكرة. تولى مدرسه داود زلاطيمو توليه المسؤولية. خدم زلاطيمو مدرسًا للفنون في ليدا من عام 1930 حتى عام 1948 ، وزينت رسوماته للأحداث التاريخية والطبيعة جدران المدرسة. تم تعليم شموط من قبل زلاطيمو لرسم بالقلم الرصاص والحبر ، والطلاء بالألوان المائية ، والنحت في الحجر الجيري.

بعد إقناع والده الديني والمحافظ بأن “الفن يمكن أن يكون مهنة مربحة” ، بدأ بتزيين فساتين الزفاف بالورود والطيور ثم افتتح متجرا خاصا به ، وهو في الواقع أول استوديو له. وهناك رسم أول زيوته التي تصور المناظر الطبيعية والبورتريه قبل النكبة عام 1948.

بعد ثلاثة أيام من سقوط اللدة و الرملة على يد القوات الصهيونية ، في 13 يوليو 1948 ، اضطر شموط وعائلته (إلى جانب سكان المدينتين) إلى المغادرة والذهاب سيرا على الأقدام إلى رام الله ولم يُسمح لهم بحمل المياه . توفى شقيقه الشاب توفيق من العطش قبل وصولهما إلى قرية نيلين ، بالقرب من رام الله. وثق شموط مسيرة الموت والإرهاق والعطش في العديد من اللوحات المنفذة في الخمسينيات. استمرت العائلة في التحرك حتى استقرت في الخيام التي شكلت في نهاية المطاف مخيم خان يونس للاجئين.

باع شموط المعجنات لمدة عام ، ثم تطوع لتدريس الرسم في مدارس اللاجئين ، التي أقيمت في خيام. هذا سمح له باستئناف مهنته الفنية وعرض لوحاته في غرفة في مدرسة خان يونس الحكومية في عام 1950. وفي نفس العام التحق بأكاديمية الفنون الجميلة في القاهرة وعاش من أرباحه ، ورسم ملصقات الأفلام.

أقام شموط معرضه الأول في عام 1953 ، حيث جمع ما يكفي من اللوحات لمعرض كبير “لكن لم يكن لديه ما يكفي من الشجاعة” لعقده في القاهرة. لذلك عرض في نادي الموظفين في مدينة غزة بالاشتراك مع شقيقه جميل. في ذلك المعرض ، قدم شموط ستين لوحة بما في ذلك لوحاته الشهيرة الآن إلى أين؟ وفم من الماء. اعتبر هذا المعرض أول معرض فني معاصر في تاريخ فلسطين من قبل فنان فلسطيني على الأرض الفلسطينية ، وفقًا لحجمه وعدد الأعمال المعروضة وطريقة افتتاحه والحضور الجماعي.

         

في عام 1954 ، أقام معرضًا في القاهرة تحت عنوان “اللاجئ الفلسطيني” بالاشتراك مع طالب فني في أكاديمية الفنون الجميلة ، تمام الأكحل ، والفنان الفلسطيني نهاد سباسي. كان هذا المعرض تحت رعاية جمال عبد الناصر ، في ذلك الوقت رئيس وزراء مصر ، وحضره قادة فلسطينيون. شجعته أرباحه من هذا المعرض على السفر إلى إيطاليا حيث سرعان ما حصل على منحة للدراسة في أكاديميا بيلي أرتي في روما ، وظل هناك لمدة عامين (1954-1956).

بعد تخرجه ، انتقل للعيش والعمل في بيروت مع شقيقه جميل في وكالة الأمم المتحدة لإغاثة وتشغيل اللاجئين الفلسطينيين (الأونروا). أنشأ الأخوان مكتبًا للفن التجاري وتصميم الكتب ؛ وقد تضمن الأخير كتيبًا للجيش اللبناني بعنوان “التربية المدنية الإنسانية”.

في عام 1959 ، تزوج من زميلته الفنانة تمام الأخال ، وبعد ذلك عملوا معًا عن قرب ، من الناحية الفنية والمهنية. قاموا بتدريب معلمي الفنون في بيروت والقدس والضفة الغربية وقطاع غزة وعقدوا معارض مشتركة في تلك المناطق.

تابع شموط والآخر عن كثب إنشاء منظمة التحرير الفلسطينية في المؤتمر الوطني الفلسطيني الأول في القدس في عام 1964. في عام 1965 ، أنشأ قسم الثقافة الفنية في قسم الإعلام والتوجيه الوطني لمنظمة التحرير الفلسطينية (المعروف لاحقًا باسم دائرة الإعلام والثقافة) ) ووجه أنشطته حتى عام 1984. عندما أغلقت مكاتب منظمة التحرير الفلسطينية في القدس ، عاد الزوجان إلى بيروت في عام 1966 واستأنفوا العمل مع منظمة التحرير الفلسطينية هناك ، بالإضافة إلى عملهم الشخصي كفنانين. أكمل شموط عددًا لا يحصى من الملصقات والمشاريع الأدبية والسياسية والتقليدية ، ونظمت صحيفة

الأخال عشرات المعارض السياسية والشخصية في مدن حول العالم ، بما في ذلك غزة والقاهرة والقدس ورام الله ونابلس وعمان وواشنطن (بالإضافة إلى اثني عشر مدن أمريكية أخرى) ، طرابلس ، دمشق ، الكويت ، لندن ، بلغراد ، صوفيا ، بكين وفيينا ، بالإضافة إلى الجداريات المسماة “المسار في عمان وأنقرة واسطنبول والدوحة والشارقة ودبي والقاهرة ودمشق وحلب وبيروت . ومن بين أبرز إنجازاته قاعة تسمى دار الكرامة في بيروت حيث تم عرض معارض موسمية لفنانين شباب من مخيمات اللاجئين الفلسطينيين ، وكذلك معارض تضامن عربية ودولية أخرى

في عام 1969 ، أسس شموط وغيره من الفنانين الفلسطينيين أول اتحاد عام للفنانين الفلسطينيين. ظل أمينًا عامًا لها حتى عام 1984. وشارك أيضًا في تأسيس الاتحاد العام للفنانين العرب في عام 1971 وكان أول أمين عام لها ، وهو المنصب الذي شغله حتى عام 1984.

بعد الغزو الإسرائيلي للبنان في عام 1982 ، ورحيل المقاومة الفلسطينية وقادتها ، وإغلاق مكاتب منظمة التحرير الفلسطينية ، اضطر شموط (الذي كان يعاني من مرض في القلب وتفاقم) إلى الانتقال مع أسرته إلى الكويت في عام 1983 ، حيث عاشوا خلال احتلال الكويت عام 1991 وحرب الخليج الثانية. بعد تحرير الكويت ، أُجبرت الأسرة مرة أخرى على الانتقال عام 1992 ، هذه المرة إلى ألمانيا. في عام 1994 ، استقر أخيرًا شموط والأخل في عمان ، الأردن.

يعتبر شموط عمومًا رائدًا في الفن الفلسطيني المعاصر. كان فنانًا ملتزمًا كان أسلوبه واقعيًا مع بعض العناصر الرمزية. سيطرت القضية الفلسطينية على فنه ، وقد تم توزيع بعضها على نطاق واسع في المخيمات والمنازل وتضامنًا مع حملات فلسطين في الدول العربية وخارجها. يمكن اعتبار بعض أعماله أيقونة للشعب الفلسطيني.

لم يتوقف شموط عن تصوير الخروج الفلسطيني من فلسطين في لوحات تحمل ألقابًا ومعانيًا موجودة كثيرًا في أذهان الناس وفي تجربته الخاصة ؛ مثال على ذلك هو اللوحة التي تحمل عنوان أين؟ (1953). كانت لوحاته مستوحاة من حياة المخيم (مثل      Memories and Fire ، 1956 ؛ We Shall Return ، 1954 ؛ و Bride and Groom at the Border ، 1962) ودعت إلى التفكير في معنى الأمة في الانتظار.

