Wednesday, 21 September 2016

White Van Manifesto


I’m a white van man
with a white mandate
for my white van manifesto.
I'm going out to hurt
who I’m taught to hate.
Someone's got to strike the first blow.

Human rights are sham.
It’s too late to say
you didn’t see this coming.
Ban the immigrants
says the Daily Mail,
only saying what everyone's thinking.

Don't get me wrong,
to be fair, let's face it,
you know what I mean,
and at the end of the day
you agree with me.
When all's said and done,
they come over here
and you have to admit
I'm not being racist but
the fact of the matter is
you agree with me.
I'm not being funny but
you agree with me.
Some of my best friends
fought and died
in two world wars
and one world cup
and they agreed with me.
Get another round in
and when you come back
you'll agree with me.
Agree with me!
Agree with me!
Think what I say!
Everyone think what I'm saying!

And you agreed with me!
You agreed with me!
You voted to leave
to stop this immigrant flood.
Now I've got permission
to have some racist fun
checking the colour of Polish blood,

and who will be my judge?
Will you? You'll be my judge?

You put the knife into my hand,
you drew the line in the sand,
you told me that you had a plan,
and now you think perhaps you can
be my judge?
You?

I’m a white van man
and my heart is true
to my green and pleasant land.
You’ve had your say,
now get out my way,
before things get out of hand.

Friday, 16 September 2016

Werewolves

(A poem written in Glasgow during the solar eclipse of 20th March 2015)

We ran together, you and I, 
as wolves and werewolves through the thickening dusk,
racing for two and a half delirious minutes,
twisting through vanishing twilit forests of hidden desire,
transformed to reveal our secret selves,
drunk with ecstasy and apocalypse,
drunk with the darkness of the eclipse, rioting,
giddy, swooning with the swift sudden reperfusion
of all the glorious unspent rage of ages past,
restored by the wider world's paralysis,
set free, gone wild.

The birds meekly surrender their songs to silence.
The deranged Sun rides the Moon along a course
plotted upon the surface of the Earth by helpless astronomers .
A few brief seconds are turned into an epoch, an age of wonder,
in which our howls are tribute, not to some Moon of myth, 
but one suddenly present and full with night during the brightest day,  
stealthily stashing the Sun’s stolen light on its dark side.

Her lead disc offers a single coin to reckon the whole world's worth:
Quoth the Moon, "why should I return your Sun to you?
The world it illuminates only excites your cupidity.
By its light your suspicious spy satellites peer over shoulders,
reading communiques or love letters from one hundred miles high.
Why should I readmit you to their orbit,
let alone allow you to trespass upon mine?
Your society is a crime committed in broad daylight:
isn't the cover of darkness more fitting for your conspiracies?"

Inexorable and punctilious physical law
punctually peels away the darkness She adores
from the highest mountain peaks to shingle shores
and the returning day is met, not with joy,
but by our own resignation and indifference once more,
as we return to our desks and our dull quotidian chores,

but we will run again as wolves and werewolves,
across the blazing caesium fields of Chernobyl
where we buried alive the angry fires we made
for a while at least,
across the glittering bismuth marsh of Pripyat,
drooling with the bitter potash filling our mouths and nostrils
leached from the ashes of this burned and bleached land
as all the world’s gold melts and sublimates to nothing
under an inevitable hot thermonuclear glare
and houses with walls made of feathers take flight,
startled by the bomb’s loud blast,
and the fireball brings the eclipse home to stay at last,
pulling the Sun out of the Earth,
its cloudy fist first clenched around it,
obscuring it like the Moon had done,
before opening its hand to blow the ashes from its palm,
releasing us to roam and bay forever at the Moon,
in the parched grey twilight woods of nuclear winter.

