About Me

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Portland, Oregon, United States
Co-founder, co-editor of Gobshite Quarterly and Reprobate/GobQ Books

Sunday, September 8, 2013

The Howard Fridge Magnet



It’s hard to know where to begin, talking about this image and this object.

My ur-memory of being born in Adelaide – lying on the front lawn, perhaps 14 months old, under the measureless blue sky.

Every sense I had of Australia was founded on measurelessness. It was vast: deserts, distances, summer temperatures and lack of water, thinness of population. It was extreme in all respects; it was that shape on the map of the world on my first, cylindrical pencil-case, at my first school, far from the rest of the world. It was where we lived.

Australia was an abstraction, but a physical one.

In some ways that was our sense of ourselves – that lack of definition. There were stockmen, stations, deserts, mines, schools (Schools of Mines) and the unmentioned uncomfort of the Aborigines. There was work and the weekend, cricket, tennis, picnics. There was not-being-England-or-Europe-or-America. There were rain and sun and roads, church, school, going to town and going to the bay. At Victor Harbor we watched the Southern Ocean smash on the State’s granite edge. The word un-Australian did not exist. There was no Australian English parallel to the linguistic foundation of HUAC. (If it had existed we would’ve seized it for the rich lexicon of schoolyard abuse. It would’ve applied to every migrant in sight.)

And yet, around 1996-1997, around the time John Howard first took office, I began to see it on the net. At first I was full of bewildered laughter. Then I supposed it signalled a new move on the remaining threads of Aboriginal existence – all that 40,000 year old rock art vandalizing the mining-leases.

It was quite clear , even from this distance, that Australian meant wrapped-in-the-flag xenophobia, detention centres, and conditions of detention that didn’t border on torture but 747’d into it, sunglasses, badges, bubbly and beer, and bent on a bloody good time.

Detention Centres: on the edge of the Nullarbor, on Christmas Island. Iron-roofed, concrete sheds at Woomera, wooden huts on Christmas Island – families separated, huge suicide / attempted suicide / self-mutilation rates… Too poor or paperless to fly in unmolested, Afghanis, Hazzara, Iraquis, Iranians fleeing the wars “our side” had started / funded / taken over, were attempting to arrive in leaky boats from Indonesia.

The Federal Government’s response was to move the Australian territorial line, so that anyone arriving on a speck of rock northwest of Western Australia would not have arrived on Australian soil and therefore been entitled to protection under several treaties we were proud to have signed in the late 1940s, but would have arrived nowhere: paperless, stateless, detainable. The problem, from two elections’ worth of Australian POV, was neither the wars we buggered around on the edge of nor our foreign policy, but the (Indonesian) fishermen who sailed the boats.

Which sometimes sank.

On the eve of the 2001 Federal election one of them did. The Australian Navy ship on hand reported that the adults had thrown the children overboard (in an effort to compel the Australian Navy to rescue them). That interpretation was wrong, was almost immediately revised by the navy, and the correction sent to the Prime Minister’s office. But the original report was broadcast and re-broadcast as news, propaganda for the Howard government. It may have won him his 3rd term.

The image of refugees throwing their children overboard was the very definition of un-Australian.

In sympathy with al-Qaeda and in revenge for Australia’s part in the independence of East Timor, the Indonesian militant group Jemaah Islamiah mounted two suicide-bomb attacks on tourists at Kuta Beach, on Bali, in October, 2002. Eighty-eight Australians were killed, among others: in Australia the catch-cry against the people-smugglers, and the smuggled people – all of them un-Australian – was now terrorism. Terrorism was undeniable, graphic and vivid, and undeniably aimed at us, and people-smuggling was a prong of terrorism. There were so many refugees being intercepted, and there was enough opposition to having detention centres on Australian soil that the 3rd Howard Government devised “The Pacific Solution” – bare bleached rock enclosures on Nauru, which was strong-armed into taking detainees, and paid to. Nauru had nothing to sell but empty space once we’d mined it to the sea-line for superphosphate.

