Category: Culture

  • ACME

    The Jehovah’s Witnesses were driving me crazy with their too-polite knocks and damnation pamphlets. Maybe they earned extra credit for early morning salvation attempts? I was always too sleepy to answer and peeked thru the peephole at their church lady hats and cheap briefcases as they walked to the curb. Martha at the hardware store was one. She had hair she could sit on and I saw her eating a bowl of cereal on the bus. She once showed me a little laminated card in her wallet – NUNCA SANGRE – blood transfusions were not allowed even if you were dying in the street.

    Maybe the Jehovah’s did the math and figured the odds were on their side; after dozens of mornings of relentless knocking, I answered the door on Saturday. With dripping hair and wrapped in a towel, I swung the door open dramatically.

    “Good morning,” said the lone guy who was most definitely not a Jehovah’s Witness.

    “Oh,” I answered, my hand reassuring the knotted terrycloth around my chest.

    “This actually happens all the time,” the young man said. His hair was the color of a manila envelope and obviously cut while blindfolded. His eyes were the most boring eyes in the world – just dots really – but his smile was so ridiculous, so dazzling – like a movie star, like a billboard for toothpaste.

    “I was praying the towel would finally scare off the Witnesses,” I blurted out.

    “I’m not scared, but I’m not one of them.” He held up clipboard; a pencil on a string dangled from it. “I ask questions.”

    “Door to door?” I asked. “Door to door,” he nodded.

    He was wearing a light blue workshirt with an embroidered ACME patch over the pocket. It seemed vaguely professional.

    “I will answer your questions,” I told him. “Come with me to the Laundromat and ask me questions from your clipboard.”

    He followed me into the kitchen. The small TV on the counter was turned to the Spanish soap opera. Louisa shouted at Ricardo – “Donde esta mi madre?” – I pushed some magazines off the second chair and Acme sat down. “I watch this to keep my Spanish from getting rusty. The main thing to remember is that ‘Estoy embarazada’ does not mean what it sounds like. It means ‘I’m pregnant.’ I found out the hard way.”

    Acme laughed.

    I spooned two tablespoons of instant coffee into two mugs and poured boiling water from a small saucepan. The brown grains swirled to the surface until I propellered the spoon and they dissolved with the heat.  I handed Acme his coffee and grabbed an elementary-school-lunch-sized milk carton from the almost empty refrigerator. “Have you seen me?” was written on three sides, next to a postage stamp of a photo of a girl with a crooked smile and startled eyes.

    I plopped down in the other kitchen chair and we sipped our coffee. “You are still in your Jehovah’s Witness towel,” Acme pointed out.

    “I know. I do laundry every Saturday. Every piece I own except this towel. We can wheel over to the Laundromat after coffee.”

    “Not that I mind,” said Acme. “I just wondered.” He noisily slurped his coffee. “This is probably the worst coffee I’ve ever had.”

    I laughed. “The coffee at the Laundromat is even worse. Somehow you can even taste the styrofoam cup.”

    We sat quietly. Outdoor sounds squeezed in through the half-opened window – a man coughing, an outburst of barking, a plane jetting overhead and then fading away. I tucked my feet under my chair and slid them back out on top of white canvas tennis shoes, the backs bent in, flattened. Using my pointer finger as a shoe horn, I

    wedged on the still doubled knotted sneakers.

    “Ready for our adventure?” I asked, as I buttoned up my raincoat over the Jehovahs Witness towel.

    The wire grocery cart was waiting next to the front door; the lumpy cloth laundry bags oozed through the slats like mashed potatoes.

    Acme grabbed his clipboard and we wheeled the cart down the sidewalk towards the Laundromat. The handfuls of laundry quarters in my coat pockets rattled as I tripped over every bump in the cement I did not see.

    “Ok, first question – why are you just wearing a towel and washing all your clothes at once?”

    I sighed. “The Four F’s, I guess. Fire, flood, famine, father.”

    Acme looked confused. “Five F’s – one is for follow up. Please.”

