Free Speech
Free Speech – a lovely phrase. A democratic ideal, but perhaps unconsciously to many, one of those concepts that can all too often trigger an “All animals are equal, but some animals are more equal than others” response. Whilst many people will state that they agree with the idea of Free Speech, some of these will nonetheless call for the censorship of extreme views with which they do not approve. Two recent media events have been examples of Free Speech being used as a platform for views with which I certainly do not agree. This, of course, challenged me to consider my opinions on Free Speech.
The first of these incidents was Jan Moir’s repugnant Daily Mail article about the nature (or “unnature”, as she might have it), surrounding the death of Stephen Gately. This article, despite the fact that neither police nor coroner have ever suggested anything other than a death from natural causes, blamed his death on his homosexuality. Not in so many words, obviously – but the suggestion was plastered over the article. A massive internet backlash, lead by (among others) Derren Brown, Stephen Fry and a wonderfully scathing article by Charlie Brooker lead to a record number of complaints to the Press Complaints Commission, and withdrawal of advertisments from the Daily Mail’s website.
The second event was Nick Griffin’s appearance on Question Time. The BBC’s decision was criticised by many who considered that it would give the BNP more of a standing as a political party. I do wonder how many of such people would otherwise have defended free speech. In the event, Nick Griffin simply ended up making himself look like the uneducated bigot that many consider him to be – in showing a blatant ignorance of basic history and culture.
Both Nick Griffin and Jan Moir have expressed, on a vast public stage, opinions that to me are utterly despicable. But should they still be allowed to make these opinions public?
Hell yes.
Nick Griffin made himself look a fool. Jan Moir may have made a name for herself (I hadn’t previously heard of her), but it’s muddier than a Mississippi Mud Pie that’s fallen in Mud. I’m not sure who stated that “It’s better to remain silent and be thought a fool, than to speak up and remove all doubt”, but I think that if we let the fools speak, it’s easier for us to recognise who they are. Intellectual evolution, really.
The Ragged Trousered Philanthropists
“If this doesn’t turn you into a raving Socialist,” she said, “Nothing will.” My friend was handing me a copy of The Ragged Trousered Philanthropists, by Irish workingman Robert Tressell. Preferring to keep an open mind on this grand claim, I took to reading it. At this point it might be prudent to describe my political leanings at the time I began reading. Swinging both ways, really – of the opinion that neither Capitalism nor Socialism held all of the answers.
For those unfamiliar with the book, it depicts the lives of a group of workers for a painting and decorating firm in the South of England, in the very early 20th century. We see the conditions under which the men have to work, often oppressed by their profit-minded masters – forced to work as shoddily and cheaply as possible to maximise profits. We see the men’s home lives, and how their poverty affects their wives, parents and children – very little to eat, or indeed to wear. We see the opposite side, the corrupt, yet affluent, lives of the masters – effected Christianity and corrupt control of the means of production and of council business.
The book itself is an engaging enough novel, with its occasional comedy and tragedy. But its intent is certainly to be more than entertaining. Throughout the book we are treated to the vision of Owen, one of the labourers, trying to convert his fellow workers to Socialist ideals. The workers themselves, by and large, dismiss these ideas, despite the obvious benefits they’d reap from such a system. Such is the indoctrination of these people that they believe that the status quo should remain because it’s simply the way things are. This is something I see all the time – workers will often happily accept the status quo because they don’t think that they have the authority, or the right, to question it. And it happens in other spheres of society, too. How long have people repressed homosexuality for fear that it wasn’t normal – and how many women have stayed at home to look after the kids and do the housework, because “that’s what’s supposed to happen”?
The book therefore, has a clear agenda – to promote Socialism. It would be very harsh to call it propaganda, but it is clearly didactic. And to very good effect. Socialism is not a term I’ve always understood. Dictionary definitions are usually too vague, the nature of dictionaries limiting defintions to a few lines. Encyclopaedic sources, even the internet kind without the limit of paper space, are often written academically, to be understood by those with a good knowledge of political or socio-economic jargon. Allegories, such as Animal Farm, can seem a bit too distant from the world of the reader, and so do not really afford any pathos. The explanations given in the book are perfectly understandable, and the setting of the novel around a group of working men, facing situations that even myself, as a white-collar worker, can relate to.
More importantly, the arguments for Socialism are convincing.