The detainees waited until their cases could be heard. There were astonishingly few Australian speakers of the required languages. The one or two who had been released and tried to return to Afghanistan disappeared completely on the Afghani border or thereabouts, very likely killed by the forces they had been fleeing. Several Australian citizens – women, generally – of Filipino or other non-Caucasian extraction were seized and “deported” to Manila or wherever the Minister of Defence thought they’d come from.

This much I gathered from reading The Age and The Sydney Morning Herald, from Australian blogs and emails from friends.

I sat at the screen and saw.

Everything I’d ever been told about Australia was wrong – a lie, a fantasy – and always had been. According to promoted social reality, if we hadn’t always been (invasions, convict prisons, Aboriginal massacres), in the meantime we had become more generous, more equal, more open, less cruel than the rest of history.

Post-war immigrants had never had the easy time the newsreels made out, but, once, we had given homes to the homeless after World War II. And now we were locking refugees up in barbed-wire camps in the desert, keeping them indefinitely, driving them to self-mutilation and suicide.

They can’t be trusted, put them somewhere, lock them up. The catch-cry of the twentieth century coming from Australian throats, re-electing that government again and again. That this victimization could be the path to domestic political power –

We weren’t better than or different from anyone else: if any evil could be conceived, we could conceive it.

Even the dry yellow-brown hills were lies. They lurched and paled, retreated and turned to pictures. They’d never happened to me, moving past the window as we drove, throwing the road and the car around their heavy masses, over and past the gullies that created the evening winds, or that stood in the near distance through the windows at school. They’d happened to someone else.

And now, in Oregon, if I go to move off the chair in front of the computer, I move slowly; I don’t know how to trust what my eyes say about the relationship of my feet to the ground.

==

In 2005 QANTAS had an astonishing deal, which meant I could go home and see the family and friends I’d hardly seen in twenty years. One of the friends saved me the Howard fridge magnet. “Bloody government,” she said. “It’ll take decades to re-civilize the place.”

And now I’m looking at it, and it’s hard to know how to even think about this image and this object.

The image is the first thing that catches your eye. A young woman is glancing and smiling happily at another young woman, a policewoman. Their smiles and body language suggest that they share something, have something in common, agree on something. Conversation with the police is friendly, non-threatening, cozy, two girls chatting.

After seeing the image the eye takes in the next-largest element, the headline.

First there’s the sickly condescension – Let’s. It’s a word used to suggest agreement between a child and its parents’ wishes, mediated through that odious near-child representative, the prefect. For all the allegedly friendly chat in the photo, we (the public, the citizens) aren’t really adults. We … need to be managed, need to be persuaded.

Let’s look out – a coercive suggestion (join the commonly-established agreement) and do something you didn’t have the acumen to see for yourself. We need to be told.

– for Australia. Which must be too young to look out for itself, because we’re not confessing to naivete or witlessness as a country (are we?). We’re certainly not confessing to fascism and its spin and spawn.

So, looking out for Australia is like / becomes young women getting together to look “out for” (keep in mind and act in the interests of) the younger / less powerful / less aware / less.

Australia is undefined, except as explicitly Caucasian, female, unarmed, unthreatening, concerned with nurture and care, implicitly wanting to protect and be protected.

This use of a policewoman is a complete subversion of the progress towards equality Australian women made over the previous 30 years.

This use of a policewoman is a device to present the capture and imprisonment under conditions of torture look like maternal care.

This use of a policewoman is a device to present a cheerful-looking young woman as just herself, and not the unthreatening, false young female face of mining magnates & associated interests.

Two girls having a chat. Detention camps disguised and justified.

Even while it’s utterly racist, duplicitous, injurious to its victims and insulting to its readership, the Howard fridge-magnet is also absurd. (Is that what makes it Australian? That ineradicable amateurism?) The block back-grounded in blue gives the phone number for a translation service for reporting suspicious activity if you don’t speak English well... But you need to read English well enough to make your way through this slab of 8-point Ariel, the longest block of prose on the page.