منحته منظمة التحرير الفلسطينية الدرع الثوري للفنون والآداب ، وميدالية القدس للثقافة والفنون والآداب ، وجائزة فلسطين للفنون. منحه منتدى الفكر العربي الجائزة الإبداعية للرسم العربي. يتم منح جائزة سنوية باسمه عن اللوحة الفلسطينية الممتازة. تم الحصول على أعماله من قبل العديد من المتاحف العربية والدولية.

أجبرته حالة قلبه على الخضوع لثلاث عمليات حرجة ، أجريت الثالثة في لايبزيغ ، ألمانيا ؛ توفي في 3 يوليو 2006 ودفن في عمان.

بالإضافة إلى لوحاته ، كتب قصصًا عن الرسم والحرف الفلسطينية وأنتج عددًا من الأفلام التي تأثرت بخبراته الفنية. تشمل هذه الأفلام فيلمًا بعنوان الذكريات والنا (1973) ) ، وفاز بجائزة الأفلام الوثائقية القصيرة في مهرجان لايبزيغ ؛ نداء عاجل (1973) ؛ وعلى الطريق إلى فلسطين (1974). أنتجت نورة الشريف فيلمًا قصيرًا يدعى إسماعيل ، وتناول جزءًا من حياته خلال فترة ولايته الأولى كلاجئ في مخيم خان يونس. يتوفر موقع ويب مخصص لعمله على الموقع

http://www.ismail-shammout.com

   In That Howling Infinite   رأ المزيد عن سياسات وتاريخ الشرق الأوسط في كتاب   

In English: Visualizing the Palestinian Return – the art of Ismail Shammout

Joy فرح

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

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

Brown girl in the ring, raise your voice and sing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Postscript

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

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

and of Leonard Cohen’s Anthem

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

Here is the wondrous Éabha McMahon of Celtic Woman:

 
 
 

Facing the music – no partying in Palestine

It’s a crash course for the ravers – it’s a drive-in Saturday!  David Bowie

Apparently, it’s party time in Dubai as the potentially impecunious emirate lowers its COVID19 guard and stands down its morality mukhabarat to lure champagne Charlies and Charlottes from plague infested England and its new-found Israeli tourists to raucous hootenannies in the casbah. Pandemic restrictions be damned! We’ll vaccinate the lot – well, most of them. The occidental groovers and grifters will get their shots before the lowly South and South East Asians who constitute the majority of the Emirates’ expatriate workforce.

Business is business, and why not? In our democracies, it is our right to hire a DJ, bring in the booze and throw a party, inviting all our friends and neighbours. We’re even willing to defy lockdowns and social distancing and risk hefty fines to assert our right, nay, need to be crowdy and rowdy.

Young folk in less liberated and licentious lands should be so lucky. As the story we publish below by Israeli-Arab writer and Haaretz editor Rajaa Natour illustrates, identity politics, cancel culture, and the right to take offence are not the exclusive preserve of the so-called “woke” leftists of the west and their particularistic adversaries on the right. When nationalism, secularism, religiosity, and identity collide the door is wide open for intolerance, misogyny and  ignorance.

When travelling through the Middle East and studying Arabic, there are two words that you learn quicksmart: mamnu’ and muharam, ممنوع و محرم. They both mean forbidden, prohibited, “don’t do it!”. The first is the voice of secular authority enforced by police, soldiers and officials; and the second is a religious edict determined by spiritual leaders and enforced by social custom and quite often, self-appointed vigilantes. Islam as a faith observes no separation between the divine and the secular in human affairs, and in Muslim societies, the dividing line is sometimes slim to nonexistent, the one reinforcing the other – with unfortunate consequences for perceived transgressors, as Palestinian musician Sama Abdelhadi found out when she organised a dance party in a remote location, and incurred the wrath of the straighteners, the patriarchy, and, so these would declare, the Almighty.

A crash course for the ravers

A video clip of a dance party hosted by a celebrated female DJ at a what is reputed to be a holy site quickly goes viral on social media, infuriating many Palestinians who claim that the party-goers are debasing and desecrating the sanctity of the shrine, of Word gets out in real-time and the party is gate-crashed by a posse of young Palestinian men who violently expel the revelers. Arrested by the security forces of the Palestinian Authority, the DJ  is at first accused of desecrating a holy site, later with violating COVID19 regulations, and is remanded in custody for 15 days.

Natour writes: “When a prophet who is the earthly apostle of the divinity, religious taboos, and a misguided Muslim Palestinian crowd join hands, it’s a lost cause, becoming a Gordian knot. A desecration of a location is directly linked to a desecration of the divinity and, accordingly, as is always the case, the defilement and disgracing of the divine requires punitive measures. And so the second act begins as the wounded Palestinian-Muslim masculinity delivers its punishment. God and his defenders will not rest until blood is shed. This time it was the blood, or more precisely the freedom, of Sama Abdulhadi … But (the) arguments are fatuous. There is no link, historical or religious, between Nebi Musa and the defiled location – its desecration and the violation of the sensibilities of many Muslims, are all imaginary. The intent is to turn an  imaginary violation into something real, and a tool in the service of political-religious interests.

The Nebi Musa shrine, by the way, is named for the Prophet Moses – old Moshe is holy to all three Peoples of the Book – and he is reputed to be buried there. The biblical record – which was later borrowed by Christianity and by Islam is clear that Moses did not enter the Promised Land, but rather, expired on a high place overlooking Canaan on the Jordanian side of the Dead Sea – the town adjacent to the archaeological icon of Petra is called Wadi Musa, ‘the valley of Moses’.

Palestinian political leaders (male) cooperate with the demand to issue a moral-religious condemnation of secularism in principle and particularly secular culture. The Palestinian Authority has even suggested a commission of inquiry – a roundabout way of kicking the can up the road. But what bothers the public, it would seem, is not the cultural gap between techno music and Palestinian culture, but rather, it neglects the Palestinian narrative and is therefore not legitimate.

Then Israeli Arab politicians (male) get involved, presenting the violent expulsion of the revelers from the Nebi Musa compound as a national act of heroism, turning the violence and the disqualification of cultural events that have taken over internal Palestinian discourse into a political issue, an oppositional and subversive one.  Palestinian secularism is framed as an enemy of Palestinian nationalism that must be silenced.

Then another change occurred in the Palestinian political-cultural discourse. Palestinian secularism, already labeled as inimical to Palestinian nationalism, became an agent of other agendas, in this case, the occupation. This wasn’t merely a struggle between secularism and religiosity, it was the disqualification of secularism as a political alternative before it became a cultural alternative. It was therefore necessary to portray it as a betrayal, to kill it so that religion could grow on its ruins.

Natour concludes: “The people who broke into the party at Nebi Musa represent the same masses who objectify and harass women, who persecute and mock the Palestinian LGBT community, who legitimize the murder of women. These are the masses who will soon burst in, wielding clubs, into the Qasr al-Thaqafa cultural center in Ramallah, without needing to resort to any religious pretext any more”.

Sama Abdulhadi (Lionel Bonaventure/AFP)

The Left’s Palestinian paradox

It is one of the great paradoxes confronting the Palestinians’ western, predominantly left-wing sympathizers. Whether these are advocating one-state or two-state solutions, they declaim that their preferred model, whatever or whenever this comes into being, will be democratic, pluralistic and if not entirely secular, then at least, tolerant, egalitarian and non-discriminatory, respecting human rights and social justice. This, alas, is wishful thinking.