If they do want for anything, it is that the book portrays Socialism in the greatest light possible. It presents a dream of an almost Utopian world, with peace, harmony and utter contentment everywhere. Perhaps I’m cynical, but whatever benefits might arise from Socialism, I doubt that it would lead to a perfect world. A better world, quite possibly, but not perfect. Another problem, though not at all insurmountable, is the difference between the book’s world and the world of today. The two are very different, so perhaps the vision of Socialism presented to us by Tressell might not be fully workable in this day and age, but that’s no reason to simply give it up as a bad job.
So where am I politically now? More to the left, certainly. More questioning of the status quo. And undoubtedly more aware of the effects of Capitalism on society – I’m becoming more aware of the Co-operative and Fairtrade movements, and the benefits that such things provide. When you’ve grown up all of your life in a Capitalist society, as I have, it’s often difficult to miss them. I’m glad I can see things from another angle now.
Edinburgh Fringe 2009
Finally, after ten years of saying, “We have to do Edinburgh Fringe this year,” Nigel and I have finally managed to get there for more than 24 hours. We’ve taken in eight comedy shows, a concert, a poetry reading and a ghost tour. Among the artists we’ve seen have been the Tiger Lillies, Reginald D. Hunter, Rich Hall, Al Murray, Paul Merton and Frank Skinner.
As for the Fringe as a whole, I’ve been very impressed with it. There is so much there to see in all spheres of performance art. Comedy is the main thing, but there is also much in the way of drama (which I might have liked to see more of, had I had the time), music, dance and a little poetry, as aforementioned.
For an event that prides itself on being the world’s biggest arts festival, it would be easy to think that it might be terribly commercialised, with organisers charging top dollar (or pound) for everything. And it is, certainly very commercialised, but affordable nonetheless. The “affordable” tag in this case is used in its most literal sense. After all, anyone can afford free shows (presuming costs of travel and accommodation in Edinburgh can be met). It’s just a shame that the free shows (and possibly the shows dubbed “The £5 Fringe”) are not covered in the main festival events guide. I just hope this isn’t some snobbery on the part of the Fringe organisers.
I would like to take a show up there one day, but such a thing’s a long way away at the moment.
The Zombie King
I’m quite liking the sestina verse form – the same six words (or syllables) are used, in a specific pattern, to end the lines of each stanza, and also have a specific placing in the envoi. It’s like poetic sudoku. Here’s a vague attempt…
The Zombie King
It was a dark and stormy night,
And shuffling in his earthy grave,
The figure of the Zombie King
Was baying for a feast of blood.
The Grand High Priest of all the dead
Would soon arise to seek his prey.
‘Twas weeks since last he’d taken prey;
At last, a storm had come that night.
The wet ground stirred the Evil Dead,
and made them restless in the grave.
And one was hungry for some blood:
It was, of course, the Zombie King.
And on the prowl, the Zombie King
At last had spotted tasty prey.
A pure soul, whose virgin blood
Would be a feast to make his night.
The girl stood by her father’s grave,
And cried, and wished he wasn’t dead.
But now the Lord of all Undead,
The evil, mindless Zombie King,
Crept silently toward the grave,
With eyes set firmly on his prey.
It was to be her final night;
He licked his lips: at last, some blood!
He pounced on her, it chilled her blood.
Her screams amused the living dead,
Whose laughter echoed through the night.
And while she lay there, panicking,
She had one choice: to hope and pray
She wouldn’t die on Daddy’s grave.
He pinned his victim to the grave,
With yellow fangs he drew her blood.
A tasty meal, his virgin prey,
And soon the hapless girl was dead.
A triumph for the Zombie King,
Upon that dark and stormy night.
Back in the grave, the Evil Dead
Were drunk on blood, and hailed their King,
And prayed for more another night.
© John Appleton 2009
Gull Lover’s Travails.
I have nothing against animal rights, nor indeed against those who wish to be nice to all things great and small. Provided they aren’t wasps (pointless animals if ever there were any), but on the whole, niceness to animals is a good thing and should be encouraged. Banal, unthinking sentimentality, however, is a different kettle of obsolete metaphor.
There are seabirds aplenty in Sunderland. Possibly as many to humans as there were Zulus to Welsh Guards in Zulu. Some of these live around my flat (often waking me up by banging their silly heads against the window), and it’s not uncommon at this time of year to see very young ones, who’ve yet to pass their flying test and still waddle around on the ground a lot. The smaller ones are quite cute, in a strikingly ugly sort of way.