Of course, that could be the point. We don't want just anyone.

I go on staring.

Someone designed this object.
Someone wrote the copy.
Someone, one of us, an Australian, went to work one day. Another Australian told them to make this.
And they did.

==

The detention centres still exist (in the desert) (offshore). We’re used to them.

Officially.

==

Throughout the stretch of Howard governments (1996-2007), Australian human rights groups investigated, documented, made representations to the government and to at least one independent Senate enquiry. (I wrote letters; vapid paragraphs on ornate letterhead came in reply.) Amnesty International investigated. Refugee prisoners – because that’s what they are – go on hunger strikes.

The Gillard Labor government has reintroduced “the Pacific solution” because there’s likely to be a Federal election before the end of 2013, and locking up refugees “still plays well in Middle Australia.”

Well there it is: an Australian Middle America to go with un-American un-Australia.

The friend who gave me the fridge magnet is right. It will take decades to re-civilize the place, if we ever do. Our governments, both flavours, are neo-Georgian. They’ve gone back to running prisons for the demonized and criminalized poor, and enabling the global and gobalized rich.



Thursday, July 25, 2013

The Virtue of Memoir

"The Trinity, understandably called a mystery, lies at the heart of Christianity. It achieves two major goals: it posits a realm that transcends the physical world, in which reality is made by the word. History is filled with rulers who claimed divinity to justify their superiority, but not until Christianity and the sacralizing of the notion that language creates reality does the debate between appearance and reality begin to pervade Western literature and thought. Increasingly what is said - the Emperor has new clothes - is called real, while physical reality fades into invisibility or is denied..."*

This is exactly why the difference between memoir and fiction is important.

A Wolf at the Table** is hyper-clear, vivid, tense, exact... There are charismatic people; this is charismatic writing, as it were: all the good things intensified.

As autobiography, A Wolf at the Table speaks intimately to all varieties of modern culture: titled for the dinner-table, sited within the house - that nexus of
neurosis, ambition, jealousy, dissatisfaction, bullying, denial, invisibility, quasi-slavery, all called love - the house and the psyche both isolated.

It says monsters and madness can exist among some of the people we knew, are bound to, frequent, depend on in one way or another: the words for known people and places are not antonyms of humanity's nastier aspects.

It says outrageousness can be as close as the sweat on your skin, and don't you forget it.

==


* French, Marilyn, From Eve to Dawn: a History of Women, Volume 1, Origins, New York, The Feminist Press, 2008, p. 245. 


** Burroughs, Augusten, A wolf at the table: a memoir of my father, New York, St. Martin's Press, 2008.

Saturday, July 20, 2013

But I Have Also Been Doing Other Things

And they are here and here.

Song of Exasperation

And so at work I listen to Pandora. The free version because I'm cheap (an oligarchic synonym for poor). I'm at my desk all day, on an intellectual assembly-line, a kind of battery-hen of the mind. (Archetypal women's work of the last five to ten thousand years.) And so I listen to Pandora.

And so, fishing around for things to listen to, I made the mistake of telling Pandora (from whose box all hope is long since fled), that I liked "Hallelujah."

I have a troubled relationship with LC. The most evil woman I have ever known ad such a way with metaphor that I stayed in her company until I had learnt the trick and her betrayals were many and complete and far beyond doubt. It was in her company that I first heard "Suzanne," which caught me with its insistent and paradoxical chorus, its assonant images, and the melody's limited, circling range. That was the Noel Harrison version. I didn't actually know who'd written the song. I assumed it was Harrison.


When we were first married my faithful dinner companion played a lot of LC - Wheeeeeeeeeeeeeeerrrre is my gypsy wife tonight - until I'd bellow across the living-room, "She left you because you're such a lugubrious son of a bitch." (I loved son of a bitch and don't give a good goddam in daily speech. Different rhythms, long middles of short syllables, very different - trochaic? dactylic? from the invective I knew.)