Residents of the Israeli occupied territories and of Gaza are divided on the character and complexion of their hypothetical Palestinian nation state. A majority are long accustomed to authoritarian leaders, the traditional zaim (boss or strongman), and cleave to their Islamic faith, family and clan loyalties, and their conservative social structures and strictures. This is reflected in the ideological schisms between the secularist and radical elements of the Palestinian national movement and its more religious and indeed fundamentalist adversaries. And it would appear that among Palestine’s opportunistic, unelected, often corrupt and predominantly male political elite, nationalism has donned Islamic garb.

It was not always thus. Once upon a not too distant time, the national movement was predominantly secular. Western-style intellectuals and leftist groups played a preeminent role (as it was with most Arab nationalists back in the day, with Christians playing an influential part). Political discourse was premised on the idea that the conflict with Israel and Zionism revolved about territory, human and political rights and “the return” of refugees to their former homes and lands. The goal of the national struggle was to replace the “Zionist regime” with a democratic, secular state where Jews, Christians and Muslims could coexist in peace, or failing this, with the militarily powerful State of Israel unprepared to dissolve itself, a Palestinian State within the borders of the former Jordanian West Bank and onetime Egyptian ruled Gaza.

But the ascendancy of Islamist movements Hamas and Islamic Jihad and their I found on the Palestinian “street” transformed the debate, and the vision of a democratic and secular Palestine is challenged by calls to expel all Jews (the settlers, hundreds of thousands of them, and the IDF) and to establish a state based, ideally, on Shariah Law. And this appeals to an increasingly dispirited, disenfranchised, impoverished, conservative and religious Palestinian street.

Whilst the national movement increasingly abandons its former left-wing, democratic and secular ideals, there is nevertheless sustained broad support for the Palestinian cause among the western left – a broad constituency of mainstream socialists and social democrats, and also the acolytes, partisans and naïfs of the movement for Boycott, Divestment and Sanctions. Many on the left now tolerate developments in the West Bank and Gaza that are at odds with the liberal, enlightened world-view they ostensibly champion, including free elections, freedom of speech and association, religious freedom, human rights, gender equality, and LGBTQ rights.

There has been muted criticism of the actions and rhetoric of the Palestinian Authority and Hamas, and what could be interpreted as tacit support for their corrupt, incompetent and authoritarian rule. The rationale is that if it wasn’t for the occupation, things would be democratically and economically hunky-dory; and there is a tendency to blame only Israel when violence erupts whilst ignoring the dynamics at play in Palestinian domestic politics and the internecine conflicts that dominate them (again, if it wasn’t for the occupation etc.)

© Paul Hemphill 2021.  All rights reserved


For more on Palestine in In That Howling Infinite, see Visualizing the Palestinian Return – the art of Ismail Shammout; Children of Abraham; Ahed Tamimi – A Family Affair; Castles made of sandand O Little Town of Bethlehem, how still we see thee lie…On the Middle East generally, see: A Middle East Miscellany.

And so to the full story …

For Palestinians, only God is a DJ

Rajaa Natour  Haaretz , Jan 21, 2021 11:10 AM

The arrest of Palestinian DJ Sama Abdulhadi after she played a set at the Nabi Musa complex wasn’t merely a struggle between secularism and religiosity

Again and again the voices rose, decisive, mechanical, brutal, leaving no room or time for bewilderment: “Get out! Everybody, out, now.” Amid the shrieks, one young voice, angry and bellicose, stood out: “Get out or I’ll blow up the world.” The organizers countered the threats with a limp, apologetic response and stopped the party on the spot.

The shouters weren’t Trumpists invading Capitol Hillin Washington. They were ten young Palestinians from Jerusalem who violently broke up a party that took place on December 26 in the Nabi Musa complex.

The complex features a mosque and other buildings too and is located in the Judean Desert, south of Jericho and east of Jerusalem. These hotheads went there after one of the revelers posted young Palestinian men and women dancing, drinking and smoking on Instagram.

 Nabi Musa shrine, the West Bank Dec 2020. Ammar Awad Reuters

In the first act, a video clip was disseminated on social media, quickly going viral and infuriating many Palestinians, who claimed that the party-goers were debasing and desecrating the sanctity of the locale. Obviously, when a prophet who is the earthly apostle of the divinity, religious taboos, and a misguided Muslim Palestinian crowd join hands, it’s a lost cause, becoming a Gordian knot. A desecration of a location is directly linked to a desecration of the divinity and, accordingly, as is always the case, the defilement and disgracing of the divine requires punitive measures.

This is where the second act begins, in which the wounded Palestinian-Muslim masculinity delivers its punishment. God and his defenders will not rest until blood is shed. This time it was the blood, or more precisely the freedom, of Sama Abdulhadi, a popular 29-year-old Palestinian DJ who was mixing the music. She was arrested by the security forces of the Palestinian Authority, at first accused of desecrating a holy site, later with violating Palestinian Health Ministry regulations. She was then remanded in custody for 15 days.

Abdulhadi was born and raised in Ramallah. Her musical trajectory began with the studying of musical production in Jordan. At the same time, in 2006, she started recording music, mainly light dance-pop. Towards 2008 she discovered the wonders of techno, and the genre became the focus of her musical work. The result was two techno albums, which she released under the label Skywalker. In 2011, she was accepted to the acclaimed SAE Institute sound academy in London and became a sound technician.

Abdulhadi was born and raised in Ramallah. Her musical trajectory began with the studying of musical production in Jordan. At the same time, in 2006, she started recording music, mainly light dance-pop. Towards 2008 she discovered the wonders of techno, and the genre became the focus of her musical work. The result was two techno albums, which she released under the label Skywalker. In 2011, she was accepted to the acclaimed SAE Institute sound academy in London and became a sound technician.

 

Abdulhadi has lived in a number of cities around the world and has performed at highly-acclaimed clubs in Europe, at festivals, and on the largest and most popular online techno music broadcasting platform of them all, Boiler Room. According to Abdulhadi, the party at Nebi Musa was part of a project designed to promote local tourism through techno music.

Nothing helped Abdulhadi, not being a Palestinian woman committed to her people’s struggle against the occupation, not her cultural contribution to the global techno scene, nor even her argument, backed by documents, that she had the approval of the Palestinian Tourism Ministry. The latter retreated after the Palestinian Ministry of Religious Affairs condemned the party, supported by widespread public pressure, and ultimately denied that it had approved the event.

The story didn’t end there. It was kept alive, mainly by male Palestinian leaders, who also capitulated and cooperated in turn with the demand to issue a moral-religious condemnation, which was primarily a castigation of secularism in principle, particularly secular culture as embodied in techno music.

One interesting argument used against Abdulhadi was that her techno music is not part of Palestinian heritage. But what bothered the public was not the cultural gap between this music and Palestinian culture, but the gap in narratives: this music doesn’t tell the familiar Palestinian narrative, therefore it is not legitimate.

Many Palestinian public figures condemned and denounced her actions. Among these were the Ministry of Tourism spokesman, Jarees Qumsiyeh, Hamas spokesman Abdul Latif Qanua, Jericho Governor Jihad Abu al-Asal, and others. Yet others did not make do with mere condemnation. Palestinian Prime Minister Mohammad Shtayyeh promised to punish those responsible and immediately established a commission of inquiry. Many people were angry, condemning the event and demanding retribution, but their arguments focused on religious aspects.

But these arguments are fatuous, as there is no link, historical or religious, between Nebi Musa (i.e. Moses) and this location. Thus, the defiled location, the desecration that occurred and the violation of the sensibilities of many Muslims, are all imaginary. The intent was to turn this imaginary violation into something real, making it a tool in the service of political-religious interests.