    I rolled my eyes. “My dad was a fireman so he drilled it into me to always be prepared.”

    “Prepared for what?”

    “Prepared for anything. To save time, to escape as quickly as possible. At night I got my breakfast 90% ready – cereal poured into the bowl, two pieces of bread poised in the toaster, the pre-buttered knife diagonal on the plate. All I had to do in the morning was push the toaster button.

    “He would do time trials to see how long it would take me to get out of the house. I never knew when they would happen. Sometimes the smoke alarm would go off after midnight. I once caught him standing on a chair in the hallway, exhaling an entire pack of cigarettes in front of the smoke detector.

    “Every rung of the escape ladder shook as I climbed down in the dark. The blackness was only broken by my father directing his powerful flashlight at me, like one of those helicopters looking for fugitives from the sky.

    “A few times he blasted the referee in a can – that metal tube with a horn attached. He stood in the driveway and squeezed it mercilessly. Of course the neighbors hated him. And he used a stopwatch. I wore my nightgown over my school clothes. It helped me feel at least outwardly normal. It also cut seconds off my escape time.

    “No matter how often the drills happened – sometimes it was months between them and other times they were back to back – there was a constant fear of sleep. Each drill was a crazy adrenaline rush. I needed to run off the extra energy surge and I’d stand in the dark living room and jog in place until I was finally exhausted.”

    “Jesus,” Acme said, shaking his head.

    “My father wrote down my times in a pocket notebook he kept with him at all times. Rows of numbers, colored pencil charts and graphs. It wasn’t until he disappeared, the day he emptied his pockets onto the kitchen counter and calmly walked out the door, that I began to under- stand what he had done. How he had negated every single day for a future of emergency and disaster that never happened. I realized how much time was lost, wasted.

    “He unplugged every lamp, every appliance, but the refrigerator, at night. He blamed faulty electrical work for most household fires. I learned to see in the dark, to feel my way around the house, to trace the outline of furniture, doorways, with my hands; count out the necessary steps to the bathroom. It was like living in a Braille coloring book. I slept with the curtains open to get even a sliver of street light into my room.”

    “Did you ever sleep?” Acme asked.

    “I learned to sleep at weird times in weird places. Snoring in the shower, catnaps in the cafeteria. Even now, beds seem dangerous. I still make my bed with all the sheets at once, one on top of the other. That first night, it’s like I’ve built a force field around me. And every morning, I peel off a layer, like an onion, and my protection shrinks by that precious millimeter.”

    We paused at the intersection. Acme turned towards me, the sun blazing and outrageous behind him. Suddenly his hair was orange, like it was on fire and his skin was transparent. Red and blue veins that had been invisible suddenly made a nonsensical roadmap of his forehead, his neck. It was as if he had been turned inside out.

    He was talking to me, but I was tuned out, distracted by the gentle pulsating in his temple. His talk no longer words but just sounds, like the teacher in Charlie Brown. Then I noticed the blood trickle, ever so slowly, from his nose, outline his upper lip and then drip down his chin and onto his blue shirt. The blood blossomed into a spidery red flower. My eyes refocused, and startled, I asked, “Are you ok?”

    Acme reflexively rubbed his face, smearing the blood with his fingertips, then looked at his hand. “I’m sorry. It happens.”

    I poked around in my dirty laundry and handed him a gym sock. “Thanks. People around here are used to it. Sometimes they even seem kind of disappointed if I don’t bleed.” Wearing my sock like a puppet, Acme tilted his head back and pinched his nostrils. The blood soaked his fingertips and striped the white cotton sock on his arm.

    Acme and I stopped on the sidewalk, his head tilted back, looking at the sky, hoping for gravity to stop the blood. A bowlegged woman in a terrible housecoat was waiting outside the Laundromat, her tiny dog impatient and tangled around her concave ankles. At her feet, a thank-you-for-shopping-here plastic bag was dropped, a box of popsicles melting into a rainbow puddle. A few noisy bees and a line of ants were drinking in the sweet decay. The dog was licking its feet.