Thursday, 15 September 2016

Speaking with tongues of swallows

Perhaps the oldest extant drama available to us is Agamemnon by the Greek dramatist Aeschylus. Central to its effect is a protracted crescendo of tragic irony as the captive prophetess Cassandra tries to warn the unbelieving Greeks of the imminent disaster that is about to befall them at the climax of the piece.

Earlier today I tweeted that all poetry is achieved through tragic irony: it rearranges words to confer meaning on them in a way that precisely demonstrates words have no intrinsic meaning. In Aeschylus we find this poetry used in the service of religion in a way that places irony in the temple like a bomb. Everything since - all human history - is its slow detonation.

You must recall that drama started as a religious ceremony. The original performances of Aeschylus' play were highly ritualised. The plot was not original, but chosen for its religious significance. The audience were not there to be entertained, but were participating in a religious festival. They were not entitled to watch because they had purchased tickets, but were similar in role to the epoptes, the "onlookers" in a mystery religion, veteran initiates playing a passive role in the ceremony themselves, rather than consumers of entertainment. The transformational effect their participation had on them is documented by Aristotle in his Poetics.

My own personal sense of aesthetics relies heavily on this idea of setting aside a moment apart from time, of creating experiences that have a completely different and enduring status that confounds perceived limitations, events whose intersection and relationship with the everyday experience can only be described in terms of "before" and "after," not "part of," experiences that leave us altered.

The innovation of irony in these proceedings by the Greeks introduced a subversive element with a profoundly transformative effect. Words are no longer bound by rules of action and reaction in which they are just noises prompting ritualised responses or instinctive reflexes. The creation of one meaning involves the destruction of the previous meaning. Cassandra describes the experience as being "trampled by the god [Apollo]."

Words are not understood, and are acknowledged to be just noise, during this process. Clytemnestra describes Cassandra as speaking with tongues of swallows, saying "unless like swallows she doth use some strange barbarian tongue." Aeschylus understood that this transformation, this use of poetry as a forge of meaning, was not a painless process, and his play ends literally in a bloodbath, from which emerges a previously unimaginable reality, ironically arrayed in the triumph of reactionary forces, now transformed by their encounter with poetry into something terrible.

This transformation makes words suitable for everything we have used them for ever since. Poetry precedes logic by alerting us to abstract relationships between our new, artificial meanings. Logic precedes science by enabling these relationships to apply to evidence. Irony is the engine of this transformation of language. It destroys the ground on which meaning was first established to leave words leap-frogging each other indefinitely in our poetry just to survive and avoid free-fall.

And so we are alienated from everything to which our words once referred. Our noises no longer share affinity with the utterances of bird and beast. We can no longer express un-self-conscious kinship with leaf and stream. Henceforth we are forever trapped in a world of imagination, captives of our own stream of consciousness.

And we are alienated from each other. As I have discussed elsewhere, the world becomes a maze of cross purposes whose persistence is the most we can say about reality with our newly minted words.

Clytemnestra's description of Cassandra as speaking with tongues of swallows is her saying she is a foreigner, from the lands from which swallows fly south in winter. Irony makes foreigners of us all. It is the transformation of language by irony that requires us to explain rather than assume.

It is the epitome of that misunderstanding which is our only true way of comprehending the world.

Life is a sustained hallucination.

We are embarked upon an Odyssey through space where there is no death but parallax, as all the constellations drift out of alignment at our passing. We are a locus of positions from which the world may be observed, and everything we consider consistent and stable - the quantum throb of atoms embracing to form everything we see, the integrity of our personalities as we watch - are illusions whose persistence we mistake for reality, and they are revealed as our trajectories take us past the point of their chance coincidence.

The final reality that is accessible to human thought is infinite, eternal and without structure or purpose. It is indifferent to our conduct. We are divided from it by our finitude from which alone the appearance of structure and purpose arise. These truths glorify or annihilate each of us according to how our thoughts and actions have led us to apprehend them.

We are foreigners. We are aliens. We speak with tongues of swallows.