And then came the third act, involving among others the Knesset member Ayman Odeh, leader of the Joint List. It was the most dangerous of the three acts in terms of politics and culture. Odeh and others presented the violent expulsion of the revelers from the Nebi Musa compound as a national act of heroism. They turned the violence and the disqualification of cultural events that have taken over internal Palestinian discourse into a political issue, an oppositional and subversive one. Moreover, they presented Palestinian secularism in all its aspects as an enemy of Palestinian nationalism, thus making it imperative to silence it. Regrettably, this discourse has taken wing on social media.

And then yet another change occurred in the Palestinian political-cultural discourse. Palestinian secularism, already labeled as inimical to Palestinian nationalism, became an agent of other agendas, in this case, the occupation. This wasn’t merely a struggle between secularism and religiosity, it was the disqualification of secularism as a political alternative before it became a cultural alternative. It was therefore necessary to portray it as a betrayal, to kill it so that religion could grow on its ruins. The people who broke into the party at Nebi Musa represent the same masses who objectify and harass women, who persecute and mock the Palestinian LGBT community, who legitimize the murder of women. These are the masses who will soon burst in, wielding clubs, into the Qasr al-Thaqafa cultural center in Ramallah, without needing to resort to any religious pretext any more.

 

That was the year that was – a year of living dangerously

Last December, when we wrote our review of the year that was ending, fires were ravaging Eastern Australia, and civil unrest had broken out across the world, from Hong to Chile, Beirut to Bolivia. Calling it The End of the Beginning, we wrote:

“We enter a new decade with an American election that will focus our attention; Britain’s long farewell to Europe; an end, maybe, to Syria’s agony (accompanied by renewed repression and victor’s revenge); the rise and rise of China and the geopolitical challenge it presents to the senescent “Old World”. And that is just a few things we have to look forward to”.

As they say, “be careful what you wish for”, or more prosaically, when men make plans, god laughs.

This was a year unlike any other in my, dare I say it and invite the evil eye, long lifetime. It started so well with the abatement of our smoky, fiery Black Summer, and then the rains came. This was the year optimists hoped would be one of 20/20 vision: progress on tackling climate change, perhaps, and end to the entertaining but scary presidency of Donald Trump, a cure for … well everything.

But it was to be the year of the virus. By year’s end nearly eight million people will have been infected and almost two million will have perished, with the US recording more than any other country – by New Years Day, its death-toll will very likely exceed its dead in World War II. Economies have been shattered, livelihoods threatened or destroyed, borders closed, cities, towns and homes closed, locked-down and isolated.

In its turbulent and divisive election year, the death of George Floyd at the hands of – or more specifically under the knee of a policeman, painted a brutal portrait of the implacable indifference to black life that defines American policing. It reopened America’s long-festering wounds of racial and social injustice, white racism and vigilante violence. Rather than douse the flames with water and retardant, The White House reached for a can of petrol. The Black Lives Matter Movement, like #MeToo in recent years, an incendiary spark ignited protests around the world, showing that police violence, injustice and inequality do not belong to the USA alone.

Armed protesters on the steps of the Michigan State Capitol in Lansing, demanding the reopening of businesses

Whilst most of the world had entered into a kind of limbo, awaiting the vaccine that will end our travails and reopen our countries and indeed, the wide world, others dropped down the rabbit hole of conspiracy theories that alternatively deny that the pandemic exists or that it had been deliberately created and spread by mysterious and malevolent cabal that seeks total control, like some villain from an old James Bond film or an Avengers movie. Social media has enabled a veritable eBay of ideas and explanations where the isolated and excluded who do their own research and follow the breadcrumbs into the Matrix can buy one and get four free.

On a saner but nonetheless destabilizing level, denizens of the so-called “cancel culture” had a field day exercising its democratic right to be easily offended by demanding the deplatforming, defenestration and demolition of persons, ideas, careers, and monuments. Long-dead slavers, imperialists and generals bit the dust; JK Rowling and Nick Cave got a serve, the latter for devaluing that “cancel culture’s refusal to engage with uncomfortable ideas has an asphyxiating effect on the creative soul of a society”; and an episode of Fawlty Towers was temporarily committed to the naughty corner. 

In the cold-blooded, brutal real world, there was no abatement in the wars and insurgencies that have been grinding on years now in Africa and the Middle East, whilst an old conflict over blood and soil broke out anew between Armenians and Azerbaijanis. Donald Trump’s much touted “deal of the century” that would reconcile Israelis and Palestinians was revealed to be no more than a shifty and shitty bribe, whilst US-brokered “peace” deals with a bunch of autocracies who had never gone to war against Israel are but smoke and mirrors that like Kushner’s Peace to Prosperity plan throw the unfortunate Palestinians under the bus. It is as if there is, beyond the planets COVID, Conspiracy and Cancel, a parallel universe of misery and carnage, power games and proxy wars.

Meanwhile, China, or more precisely, the Chinese Communist Party, having let loose the virus, has taken advantage of the world’s distraction and confusion by pressing forward in its quest its political, military and economic predominance. Uighurs, Mongolians and Tibetans face cultural extinction whilst in Hong Kong, the flame of freedom flickered and went out. Sooner or later, something is going to give – what some pundits perceive as President Xi’s impatient recklessness will be followed by a reckoning.

Michelle Griffin, World Editor with the Sydney Morning Herald provides a brief but excellent run down of 2020: The 2020 Pandemic – our year of living dangerously. And on 2020 as the year of “cancel culture”, the reflex response of the easily offended, here is 2020, the year we finally broke our culture. Both are well worth a read.

Time during 2020 has been elastic and confused. On 21st December, The Guardian asked readers to sum up how they felt about 2020 in one word – and likewise their feelings for 2021. As of Xmas Eve, the standout words were respectively (a) shit, fucked and challenging and (b) hopeful and better. My poll responses were “fascinating” and “unpredictable”.

The year ahead?

Our year in review

And so to our review of what In That Howling Infinite published during the plague year. Curiously, deliberately or by mere circumstances, nothing about the plague.

The year began with the fires and smoke abating here on our Mid North Coast, though raging still in southern New South Wales and eastern Victoria. Inspired by an early Cat Stevens song, we opened with a light, nostalgic history of the first the schools of the Tarkeeth, where we live.

Before we knew it, Australian Day was upon us. Normally, the weeks preceding our national day see social and mainstream media, posturing politicians and personalities and cultural warriors of all our tribes caught up in argument and invective about its meaning and significance. This year, however, things are unseasonably quiet. As a nation and a community, we were perhaps too preoccupied with Australia’s unprecedented bush-fire crisis to wage our customary wars of words. Elizabeth Farrelly asked what it means to be Australian: “As the fires rage on, bringing little but anti-green and pro-coal propaganda from our governments, we have a choice. We can go on pretending that exploitation is a sustainable way of life. We can pursue this culture of denial, where truths about nature, climate, women and Indigenous peoples are held in contempt. Or we can smarten up” … It was Australia’s choice – survive by respect or die by stupid.

February saw the first of several cynical and futile attempts by the international community to resolve the morass of the Libyan civil war. In Tangled – a cynic’s guide to alliances in the Middle East, we pointed out that Libya was not the only quagmire of outside powers and their local proxies. Then there the Trump administration’s “deal of the century”. Intended to end half a century of conflict between Israel and Palestine, it was the beginning, dead in the water: Clouded Vision – no peace, no plan, no Palestine, no point.

The unfortunate Palestinians were viewed more sympathetically in a retrospective of the life and work of one of Palestine’s most celebrated artists: Visualizing the Palestinian Return – The art of Ismail Shammout.

The ominous drumbeats of the novel coronavirus we now know as COVID19 drew close and closer during January and February, and by mid March, it was all on for young and old. A tiny but loud minority protested that all a cod. It was to misapply Bob Dylan, “just a dream, babe, a vacuum, a scheme babe that sucks you into feeling like this”.  With enough being written about the pandemic on mainstream and social media, we took the pasty now very well traveled with The view from the grassy knoll – the resilience of conspiracy theories.