    “We’re here,” I laughed and pushed open the door. I wheeled my overloaded cart in like a drunk driver.

    “Good morning, young lady,” called out Miss Helen, the attendant.

    She was the oldest woman in the world, a skeleton really, ruling in her secondhand upholstered armchair, aluminum TV tray at her side. Miss Helen wore plaid polyester pants and a faded sweatshirt, a fistful of tissues tucked underneath one wristband. Nobody had ever seen her out of that chair.

    Acme looked at Miss Helen and whispered, “Is it really her job to sit there all day?”

    “She runs a tight ship. Her dead husband opened this place a million years ago.”

    I walked over to Miss Helen. “I’m renting one of your

    National Enquirers until my laundry is done,” I said, and tossed a quarter into the mayonnaise jar on her tray. She nodded. I waved the yellowed tabloid in the air: Dolly Parton Shocker! “This looks good!”

    The Laundromat was a big square bisected by a long countertop on skinny legs. On one wall were the port- holes of the industrial washers and on the other leg of the L, were the dryers. A row of molded plastic chairs, segmented like a caterpillar, ran along the steamy windows.

    Acme, still pinching his bloody nose, looked around fascinated. He watched the woman leaning against a washer, holding a paper cup, ringed with old coffee like an ancient tree. Her movements were slow and stiff, a rusted robot, as she brought the cup to her lips. “It’s like a meeting of Sleepwalkers Anonymous in here.”

    “It is another world,” I agreed. “Planet Fluff and Fold.”

    I dumped my laundry onto the big table and sorted it into piles to wash. Acme talked, the gym sock muffling his voice, like a kid trying to do impressions. The blood on his shirt was growing, climbing its way across his chest. “I think my nosebleed finally stopped but my shirt looks like a crime scene.” Acme slowly unbuttoned his shirt with wet fingers, dotting the fabric with bloody halfmoons. “Tshirt too,” I commanded.

    He sat there, shirtless in the plastic chair, looking at his reflection in the round glass of the dryer door and wiping his nose with the sock. His skin was so pale, he glowed.

    “No shirt, no shoes, no service,” I reminded him, pointing to the cardboard sign scotch taped to the wall. “Miss Helen is very strict about topless customers. That’s why I wear my trenchcoat.” I handed him a bedsheet. He knotted it around his neck like a cape.

    He washed the blood off his face in the water fountain, his features distorted like a funhouse mirror in the molded metal. Then he held his shirt above the spout and the arc of water blasted clean the center of the bloody stain. The shirt turned brown, then pale, then a rusty shadow. He tossed the wet shirts into the drum of the washer and they thwacked solidly, like a fish slapped onto a dock. The quarters activated the machine and it gradually came to life – the steady bursts of water, the sporadic release of detergent, the increasingly rhythmic agitator.

    Acme in his cape, me in my towel – we quietly watched the portal of the washing machine as if it was the most fascinating movie in the world. It was soothing and hypnotic.

    “I told you about the midnight ladders and why I am sitting here, now, with you, in a Laundromat. So how did you start going door-to-door with your clipboard asking strangers questions?”

    “See that guy over there?” Acme asked. “The guy in the grey space suit?” He tilted his head toward the fat man folding dozens of pairs of underwear into tidy origami packets. He was wearing a puffy plastic jumpsuit, with thick elastic cuffs at the wrists and ankles. It was like elephant skin.

    “That’s George. The first time I saw him I was eight-years-old and assumed he was an astronaut. He was in his front yard, raking leaves in his inflatable suit.”

    George was whistling. I noticed the rubber gasket with a big knob, attached at the belly button, on his crinkly jumpsuit. I suddenly realized it was an inflatable sauna suit from the back of Parade Magazine, the kind that plug into the vacuum cleaner hose for extra reduction powers. “I always wondered who actually bought those diet suits,”

    I said to Acme. “The FDA outlawed those things when people got dehydrated and passed out in the middle of Kmart.”