Recently, there have been a couple of these waddling about along my garden path. But somebody in one of the lower flats appears to think that they’ve been orphaned, despite the proliferation of older birds that appear to be keeping an eye on them (giving you the impression, every time you pass by the young ‘uns, that they’re going to remake The Birds on yo’ ass if you so much as think about harming junior).
In a move which might make conclusion jumping a new Olympic sport, this person has put a box outside the front door, and set inside it an old blanket and some straw. And a nice little bowl of water in case it gets thirsty. Aww, how sweet!
Yes, the thought is quite lovely. It’s just a shame that that was the person’s only thought (possibly the only one for a long time). And because this person could not realise that it was clearly being looked after by other birds, I now have to negotiate my way past a box on my way out, avoiding seven shades of seagull shit into the bargain, whilst also making sure that I don’t stand on any of the little darlings in the process.
The morbid irony of it, is that to the neighbourhood cats this might be like a new KFC opening. I’m hoping this won’t be the case.
Artistic Justification
Last week, I took part in a run of performances of The Graduate. The Dustin Hoffman/Anne Bancroft movie is remembered by many, though it’s not one of my favourite movies (great music and cinematography, but that’s beside the point). I do much prefer the play version; it’s snappier and has some great humour. Fun to perform, too.
The play calls for nudity from Mrs. Robinson, which won’t surprise those familiar to the movie, which I think goes as far as ensuring something is left to the imagination. As it was, we didn’t go as far as the script required. But the whole episode got me thinking, on the subject of that lovely phrase, “artistic justification”. And, indeed, on how synonymous this might be with artistic necessity, or artistic integrity. There are differences to these, I think. I’ll try to explain.
In a play I did last year, Pygmalion, I grew mutton chops. Wonderful piece of terribly irritating face fuzz, if I do say so myself. It wasn’t necessary. The play never mentions my character, Pickering, as having any facial hair at all. It was, simply put, for a laugh. The director didn’t ask for it. Not necessary at all.
Was it justified? Of course. In my opinion – a point I’ll visit later. Justified, but not necessary. These are two very different concepts in this sense. Justified, I think, because the character had to have either some facial hair, or none at all. Logic affords us no other option. If he has some, logic further stresses that it should be in some style or form. And there was nothing in the play to suggest that Pickering would not have facial hair, and ergo nothing to state its form. Within the bounds of the play – in its setting, both in time, place and society, it was a distinct possibility.
We can apply the same principal to The Graduate. I didn’t think Mrs. Robinson’s nudity is necessary. Again, my opinion. There would be numerous ways that could be found to circumvent the need for it without losing anything from the narrative. Logic does, however, suggest that in the hotel bedroom scene, she is either naked, or she isn’t. In that sense, is it justified? In that sense, but what of artistic integrity?
This is a phrase that was used by a friend of mine when I was discussing the situation with her, and one that I had not previously considered. I consider this notion to relate to whether or not we can call something art; is it done for the sake of art, or for some other means? More pertinently, is it done for the sake of the art to which it professes? Damien Hirst’s installations are often on the shocking side and are considered by many to be ghastly and anti-art. If this is his intention and if he is honest about it, then perhaps we have artistic integrity. However, if he’s suspending half a cow in formaldehyde for no other reason than some publicity and a bit of cash, then we don’t. Where we don’t have artistic integrity, we don’t have the justification. In my opinion.
Yes, I have been very opinionated, haven’t I? But my conclusion, after all my musings around this topic, is that these three notions are all subjective. For a start, they probably mean different things to different people. Even if people agree with my definitions, they may well differ in opinion to my reasons for stating is something has necessity, justification or integrity. This may come from a different view of the art form.
Some may see a performance of The Graduate as the simple telling of a story, the actors relating a fictional tale that merely informs the audience of the relevant events. Some, however, may perceive it to be more expressive. Do they want to go for ultimate pathos and try to give the audience the same shock that Ben Braddock experiences when he first sees Mrs. Robinson disrobe? Are we trying to allow the audience to a glimpse of another world from the safety of their own seat, or do we wish to ever-so-subtly take away that fourth wall and bring them, without their notice, into the story?