The onward March of the “Conspiratualists” merged by midyear with anti-lockdown protests in otherwise rational western democracies, the violence on America’s streets following the death of George Floyd, and the anticipation of open war between rival militia in the Land of the fearful – home of the heavily armed. As the US descended into a social and political division as contagious as the coronavirus, the calls to right historical wrongs led to the demands that statues of morally dubious long-dead white be torn down led to Arguments of a Monumental Proportions.

It was time for In That Howling Infinite to retreat into history, with The Bard in the Badlands 2 – America’s Shakespearean dreaming, a sequel to an earlier piece on America’s historical fascination with William Shakespeare. The lockdowns and self-isolation of the pandemic’s first wave saw people going out less, homeschooling, drinking more (and sadly, in many instances, beating each other up more. But many of us were also avidly FaceBooking, Tweeting and Zooming; and also binge-watching Netflix and Scandi-noir and reading large books.

In Bad Company – how Britain conquered India, we reviewed The Anarchy, the latest in a long list of excellent histories of the sub-continent by Scottish scholar and longtime resident of India, William Dalrymple – the daunting and depressing story of the rise and fall of the British East India Company, a quasi-military industrial complex that earned the misleading sobriquet The Honourable Company.

Flashman in the Great Game

Just in time for the lock-down, Hilary Mantel gave us the finale of her magisterial and magnificent Wolf Hall trilogy – The Light and the Mirror. In That Howling Infinite took up two themes that threaded through all three books. We know how the story ends, but are fascinated with how Mantel takes us there. Taking as it theme the golden bird-boy flying too close to the sun, Beyond Wolf Hall (2) – Icarus ascending asks the question “could Thomas Cromwell have avoided his doom?” Beyond Wolf Hall (1) – Revolution Road reviews Cromwell’s legacy, the Protestant Reformation that changed the course of English (and British) history.

Mark Rylance and Damian Lewis as Tom and Hal

Fast forward from the life and dangerous times of Henry VIII to the present, and Netflix’ release in November of the third season of The Crown, a sumptuous soap that beguiles even ardent republicans. The latest serve, highlighting the rise and fall of Margaret Thatcher and the salacious pas de trois of Charles, Diana and Camilla, is deliciously seditious. And there was an entertaining Australian interlude, as described in The Crown – the view from Down Under  even if it was actually filmed in Spain.

In August 2020, the largest man-made explosion since Hiroshima and Nagasaki rippled the heart out of Lebanon’s capital. Over two thousand tons of illegal, combustible, unstable, and almost forgotten ammonium nitrate went up in a fireball that resembled an atomic blast. Social media shared memes and messages, hearts and flags, and “we are all Lebanese” profiles. Expatriates and others wrote and spoke about the country’s present turmoil and fears of a return to the bad old days. Many shared  videos of songs by Lebanon’s national cultural icon, Fairuz – most particularly, her poignant Li Beirut, which she wrote during the civil war as a tribute to the city’s timeless beauty and the suffering of its people people. O Beirut – songs for a wounded city presents Fairuz’ songs, and also Syrian poet Nizar Qabbani’s famous O Beirut, Mistress of the World, and Khalil Gibran’s iconic Pity the Nation.

And finally, as this strangest of years was ending, we published a frolic that has been several years a’making. A cowboy key – how the west was sung takes us on a leisurely jaunt through some of those grand old songs, films and musicals that have shaped our more pleasant perceptions of America.

Happy New Year.

Our reviews of previous years: 2019, 201820172016; 2015

Androids Dolores and Teddy enjoy the Westworld view

Arguments of Monumental Proportions


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

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

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

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

Fallen Idols

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

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

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

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

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

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

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

Oliver Cromwell, Parliament Square

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

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

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

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

Richard the Lionhearted

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

Dark deeds in a sunny land

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

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

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

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

But not for long, perhaps.

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

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

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

Land of the fearful – home of the heavily armed

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

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

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

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

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

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

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

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

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

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

Home of the hateful, fearful and heavily armed

David Kilcullen, The Australian, 30th May 2020

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Like Iraq, like Somalia

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

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

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

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

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

Racial war, class war

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

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

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

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

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

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

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

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

A new cold war

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

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

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

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

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

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

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

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

Remember Colombia

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

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

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

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

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

Visualizing the Palestinian Return – the art of Ismail Shammout

The Key and the Return – Palestine as a metaphor

Palestinian poet , and indeed, Palestine’s national poet, the late Mahmoud Darwish, saw Palestine as a homeland but also as a metaphor –  for the loss of Eden, for the sorrows of dispossession and and of exile, for the diminishing power of the Arab world in its relationship with the west (Mahmoud Darwish, Palestine as Metaphor)

Palestinian Australian author and academic Nejmeh Khalil-Habib – and my Arabic teacher for many semesters at the University of Sydney – published a paper in Nebula magazine in 2008 examining how the “Return”  – al ‘awda العودة – a recurring theme in contemporary Arabic literature – has been dealt with in Arabic fiction, and how it depicted those who live the dream of “Return” and those who actually returned to Palestine after the 1967 war or after the Oslo Accords.

She writes: “The concept of “Return” throughout this literature manifests itself in various ways including the spiritual return (as manifested in dreams and aspirations); the literal, physical return; an individual’s return (a “Return” on the basis of family reunions); the “Return” as a result of the occupation of Gaza and the West Bank after the war of 1967; and the “Return” as a result of the peace process after the “Oslo Accords.”

Al Muftah, المفتاح, the key is an enduring symbol of al ‘awda. It is present in street art and in signs and posters throughout Palestine and in the refugee camps. It is a symbol, of a memory, of one day returning – to lost homes, villages, suburbs, towns, lives and livelihoods. As Nejmeh writes,“The Return” (Al-Awda) is deeply implanted in the Palestinian collective memory. It is rooted in their conscience like a faith that could not be denied, because denying it would mean uprooting the lynch-pin upon which modern Palestinian history and identity depends”.

Al Mufta مفتاح

But for many, it is something more than that. Nejmeh writes: “Whether exile happens voluntarily or under oppressive circumstances, the dream of returning home stays alive in the mind of the exiled person. It flares or fades from person to person and from one circumstance to another; however, the concept of “return” ceases to be about its basic meaning, but comes to be seen as a means of resistance and challenging oppression”.

She notes American-Palestinian author and activist Fawaz Turky assertion that “the right and dream of Return is the rock upon which our nation was established and the social balance that unites the nation in this wretched world”.

It is the dream, the hope that enabled tens of thousands of refugeess in camps throughout the Levant to perceive their situation as temporary and to resist the allure of assimilation and mainstreaming in their host countries – if this was indeed possible given that most hosts have steadfastly resisted granting Palestinians rights and privileges enjoyed by their own citizens. Whilst being much of the diaspora in the West has accepted inclusion and naturalization, these Palestinians connect with their people and their culture in Palestine, and still celebrate their national holidays.

Between seven and eight hundred thousand Palestinians fled their homes in present day Israel or were expelled during the 1948 war (on the other side of the ledger, a comparable number of Mizrahi or “Eastern Jews” were expelled from Arab countries during and after the conflict). Many Arabs remained in Israel either in their original homes or where they sought refuge. They became Israeli citizens, but even for these, the memories endure and many continue to refer to the towns and villages and localities by the names they had prior to the establishment of the state of Israel.

And yet, al ‘awda, and the Right of Return is a chimera, a dream dangled before their eyes by their leaders like a hypnotist’s show. And UN refugee status, a tired old delusion perpetuated by UNRWA to justify its existence and well-paid salaries, and the Arab League as a fig leaf for their pulsanimity. UNWRA’s definition and establishment was at fault from day one, and whilst creating generational refugeedom, it engendered false hope, unrealisable dreams, and a road-block to subsequent peace efforts  There is indeed a whole economy, a living, a lifestyle devoted to and dependent on managing the conflict and the refugee problem rather than solving it. The exile was unreasonable and unjust, but the past will never be undone – and most certainly never by UN resolutions.