    Acme said, “George never seems to get any smaller but he always seems hopeful, even when his suit is deflated. He stopped wearing real clothes decades ago. He even wears it grocery shopping. When I saw him pushing that cart filled with paper towels and Tang, I assumed he was an off-duty astronaut. That’s the beauty of a uniform, even a half-baked one – your identity is never questioned.”

    I watched George methodically pairing up his clean tube socks, his plastic suit rustling loudly like candy wrappers in a movie theatre.

    “I’d see George,” Acme continued, “and shyly ask him questions about outer space because I was obsessed with the moon. George never actually said he was in NASA, never once agreed with my crazy science fiction-fueled theories. But he never said no either, never denied my assumptions. I’d ask him stuff like ‘What’s it like up there?’ and he’d answer ‘Dark. And, ummm…cold?’”

    “Did the other kids think he was an astronaut too?” “I was never sure,” Acme answered. “I felt like it was our special connection, that I was the only one smart enough to guess his top secret secret. After all, it’s more exciting to talk about peeing in zero-gravity than sitting in a broken Barcalounger and watching Wheel of Fortune all day. It was a secret that made us both happier.

    “A few years later I found a balled up polyester Burger King uniform in a bus stop. It smelled like a million french fries. I’m not sure why, but I pulled it over my Tshirt and wore it home. Strangers asked me questions about my job, like if I could drink unlimited milkshakes. Just by putting on a different shirt, I became a different person. It seemed so easy, maybe too easy, to not be me. Suddenly I understood George, and how it was easier to just go along with things.

    “I wondered who else I could become. I looked for mechanics shirts at the thrift shop. I’d find supermarket cashier smocks abandoned on sidewalks in a minimum wage rage. I had a drawerful of termite exterminator sweatshirts and a faded lifeguard tank top. I’d put on a uniform and go to a part of the city I didn’t know and plop myself down in a coffee shop all day. People would ask me questions, treat me like an expert. It felt good to be an authority on something. I had been fired from every real job I had ever had. I was a pizza delivery guy with no sense of direction. I somehow left open all the ferret cages at the pet shop and couldn’t mow a straight line at the golf course.”

    I laughed and turned to look at Acme. He was staring straight ahead at the washing machine as he spoke. He sighed and adjusted the bedsheet knotted around his neck. I looked at the washer. Framed in the shiny glass door, the wet white laundry was sloppy and spinning, suds dotted the water. A lonely red sock swirled among the towels and Tshirts, spiraling like a giant peppermint candy, first in one direction and then in reverse. The air was humid from the endless cycles of clothes dryers drying. Miss Helen dramatically fanned herself with a rolled up Weekly World News.

    “But what made you stop answering questions and start asking them from door to door?”

    Acme shifted in the plastic chair. “I was wearing a starched lab coat and a teenager offered me a cruller if I gave her a second opinion on her upcoming gall bladder surgery. I realized Readers Digest medical knowledge was a dangerous thing. So I told her I was a veterinarian. She was disappointed.”

    A small boy in Batman pajamas set up a tiny bowling alley on the floor next to the industrial washers. We watched as he rolled a dirty tennis ball into a triangle of miniature boxes of Tide detergent from the vending machine. Some were full and some were torn open, and with each collision a cloud of grit and blinding dust exploded into the air like spores.

    Sometimes when the ball missed the kid kicked the boxes over with his foot and satisfied, smiled.

    Acme looked at me. “Those miniature detergents are just like the fun-size boxes of cereal I used to beg my father to buy for me. I loved to cut along the dotted lines and fold back the cardboard wings. It was like a camping trip in your hand.”