Tuesday, 13 September 2016

Clipping Wings

Yesterday the blogger Wings Over Scotland got banned from Twitter. He was subsequently reinstated, but, given the prominence of his pro-Independence blog in the Scottish online political scene, the situation prompted a lot of comment and debate.

Wings is no stranger to controversy of course. On this particular occasion it seems he was banned following complaints by a journalist from the Daily Express about tweets he made regarding one of her articles. I won't re-iterate the whole affair. If you are not already familiar with it you can read about it here , and get Wings' side of the story here, here and here.

Opinion about this ban seemed evenly divided on both sides of the Scottish Independence debate. I'll offer my own in a moment.

Some unionists adopted an approach of "I may disagree with what you say but I will defend to the death your right to say it," while others revelled with almost fascistic glee that this venomous thorn had been plucked from their sides, and launched campaigns of invective and vitriol more severe than anything that had prompted the original censure.

Similarly, on the pro-Independence side of the debate, there were voices raised in concern that a large, influential publication like the Daily Express, backed by unaccountable offshore corporate interests, could apparently lean so easily on a social media forum like Twitter, while others pointed out the problematic nature of Wings' contributions in general and expressed a sense of relief that someone who, as they see it, was letting the side down, had had his knuckles rapped.

Some of what Wings does is fine, exposing instances of hypocrisy along the lines of Private Eye or Guido Fawkes say, but his language is intemperate and he over-personalises issues. He has a large audience because he gives a voice to long-standing frustrations with systematic media bias and misrepresentation. He does not fulfil the responsibility not to be inflammatory that comes with this.

So he does represent something of a headache for the pro-independence community. I appreciate these concerns, but at the same time, rather than simply complaining and condemning him, they should be making him unnecessary. I remember the first time I encountered Wings, feeling "at last, someone is taking the time to thoroughly and publicly debunk the nonsense routinely put out by the press about Scotland." And I can't help but think that an element of jealously is involved in some quarters.

It could be argued he would not have his audience if he was not confrontational. From that point of view the comparison is not with Private Eye or Guido Fawkes, but with provocative, deliberately controversial tabloid columnists. Compared to them he is rather mild. Look at a Wings comments thread then a comments thread in, say, the Daily Mail, then point out for me the baying mob. I agree with many of his critics, but wish they would be more specific. If you have a problem with him, please take as much time and effort as he does to point out the offending words. On this occasion, to censure him for challenging, in relatively measured terms given this context, what are verifiable lies that incite hate and violence printed in a widely circulated newspaper, is to pick the wrong battle.

It's like having a hacker on your team. Sometimes he does loft a great pass into the box for you, but other times he does your side no good at all with some of his tackles. Sometimes you just wish he wasn't on the pitch. Nevertheless, you don't rejoice when you see him sent off for what was a blatant dive by one of the other side's dirtiest players. Sure, maybe he would benefit from being sent off sometimes. But not for this.

Monday, 12 September 2016

Nocturne

I tried to steer by constellated stars
towards the morning of my heart's escape,
but separated, disconnected lights
fell scattered all across the edge of night
as lonely lures to guide my course through tar.
I once saw clear and true and found afar
my horizon in you. Stars rose and set
upon the place and hour where we met,
and we were joined together in the shapes
they made. Now these are scrawled on skies of slate.
I burn the petals of our rose. I weep
and walk beneath the weight of homeless grief
not knowing where you went, what made you leave,
my only guide a firefly's caprice.

Friday, 9 September 2016

The Fisher King

Men need to be less hesitant about discussing masculinity.

If they don't, they will let the alt-right MRA rape apologists set the agenda on their behalf. They need to reject that agenda on their own terms. It's with this in mind that I make this contribution to the debate.

In medieval Arthurian literature there is a figure known as the Fisher King. He is the individual who has access to the Holy Grail and is capable of enduring its presence. However, he has an injury.