The key, therefore, is a forlorn hope, a closed door that no amount of keys can unlock; and the reality is that of a lock-out, out of politics, out of society, out of the jobs and housing market. The refugees are a minority in Palestine. There are no keys for the new houses and apartments that are going up in and around the cities of the West Bank in a property boom that has been going on for several years now and accessible and affordable only for a growing middle class of employees of the PA and foreign NGOs and young professionals.

But for refugees, all this is paradox. They are locked out of the old Palestine of their parents and grandparent and forebears. But they are also locked out the new Palestine that is struggling to be born.

Poets like Darwish and novelists have internalized and reflected al Nakba and al ‘awda in their work. The dream of al ‘awda is reflected in their writing. As it is also do with to graphic artists – none as powerfully and poignantly as ismail Shammout, born in Lydia, Palestine in 1930. When last In Ramallah, de facto administrative “capital” of that part of the West Bank government by the  Palestinian Authority – Area A (for Abbas, joke the wits) of ththe Oslo dispensation, we visited the cultural centre Dar Zahran, a beautifully restored Ottoman house just south of the city centre (and its central square festooned with images af al Muftah).

By fortunate serendipity, Dar Zahran was hosting a small exhibition of paintings by the late Palestinian artist Ismail Shammout which told the story of al Nakba and of flight and exile.

I have republished below a concise biography of Shammout by the Palijounrneys blog.

https://www.paljourneys.org/en/biography/9727/ismail-shammut

The Art of Ismail Shammout

Ismail Shammout is remembered and celebrated for his depictions of everyday life in Palestinian villages before the Nakba, for his harrowing portrayal of flight and expulsion of much of Mandate Palestine’s Arab population, and his allegorical tableaux of the ensuing diaspora.

His Palestine is a timeless, almost dreamlike place quite out of time and place with its contemporary reality. Nostalgists and artists and poets of an earlier era would have described it as pastorale with its images of everyday life in the countryside, and its vignettes of young folk and old, men and women, children and babies. There are young couples in traditional costumes, young mothers with babes in arms, farmers in fields, and family groups of many generations. They are in lounges and kitchens, in yards and gardens, fields and orchards, and street markets as buyers and sellers. There are musicians and singers and dancers in myriad social settings – at parties and celebrations, marriages and festivals, parades and and processions.

 

 

And, celebrating the circle of life from cradle to grave and the rhythm of the seasons, there are scenes of harvest time and the gathering of the fruits of the fields and the orchards. There are grains and vegetable, olives, and water melons, apricots and pomegranates, figs and grapes, and the oranges for which Palestine was long famous.

Such bucolic scenes of a gone world – gone for us all, and not just for Shammout’s country folk- are juxtaposed with graphic images of al Nakba, and of exile, of expulsions and dispossession, of conquest and occupation, and of ongoing protest and resistance. And through, it all, are motifs of hope and of peace – flowers, songbirds and doves – and also, of conflict and resistance – flags and banners, rifles and rocks.

These include Shammout’s famous paintings of the Palestinians’ flight and expulsion, and the long hard road of flight on a trail of tears, the hostile sun beating down. His rendering of the heat, hunger, thirst and exhaustion recall of WH Auden’s harrowing poem The Shield of Achilles, with its contrasting and jarring snapshot images of joy and celebration and of bleak, almost monochrome desolation … “a plain without a feature, bare and brown, no blade of grass, not sign of neighbourhood; nothing to eat and nowhere to sit down, but congregated on on its blankness stood an intelligible multitude, a million eyes, a millions boots in line, without expression, waiting for a sign”.

These images, the fair and the foul, reappear within larger paintings that depict the decades that followed, both the immediate – the camps and the scattering – and the contemporary – the occupation, the two Intifadat, ongoing resistance, and the perpetually stuttering  peace process. In the background are the symbols and icons of Palestine past and present – particularly of al Quds, Jerusalem the golden, with the holy places that are so precious to many faiths – its mosques and churches, its monasteries and madrasas, including the Haram al Sharif and the Church of the Holy Sepulcher.

There are images of refugee camps, the crowded tent-cities where the exiles first settled, of Gulf oil fields where expatriates laboured, and of the professions that expatriates entered into all over the world, from labourers to lab workers. There are school children at their desks and office-workers at computers, and crowds, always crowds of numberless, nameless, almost faceless people. There are  marches and demonstrations, and clashes with anonymous, faceless soldiers. There are youths throwing stones and facing off against armoured cars and troops bearing weapons. And there are political events like the meeting at Camp David between Yasser Arafat and Yitzhak Rabin facilitated by President Clinton which fired up hopes and expectations rest were never realized.

One painting is a particularly potent and poignant. An elderly woman and her daughter hug their olive tree as a bulldozer approaches. Two young boys endeavour to block its relentless path – a scene that is not at all unusual, as the picture I have paired it with shows. “How shall we find olive branches when all the olive trees are gone?’

               

Ismail Shammout  – a brief biography

Ismail Shammout was born in the town of Lydda on 2 March 1930. His father, Abd al-Qadir Shammout, was a fruit and vegetable merchant. His mother was Aisha al-Hajj Yasin. He had seven siblings: Ibrahim, Kawthar, Jamil, Muyassar, Inam, Jamal, and Tawfiq. His wife was the artist Tamam Arif al-Akhal, who was born in Jaffa in 1935. His children are Yazid, Bashar, and Bilal.

In 1936 he started elementary school, and his artistic talent was spotted at an early age. His teacher, Dawud Zalatimu, took him in charge. Zalatimu served as an art teacher in Lydda from 1930 until 1948, and his drawings of historic events and nature decorated the school walls. Shammut was taught by Zalatimu to draw with pencil and ink, to paint with watercolors, and to sculpt in limestone.

After convincing his religious and conservative father that “art could be a profitable profession,” he started by decorating wedding dresses with flowers and birds and then opened his own shop, which was in fact his first studio. There he painted his first oils depicting natural scenery and portraiture before the Nakba of 1948.

Three days after the fall of Lydda and Ramla to the Zionist forces, on 13 July 1948, Shammout and his family (along with the inhabitants of the two towns) were forced to leave and go on foot to Ramallah and were not allowed to carry water. His young brother Tawfiq died of thirst before they arrived at the village of Nilin, near Ramallah. Shammout documented that march of death, exhaustion, and thirst in several paintings executed in the 1950s.  The family continued to move until it settled in the tents that eventually formed the Khan Yunis refugee camp.

Shammout sold pastry for one year and then volunteered to teach drawing at the refugee schools, which were set up in tents. This allowed him to resume his artistic career and to exhibit his paintings in a room in the Khan Yunis government school in 1950. That same year he joined the Fine Art Academy in Cairo and lived off his earnings, drawing movie posters.

Shammout held his first exhibition in 1953, having accumulated enough paintings for a large exhibition “but did not have enough courage” to hold it in Cairo. So he exhibited at the Employees Club in Gaza city jointly with his brother Jamil. At that exhibition Shammout presented some sixty paintings including his now famous Where to? and A Mouthful of Water. That exhibition was regarded as the first contemporary art exhibition in Palestine’s history by a Palestinian artist on Palestinian soil, as judged by its size, the number of works exhibited, the way it was opened, and the mass attendance.   

In 1954 he held an exhibition in Cairo called The Palestinian Refugee jointly with an art student at the Fine Arts Academy, Tamam al-Akhal, and the Palestinian artist Nuhad Sabasi. This exhibition was under the auspices of Gamal Abdel Nasser, at that time Egypt’s prime minister, and was attended by Palestinian leaders. His earnings from that exhibition encouraged him to travel to Italy where he soon received a scholarship to study at Rome’s Academia di Belle Arti, and he remained there for two years (1954–56).