    George sat across from us and rested a can of orange soda on the shelf of his stomach. The Laundromat got hotter with each load of clothes thrown into a dryer. His face was flushed and sweaty. George wiped his forehead with a bandanna then retucked it into the cuff of his suit. With each fidget his plastic space suit noisily suctioned and unsuctioned onto the molded plastic chair, breathing, moving, almost as if it was alive. I looked at George’s wrinkled wrists, imprinted with years of elastic, and I thought about all those years spent mummified in plastic, his body cut off from air, from the world, so much that it was gradually losing its elasticity, its color, that it was starting to resemble the plastic suit he wore like a suit of armor.

    Acme pointed to Washer 17. “It’s winding down,” he said, as it did a lethargic last spin. He pulled out an armful of wet laundry and looked at it helplessly. “I need a dryer.”

    I found one and he dumped it all in. The front of his bedsheet cape was heavy and grey with a circle of damp; the back hung and billowed. I pulled out quarters from the pocket of my trenchcoat and slid them into the slot. The wet laundry thumped clumsily as it slowly began to spin, picking up momentum. George slurped is soda. Acme leaned over and said quietly, “I’m scared George will become one of those shut ins who refuse to leave their vinyl recliners for years and eat cases of potato chips and their skin eventually fuses into the cushions. Somehow they lose themselves…”

    I finished his sentence, “…and become a chair with a face.”

    “Exactly,” said Acme. “It’s scary. George went from an astronaut to a Lazy Boy recliner all because of that stupid jumpsuit. It seemed like too much baggage. The gall bladder question – the responsibility – shook me up and I threw it all out, every uniform I had. But the Acme shirt seemed different. It was universal but somehow vague. I carried a clipboard and everything shifted. Strangers stopped asking me to diagnose the weird clanking in their dishwashers. I asked the questions.

    “The first questions are always easy, to build up their confidence, like those $100 categories on Jeopardy. Then things snowball from specifics like ‘Left handed or right handed?’ to ‘Would you ever parachute into a volcano?’ to a zinger like ‘Tell me about the time you were most disappointed by your parents.’”

    The dryers hummed and the washers thwacked all around us. The air felt thick with dampness and heat. The whole place had that yeasty smell of lint. Miss Helen shimmied in her chair and used both hands to lift her limp left leg over her right knee, an oddly ladylike gesture. Her left foot dangled and shook.

    “I ran out of my own questions after the first week. I underestimated how excited people were to talk about themselves. No one was surprised, no one refused to answer. I started an endless master list of questions. I stole from everywhere – Cosmo magazine, crackpot pop psychology books, supermarket scandal sheets. Even Bazooka Joe comics. Somehow the randomness made it all seem oddly legitimate. I took some notes, but mostly the interviews became meandering monologues. I nodded a lot.

    People finished, unburdened and exhausted. They even looked lighter and brighter, more buoyant. Some glowed.”

    I looked at Acme. “It sounds like going to confession with scientist. And without the phone booth.”

    “It is. And I even have the cape,” he said, flapping the bedsheet around his shoulders.

    “Don’t underestimate the power of a cape or a trenchcoat.”

    We watched the dryers spin. As the minutes passed, the wet clothes tumbled and incrementally fluffed up behind the glass doors, like whipped cream.

    “Ask me a question,” I said, slightly dizzy from watching the dryers

    “Here’s a good one. What’s your favorite vehicle?” “It’s a tie. A golf cart and a cement mixer.” “Why am I not surprised,” Acme said.

    “I’m pretty predictable. So what’s yours?” “An elevator.”

    “That does not count.”

    “It counts. It moves.”

    “Maybe I should borrow your demented dictionary,” I said.

    The dryer spun, then paused, then noisily shifted gears for a final reverse spin. We watched the digital red numbers count down. Two minutes, then one. Click! The hot laundry crackled with electricity. I pulled at a knot of stuck socks, stretching them like saltwater taffy. Sparks fireflied into the air. Acme flapped his knotted bedsheet like a dimestore Dracula.