In the stories this injury is sometimes described as a wound on his leg or abdomen. It is clear it is actually an injury of a much more personal, intimate, and embarrassing nature. Some scholars interpret this as explicitly sexual in nature. They make reference to the imperatives of primogeniture in medieval society and the shame that would accrue to any man unable to perform his duties in that regard.

I prefer here to be more vague, and consider it to be simply that injury or blemish which we are literally unable to talk about, that thing about ourselves we find most unbearably disturbing, the thing it is excruciating to admit.

The Fisher King does not go on quests. He does not fight dragons and save damsels. He simply maintains his vigil in a kingdom laid waste by his literal and figurative impotence, sustained only by a diet of fish from the river near his refuge because the barren land lies uncultivated. Instead, his kingdom is where the Grail Quest reaches its climax. All roads ultimately lead to him.

His wound can be healed, but only if he is asked the right question. Grail knights arrive and are entertained by the Fisher King's hospitality, feasting and carousing merrily. But when the opportunity is presented to them to ask the right question, they misunderstand the occasion and fail.

I imagine the Fisher King sitting alone by the river afterwards, wishing he could open up, wishing someone would ask him the right question, remembering the disappointment of every encounter with a Grail knight who didn't.

He confides in paper and pen, and writes a message in a bottle, which he sends down the river to us. In it he talks about his feelings of self-loathing and worthlessness. Ostracised by his peer group as a child, ignored or belittled by others, he finds it difficult to form attachments characterised by trust and openness as an adult. He can play the part, certainly, but is never truly present, just an object that assumes the necessary form and shape.

His own sexuality and desires disgust him. He feels guilt at the crimes committed in his name, the crimes in which he is made an accomplice by his maleness. He is monstrous and isolated. He is not connected and free. He is alone and imprisoned.

He is irascible, perceives accusations in every comment, and goes on the defensive preemptively rather than allow the possibility of criticism. He loses his temper.  

And he has done bad things. Very bad things. A sense of entitlement was the only way he knew how to make sense of his feeling of having been somehow thwarted. Vague frustrations find their explanation in imagined deprivations. Things that aren't unfair seem unfair. Malaise precedes malice.  

It seems the other way round afterwards. The order in which things make sense switches back and forth before and after the event. But the order that makes it easier to blame someone else is always easier to believe.

He does terrible things. He proves bullshit points to hold back the overwhelming sense of pointlessness. He does things he regrets. Things he is later ashamed of. He sees that now. He writes it down. He pushes the paper down into the bottle and nudges the bottle out into the stream. And waits.  

I imagine this message in a bottle washing up on some tropical beach of the sort we see in glossy brochures, making its way from his legend to one of our modern myths, the idyllic escapist fantasy where youth cavorts without consequence and slams shots in beach bars and lives the dream in a bright spot light of night life or in the languid sun lounger shadow and piƱa colada of a lazy midday holiday hangover.

A young man wanders along the water's edge and finds the bottle. He reads the message it contains. It strikes a strident discord. Its testimony is like a suicide note in paradise.

And yet this paradise is patrolled by its own monsters, predating on those unfortunate enough to become separated from the pack in the late night spaces we leave dark and empty, where hidden nightmares can unfold just beyond the edge of earshot, the dim lit date rape chalets and back alleys of the pass out and the puke one million miles and a stone's throw from the loud public bustle of the dance floor.

The message is uglier and more urgent than ever.

Men need to sit by the river and reflect. They need to learn how to be sad. Men need to learn how to accept their flaws, to live with their inadequacies and cope with their disappointments. It turns out they aren't the heroes they thought they were, were taught they were, the intrepid quest knights, the talented, irresistible embodiment of all the ideals set before them to provoke and stimulate them to aspiration and accomplishment. It turns out they are just as broken and used up and discarded as every disposable object they were ever invited to enjoy.