Following his graduation he moved to live and work in Beirut with his brother Jamil at the UN Relief and Works Agency (UNRWA). The brothers set up an office for commercial art and book design; the latter included a pamphlet for the Lebanese army entitled “Human Civic Education.”

In 1959 he married fellow artist Tamam al-Akhal and thereafter they worked closely together, artistically and professionally. They trained art teachers in Beirut, Jerusalem, the West Bank, and Gaza Strip and held joint exhibitions in those localities.

Shammout and al-Akhal followed closely the creation of the PLO at the First Palestine National Congress in Jerusalem in 1964. In 1965 he set up the Artistic Culture Section of the PLO Department of Information and National Guidance (later known as Department of Information and Culture) and directed its activities until 1984. When the offices of the PLO in Jerusalem closed, the couple returned to Beirut in 1966 and resumed work with the PLO there, in addition to their personal work as artists. Shammout completed an innumerable number of posters and literary, political, and traditional projects and with al-Akhal organized tens of political and personal exhibitions in cities around the world, including Gaza, Cairo, Jerusalem, Ramallah, Nablus, Amman, Washington (plus twelve other US cities), Tripoli, Damascus, Kuwait, London, Belgrade, Sofia, Beijing, and Vienna, in addition to murals called The Path in Amman, Ankara, Istanbul, Doha, Sharjah, Dubai, Cairo, Damascus, Aleppo, and Beirut. Among his most notable achievements is the hall called Dar al-Karama in Beirut where seasonal exhibitions by young artists from Palestinian refugee camps were displayed, as were other Arab and international solidarity exhibitions.

In 1969, Shammout and other Palestinian artists founded the first General Union of Palestinian Artists; he remained its secretary-general until 1984. He also participated in founding the General Union of Arab Artists in 1971 and was its first secretary-general, a position he held until 1984.

Following the Israeli invasion of Lebanon in 1982, the departure of the Palestinian resistance and its leaders, and the closing of the PLO offices, Shammout (who had a heart condition that had worsened) was forced to move with his family to Kuwait in 1983, where they lived through the occupation of Kuwait in 1991 and the second Gulf War. After the liberation of Kuwait, the family was again forced to move in 1992, this time to Germany. In 1994, Shammout and al-Akhal finally settled in Amman, Jordan.

Shammout is generally regarded as a pioneer of contemporary Palestinian art. He was a committed artist whose style was realistic with some symbolistic elements. The Palestinian cause dominated his art, some of which was widely distributed in camps and houses and in solidarity with Palestine campaigns in the Arab countries and beyond. Some of his works can be regarded as iconic for the Palestinian people.

Shammout never ceased to depict the Palestinian exodus from Palestine in paintings that carried titles and meanings very much present in people’s minds and in his own experience; an example is  the painting he titled Where to? (1953). His paintings were inspired by camp life (such as Memories and Fire, 1956; We Shall Return, 1954; and Bride and Groom at the Border, 1962) and called for reflection on the meaning of a nation in waiting.

The PLO awarded him the Revolutionary Shield for Arts and Literature, the Jerusalem Medal for Culture, Arts and Literature, and The Palestine Prize for the Arts. The Arab Thought Forum awarded him The Creative Prize for Arab Painting. An annual prize in his name is awarded for excellent Palestinian painting. His works have been acquired by several Arab and international museums.

His heart condition forced him to undergo three critical operations, the third of which was performed in Leipzig, Germany; he died on 3 July 2006 and was buried in Amman.

In addition to his paintings, he wrote histories of Palestinian painting and crafts and produced a number of films, which were influenced by his artistic experiences. These include a film called Memories and Fire (1973), which won the Short Documentary Film Prize at the Leipzig Festival; Urgent Appeal (1973); and On the Road to Palestine (1974). Noura al-Sharif produced a short film called Ismail, which dealt with a part of his life during his first period as a refugee in the Khan Yunis camp. A website devoted to his work is available at http://www.ismail-shammout.com

From Palestinian Journeys

Read more about Middle Eastern politics and history in In That Howling Infinite in:  A Middle East Miscellany

As a COVID-19 lock-down diversion, In That Howling Infinite has translated the story of the life and art of Ismail Shammout into Arabic:

تصور عودة الفلسطينيين – فن إسماعيل شموط

Joy فرح

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

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

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

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

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

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

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

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

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

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

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

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

Lies travel faster than facts

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

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

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

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

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

The internet’s dark spaces

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

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

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

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

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

Australia’s choice – survive by respect or die by stupid

Normally, the weeks preceding our national day see social and mainstream media, posturing politicians and personalities and cultural warriors of all our tribes caught up in argument and invective about its meaning and significance. And then, it’s all over. Calm is restored as summer winds down, the kids return to school, and the working year starts in earnest – until the next national shibboleth lumbers into view – Anzac Day in late April. 

This year, however, things are unseasonably quiet. As a nation and a community, we are too preoccupied with Australia’s unprecedented bush-fire crisis to wage our customary wars of words.

The fires have dominated the media space, with harrowing photographs and video footage of their impact on people, property, and wildlife, stories of heroism and resilience, and circular debates and divisions, political posturing and finger-pointing. They have crowded out others news and reportage from around Australia and overseas where much is happening, be it the US’ assassination of Iran’s foremost general, ongoing protests in Beirut and Baghdad, the continued pounding on tons and villages in Syria’s beleaguered Idlib province, devastating floods in Indonesia, and volcano eruptions in the Philippines and and Zealand – and, less catastrophic but infinitely entertaining, Britain’s imminent retreat from Europe, and Harry and Meghan’s divorce from the royal family.

The fires have also crowded out the predictable argy-bargy over our national identity. It’s as if the partisans and opinionistas right across our political spectrum have holstered their weapons in deference to our collective pyro-purgatory.

There is one piece, however, that I deem worthy of republishing in In That Howling Infinite insofar as it encapsulates perfectly a cognitive and cultural dissonance at the heart of our national identity that I touched upon recently in How the ‘Lucky Country’ lost its mojo.

Sydney journalist Elizabeth Farrelly is always worth reading for her perspective on our identity, our culture and our natural and built environment. On this Australia Day 2020, she asks the perennial rhetorical question: what does it mean to be Australian? Her observations are illuminating. Here is my summary – you can read it in full below.

“As the fires rage on, bringing little but anti-green and pro-coal propaganda from our governments, we have a choice. We can go on pretending that exploitation is a sustainable way of life. We can pursue this culture of denial, where truths about nature, climate, women and Indigenous peoples are held in contempt. Or we can smarten up …

Australian culture has always relied on easy exploitation. From the moment white people arrived, we’ve been kidding ourselves that arrogance and theft add up to a lifestyle with a future. We dig stuff up and flog it, no value added, no questions asked. We grow food in the most destructive possible manner – clear-felling, mono-culturing, irrigating and overgrazing; destroying soil, desertifying land and belching carbon. We crowd to the edge of the continent, gazing out to sea, chucking our trash over our shoulders, pretending it won’t come back to bite.

Even now, our Indigenous peoples are being displaced three and four times over. Last year we extinguished native title for Adani’s foreign coal-mining interests, making the Wangan and Jagalingou people trespassers on their own land. We relentlessly export such coal, helping drive temperatures in central Australia beyond the habitable, exiling people for a second time from their ancestral homelands. Then, should anyone dare critique this mindlessness, as Bruce Pascoe obliquely has, we label them non-Indigenous and  set the federal police onto determining their ancestry.