But a Cohen song is one thing and a Cohen LP is another. Standing and listening, it becomes clear that the song is not the work; what emerges from a cycle of Cohen songs is the sense of women/Woman as a reservoir of sustenance and forgiveness. Kind of OK, less cruel than some of the single songs, but, Jeez. When will women ever be just human beings, like the unnamed other in the poem about the gay man's encounter, no animal, vegetable, or mineral metaphors?

Eventually the faithful dinner companion's LC phase faded. I can live with a lot of Brian Eno & Phillip Glass & Bowie & ECM jazz (& just as well).

However, telling Pandora that I liked "Hallelujah" was a mistake. Firstly: like is not  exact. Was fascinated by the linguistic intricacies of, wanted to dissect, wanted to steal what I could from and so needed to hear several times  - any of those would have been closer, but they're all beyond Pandora's range of choice. (You say algorithm, I say playlist.)

Secondly: unless I order up Madre Deus or ambient or Segovia instead - categories I can let run for hours without having to alter, which vignette the corners of my mind - see extreme attention to detail eight hrs/day - I end up hearing "Hallelujah" at least twice a day, five days a week - far too often for any song in any language you actually speak. LC, Annie Lennox, KD Laing, Sinead Bloody O'Connor (all of whom I like). Rufus Fucking Wainwright, who's too busy producing beautiful enunciation to honor the lyric by singing it as written, to sing "you" as "ya," which is the fucking rhyme the fucking song actually fucking depends on-ya -
 

I suppose Anthony's version wd. cost me $10 a month. Hooray for being poor.

With Leonard Cohen it's the LC single song thing - a single song will be OK, depending on the song (Suzanne is better than Sisters of Mercy - is that its name? - for example) in terms of not being mildly depressing or infuriating if you hear it once. With Pandora, it's really best not to communicate at all.




Monday, April 15, 2013

The Last Aha

"That thing you showed me last week," he said, a minute later.
"The analytic I put in for the book about the Rule of St. Benedict."
"Yeah. That was great!" His face lit up. Then he remembered the desk he sits at now. "But I'm not sure we should be taking the time to do that."
"I don't, any more," I said.
And I don't.

It was a farewell gesture, a piece of panache, the last piece of real cataloguing I'll be able to admit to.

And though I took a large Motrin for my back and went to bed about 9, I woke about 2 and couldn't sleep. So I read for a couple of hours, The Lantern Bearers, for the sense of being present at the last night the Legions were in Britain, the night the light at Rutupiae officially went out. And as I read on I found myself wondering why these words were joined at all, the pages yellowing, the adjectives close-packed, various and exact for those craggy and flowering landscapes; suddenly wondered what good it was.

But I read the rest of it over the next few days, and though those books don't engulf me the way they did when I first encountered them, TLB did remind me: Sutcliff's subject has always been how to live past the end of the world.

Monday, February 4, 2013

PETE Ensemble's R3



PETE Ensemble’s R3, directed by Gisela Cardenas, is a tour de force of costuming and condensation. The play runs and hour and forty-five minutes: the costumes are black, trim, tight-fitting, slightly adorned or stripped for the second role for each performer; the props are minimal, focused on shape, and also do double duty as the scene demands.

R3 is also a tour de force of dance. The choreography is a study in grand and subtle aggression, threat, incitement, calculated retreat and redoubled advance.

But the heart of R3, the reason to see it, is Jacob Coleman’s performance as Richard – an astonishingly kinetic and athletic presentation of twisted spine, dog-loping, monkey-gripping, chest-thrusting, bowing, cringing, curling, twisting – which instantly conveys the villainy at the heart of the plot.

This is PETE’s most accomplished piece to date. On this evidence, PETE is a company to be able, confidently, to expect great things from.