Men need to get things straight, get the order of things right in their minds, to stop repeating the destructive cycles they are trapped in. The entitlements they feel are artefacts of frustrations that have nothing to do with whomever or whatever they project those entitlements onto. Leave behind the carnival of guilt, the merry-go-round of self-pity, the pass-the-parcel of blame, and the inevitable recriminations when we all end up victims of the same game.

I don't like the term "toxic masculinity." Imagine if there was a corresponding term for the set of oppressive assumptions and expectations that inform women's view of themselves: "toxic femininity." This would not be acceptable because of the possibility that the phrase, taken in isolation and out of context, could be construed as implying there is something intrinsically toxic about femininity.

The same considerations apply to the phrase "toxic masculinity." Even though I understand rationally what the intended meaning is, at another level the phrase works to inform or confirm something else. If someone already feels toxic, calling the thing that makes them feel that way toxic can be construed as merely a comment on their own toxicity rather than an attempt at explaining it.

So we should not talk about toxic masculinity, but maybe wounded masculinity instead. Mutilated masculinity. Masculinity that bears injuries so intimate and personal and shameful they cannot be discussed.

Those who feel unlovable do not believe that they are loved. Protestations of love remain a mysterious and elaborate ruse. The world is an impenetrable clique from which they are excluded. Everything is a joke they are not in on. Every laugh they overhear must be at their expense. That's the immediate assumption if not the considered response.

And where the luxuries of rational thought and reflection and not available, their reactions merely compound the injury. A pantomime ensues: guilt, self-pity and anger from a failure to understand the guilt. Before we know it, Pierrot's not sad anymore. Pierrot's got a knife. He's got a gun. Pierrot's pissed off.

The world's wounds will not be healed until we address the source of self-loathing. We may shine our love upon them, but their hearts are enclosed spaces that jealously guard their shadows. No light can penetrate. And they only open up from the inside. We can forgive them, but how can they forgive themselves?

Answering the problem of men's violence against themselves and others requires us to ask the right question, and so far we have failed to do so. Let this be our quest.

Thursday, 1 September 2016

Fire breather



What a showman!
He swallows all our hate,
consumes the bilious lipids we excrete
through our lips and pens and keyboards,
mops up that lingering meningeal grease,
those secret fears that we secrete in lies
that soak up all our hidden loathing,
lies he repeats to let us despise
with conscience clear. He sips
and spits it back at us,
spraying a nebulous mist of accusation
which he ignites with a microphone
and we applaud the conflagration.

Consider the lilies

And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin.
Matthew 6:28
We strive and sweat and stress because:
  1. Resources are scarce. 
  2. We must exploit them efficiently to generate wealth. 
  3. Competition stimulates efficiency. 
  4. Rewards stimulate competition. 
  5. The accumulation of wealth is our reward.
  6. Sequestering wealth leads to inequality. 
  7. Inequality leads to waste, injustice, lack of opportunity. 
  8. Sequestered wealth creates a wider sense of scarcity. 

Now repeat. Start the cycle at 1 for Neoliberalism, or 5 for Marxism. Either way we take paradise and by our actions turn it into landfill.

But:
  1. Resources are not scarce.
  2. Waste and scarcity arise from an unsustainable idea of wealth.
  3. Human kindness has achieved more than all our transactions.
  4. Renewables, recycling and sustainable living unlock natural abundance. 
  5. All costs are reduced to energy costs, which renewables eliminate.
  6. Everything is free. Wealth is not just sustainable, it is limitless.  
  7. Inequality and injustice are eliminated. 
  8. Automation abolishes the distinction between work and leisure. 

Now repeat. Start wherever you like. Whatever we do takes landfill and turns it into paradise.

The scarcity we experience as the pretext for the way our societies are organised is an artefact of that social organisation itself. It is a mechanism for sustaining privilege.

The cycle can be vicious or virtuous. Either privilege is sustained, or the planet is. It can't be both. It's up to you.

Consider the lilies.