And we apply this domineering denialism, this refusal to listen, across the board. In agriculture it says, we don’t care what naturally grows here. We’re going to poison the insects, suck the water from ancient caverns and nuke the living daylights out of the soil with petroleum-based fertilizers. We’re going to burn oil and coal, and if we get fires that destroy our townships, we’ll clear the forests too. 

In politics and at home it says, if our women are troublesome, we’ll ridicule, intimidate and beat them into submission (with one woman murdered every week by her current or former partner and our political sphere internationally recognized for its misogyny).

In sport, it says it’s fine if our cricketers – so long as they don’t get caught. And in social relations, if people insist on different hierarchies – if they demand gender fluidity, or optional pronouns, or same-sex marriage or voluntary race-identity or anything else that questions our superiority we’ll come down on them like a ton of bricks.

It’s the arrogance we came with, two centuries back, but it’s getting worse, not better … God gave us white guys dominion and we’ve weaponized it. We’ll show this country who’s boss. 

Forget the Aussie flag, the flag of dominion. 

This we should carve on our hearts: there is no economy without ecology”.

See also: We got them Australia Day Blues;  and Down Under – Australian History and Politics

Survival-by-respect or death-by-stupid: your choice Straya

Elizabeth Farrrelly, Sydney Morning Herald 26th January 2020

It’s invasion day again only, this time, the eyes of the world are upon us. Under headlines like “Australia shows us the road to hell“, the world is wondering if our economy isn’t every bit as fragile as the landscape it routinely exploits. It’s wondering about our tourism, with massive cancellations already from China and a US travel warning putting Australia on par with Gaza and PNG. It’s asking how long Australia will be habitable. But beneath those questions lies another. What, at this crossroads, does it mean to be Australian?

The first three are questions of both fact and perception. As such they may be partly addressed by Scott Morrison’s $76m commitment to beef-up Australia as a brand. But the last is a question for us. Who are we, as a nation, and who do we wish to be going forward? 

Australia Bushfires: Tourism fire effects

The tourism industry has lost some $4.5 billion as overseas visitors cancel trips over bushfires.

As the fires rage on, bringing little but anti-green and pro-coal propaganda from our governments, we have a choice. We can go on pretending that exploitation is a sustainable way of life. We can pursue this culture of denial, where truths about nature, climate, women and Indigenous peoples are held in contempt. Or we can dust off our angel wings and smarten up.

Australian culture has always relied on easy exploitation. From the moment white people arrived, we’ve been kidding ourselves that arrogance and theft add up to a lifestyle with a future. We dig stuff up and flog it, no value added, no questions asked. We grow food in the most destructive possible manner – clear-felling, mono-culturing, irrigating and overgrazing; destroying soil, desertifying land and belching carbon. We crowd to the edge of the continent, gazing out to sea, chucking our trash over our shoulders, pretending it won’t come back to bite. 

 

Illustration: Simon Letch

Illustration: Simon Letch

And sure, to some extent, that’s just colonialism. Colonialism is inherently macho, and inherently denialist. But it should be transitional. Now, as the NY Times argues, our political denialism is “scarier than the fires”. Smarten up? It’s time we grew up.

This is Australia’s moment of reckoning. It’s time we lost the attitude. Time we made a clear, rational and collective choice between survival-by-respect and death-by-stupid.

On top of Auckland’s Maungakiekie, the volcanic Māori pa also known as One Tree Hill, stands an obelisk. The land was bequeathed to the city in the mid-19th century by the beloved Scot Sir John Logan Campbell, who designed the obelisk as a permanent record “of his admiration for the achievements and character of the great Maori people”. That was then – now, New Zealand has Jacinda. And yes, these dots are connected.

Australia has shown no such reverence. Indeed, unable even to express genuine remorse for our repeated attempts at genocide and erasure-by-other-means, we’re still doing arrogant displacement. And we, as a result, have Scott Morrison, who must live with the disparaging epithet concocted by the lads at the Betoota Advocate – Scotty from marketing – because many Australians believe there is a ring of truth to it.

Morrison who responds to bushfires by wanting to clear more land. Who thinks hazard reduction is climate action and more advertising can persuade them back to a charred continent. Death by stupid.

It’s the arrogance we came with, two centuries back, but it’s getting worse, not better. Even now, our Indigenous peoples are being displaced three and four times over.

Last year we extinguished native title for Adani’s filthy foreign coal-mining interests, making the Wangan and Jagalingou people trespassers on their own land. We relentlessly export such coal, helping drive temperatures in central Australia beyond the habitable (Alice had 55 days above 40 degrees last yearand recorded street-surface temperatures between 61 and 68 degrees celsius), exiling people for a second time from their ancestral homelands. Then, should anyone dare critique this mindlessness, as Bruce Pascoe obliquely has, we label them non-Indigenous and set the federal police onto determining their ancestry.  

As if that very ancestry, those very records, hadn’t been, for two centuries, the subject of our energetic erasure. As if being Indigenous had always yielded some special right to speak, instead of the precise opposite. As if the speaker’s genetic makeup validated or invalidated his speech. What?

And we apply this domineering denialism, this refusal to listen, across the board. In agriculture it says, we don’t care what naturally grows here. We’re going to poison the insects, suck the water from ancient caverns and nuke the living daylights out of the soil with petroleum-based fertilisers. We’re going to burn oil and coal, and if we get fires that destroy our townships, we’ll clear the forests too. That’ll show them. 

In politics and at home it says, if our women are troublesome, we’ll ridicule, intimidate and beat them into submission (with one woman murdered every week by her current or former partner and our political sphere internationally recognised for its misogyny).

In sport, it says it’s fine if our cricketers cheat – so long as they don’t get caught. And in social relations, if people insist on different hierarchies – if they demand gender fluidity, or optional pronouns, or same-sex marriage or voluntary race-identity or anything else that questions our superiority we’ll come down on them like a ton of bricks. 

God gave us white guys dominion and we’ve weaponised it. By golly we’ll show this country who’s boss. Then if things get really rough, we’ll pop to heaven. Let’s hear it. A recent street poster picturing Morrison declaring Pentecostals for a Warmer Planet! may seem extreme, but Meritus Professor of Religious Thought, Philip C. Almond, explains why Morrison’s faith meansreducing carbon emissions … may have little intellectual purchase with the PM” – because world’s end means the second coming and, for the chosen, salvation. It’s also why Morrison’s beloved Hillsong church can happily advertise its coming conference, called Breathe Again, with Bishop T D Jakes saying “it’s amazing how God can strike a match in Australia and the whole world catches on fire”. As if the fires were God given.

That’s choice A, Scott Morrison’s choice. Business as usual but with extra cheesy advertising. Choice B, survival-by-respect, recognizes that even cheese can’t sell a pile of ash.

Survival-by-respect means just that: respect for Indigenous peoples, for nature and for women. It means knowing that listening is no weakness, but a path to greater strength.

On the ground, the shift would be dramatic but not impossible. Zero carbon cities would become an immediate priority: solar vehicles, green roads, every surface productive of food or energy. It would mean ending coal production. Investing in renewables. Creating whole new industries. 

This would mean listening to people who’ve spent 60,000 years here. Not copying, necessarily, listening. And listening, above all, to nature, heeding the fires’ overwhelming lesson. Forget the Aussie flag, the flag of dominion. This we should carve on our hearts: there is no economy without ecology. 

Sure, we can stick with lazy old Plan A. We can bow to Brand Australia and trust our grandchildren’s futures to the Rapture Hypothesis. Good luck with that, and happy Straya Day!

Bare Dinkum

Elizabeth Farrelly is a Sydney-based columnist and author who holds a PhD in architecture and several international writing awards. She is a former editor and Sydney City Councilor. Her books include ‘Glenn Murcutt: Three Houses’, ‘Blubberland; the dangers of happiness’ and ‘Caro Was Here’, crime fiction for children (2014).