These are questions that are going to be asked again and again, and will never always be answered in the same way. But if we couldn’t be so subjective, regardless of what we do or don’t agree with, we could never call it art at all. Art is about impression as well as expression, about the challenge of producing something within given confines as much as the liberation of breaking convention – just as poetry can be strict, rhyming iambic pentameter or anarchic free verse. Take away this choice, and what you have is not art.
Loverse
Inspired somewhat by Stephen Fry in The Ode Less Travelled, when he was discussing the way certain things can rhyme conceptually (like death and winter, lovely imagery there).
Loverse
Do we rhyme, dear, dear,
Do we rhyme, you and me?
Do we form rhyming couplets
In a pretty melody?
Or alliterate, dear,
Or alliterate, we?
Can our consonants comprise
Total tongue-twistery?
Are we feet, dear, dear,
An iamb, or trochee?
Do we make up a dactyl,
Or a pounding spondee?
Are we verse, dear, dear,
Are we fine poetry?
Do our hearts beat in rhythm
When we kiss, you and me?
Yes they do, dear, dear,
‘Cos I love you, you see
And they’ll both beat in rhythm
As long as you love me.
© John Appleton 2009
The English Democrats – Freedom Fail
A month or so ago, well before the recent European elections, a friend drew my attention to this new party. This friend of mine is relatively open-minded and fairly sensible, and a Party Political Broadcast of theirs had attracted her interest. For what reason, I cannot remember. I resolved, however, to look into them.
When I got around to this, I took a look at their website. Even before that, I became worried about their agenda. Google’s facility to suggest searches based upon what you’ve already typed was returning numerous references to such things as the BNP and racism.
Their website’s homepage itself was enough to make me decide that they are not a party with whom I’d wish to bother. Put simply, they appear to be nationalists hiding behind tactile nice-sounding policies, such as the creation of an English Parliament. I may rant about that concept another time, but for now it would be mere digression.The phrase of theirs that really attracted my attention (and I’m copying and pasting this from the site directly) was, “We want English freedoms and values, not multiculturalism.”
I have three major issues with this. Firstly, whoever picked such rhetoric clearly has no finger on the pulse of history. Since 44BCE, England has been invaded by pretty much any civilisation that could make boats. People from each such civilisation will have stayed around and bred with the indigenous population (which by the time of the Norman Conquest probably wasn’t purely indigenous). Our language, nominally Germanic, has vast influences from Gaelic, Scandinavian and Latin languages. For crying out loud, our country is named after a Germanic people. It is impossible to be English without being multicultural.
Secondly, who decides what English freedoms and values are? Do these people refer to stiff-upper-lip, no-sex-please, big-red-buses stereotypes as our freedoms and values? If we are to live by stereotypes, we are not free. Freedom, surely, encapsulates the right to choose one’s own culture, and not be bound by prescribed roles.
Finally, surely an anti-multiculturalist stance is always going to hint to racism. More than that, to homophobia, misogyny and sectarianism. It certainly doesn’t hint at a tolerant regime.
Despite this, they have still managed to convince some people that they aren’t racist. However, their true colours appear to have been shown recently, in their attitude to Doncaster Pride. The party’s Peter Davies had the following to say: “I don’t think councils should be spending money on them parading through town advertising their sexuality.” I disagree very strongly with this. It is events such as Doncaster Pride that helps to make people aware that LGBT culture is not something that happens to other people, something that you only read about, something scandalous and low. It’s a part of life, and has been a lot longer than a great many aspects of our culture. It’s certainly been around a lot longer than “English freedoms and values”, whatever those may be. For Doncaster Council to spend money on this is a fine thing and should serve as an example to other councils.
Their nationalist agenda has too been aired. For instance, they’ve stated that they wish to cut funding for translation services for non-English speakers in Doncaster. Personally, I hope on his next foreign trip, Peter Davies is only ever dealt with by people who cannot speak English, but that of the country they’re in. I bet even getting directions to the beach or looking for the pen of his aunt would cause him problems.
To my mind, the English Democrats have no belief in freedom, English or not. They simply want the country to act the way they prescribe, and cut off from the rest of the world and all it has to offer. Well, that’s my vote they’re not getting.
Lasciate ogne speranza, voi ch’intrate…
Right, just a random post to establish some sort of presence. There will be something with actual substance posted later.
By way of an explanation, the title here is apparently from the original Italian of Dante’s Divine Comedy. “Abandon all hope, ye who enter here.” Possibly more portentous than need be, but they can both be recited in iambic pentameter if you try hard enough. Rock.