    The windows of the Laundromat were dreamy and foggy. At eye level, circles and slashes were rubbed out by fingers to see the world outside. I took off my trench- coat. Side by side, we sorted the laundry. Faint ghosts of warmth pulsated from the piles of socks and shirts and skirts. I dug out Acme’s shirt, grabbed it by the shoulders and shook it out. It was hot – alive again – like skin, as I put it on.

  • Nimbus At the Green Border

    Cyprus, 1965

    The lads of the 42nd Infantry Battalion sat slumped on the Land Rover’s steel floor as we lurched over dirt tracks; shade from the tarpaulin kept them cool as they spoke quietly together, in Irish. Since arriving in Cyprus, they’d spoken no other language. I knew most of them had joined up at barracks straight from the Kerry and Galway Gaeltachtaí. There was no one from Wexford, apart from myself. The Irish was oddly soothing to hear, if I ignored their wary tone.

    I sat in the driver’s seat, sunglasses shielding my eyes, and kept the Land Rover shuffling at sixty miles an hour. Its engine growled and sputtered, leaving smoky exhaust behind us.

    Beside me, Byrne, the company sergeant, lit a fresh Woodbine and rolled down the window. He spoke into the Land Rover’s vehicle-mounted radio, grunting our location back to HQ. His FN rifle lay across his lap, the barrel aimed out at the land. He paused, glanced over his shoulder.

    “Still talkin’ the Irish, lads? Too browned off with us Jackeens, yeah?”

    No one replied. He smirked and blew smoke out the window. Turning to me, he said, “Jaysus. The fuckin’ state o’ that shower, Ned. Thinkin’ we can’t understand ’em. Not as if we can’t hear ’em. Tell y’one thing, if they were as smart as they thought, it’d be them runnin’ the show, not me.”

    I made to reply, but a crackled squawk from the radio cut me off.

    “Infantry. 42, this is HQ, do you copy? Over.”

    “Yeah,  go      ahead       there,      boss,”      Byrne       responded       into      his       handset.

    “Don’t stay too long in Lefka, righ’. Just head in, get what yis need, and get out. Time’s not on your side.”

    I stared out of the windshield and kept going. Our convoy was led by my Land Rover. Two armed personnel carriers travelled behind us, along with the main vehicle of officers and heavy equipment. We were on the coast road, which uncoiled ahead of us.

    It was late afternoon. We were a patrol unit from the Irish branch of the UN Peacekeeping Force in Cyprus, with three weeks left of a six month tour of duty. We’d been sent in to maintain peace, following violent clashes between the island’s Greek and Turkish populations. For the last five years, the bloodshed had become too frequent to ignore. Greeks had been shot en masse in the grainfields. A crowd of Cypriot Turks had been massacred on the border of Limassol Province earlier in the year. At Famagusta Harbour, Greek-Cypriot guerillas had been discovered receiving arms shipments. Many inhabitants on the mainland fled their homes under cover of darkness after being looted.

    We were the UN’s fourth Irish deployment, taking over from the 7th Infantry Group, who’d left just before we arrived.

    Our orders were to refuel in the small village of Lefka, before continuing on to our outpost up in the Troodos Mountains, a neutral zone. Cyprus is an island of peaks. Driving an armed convoy through this landscape was a challenge I hadn’t expected.

    Byrne pivoted his head to look at me for a minute, before snapping it back towards the windshield. “Ned, how far off are we?”

    “Five miles to go, sir. I doubt the heat’ll let up anytime soon.”

    “Ah, stop. Last thing I need is more fuckin’ mosquitoes comin’ between me and my sleep.”

    “That’s true enough, sir.”

    Since leaving HQ in Nicosia, I’d been on edge. All of us were. We’d plenty of ammo and supplies. Our radios were all in working order. But even with every strategic position dotted around Cyprus, none of us really knew what to expect. So far, we hadn’t fired a single shot, but we knew the guerrillas were out there, crouched in wait of unwary targets. Snipers kept cover in eucalyptus groves and the vineyards. Gunfire might erupt on us from a roadside gully; there was nothing we could rule out. Turkish or Greek, it didn’t matter. How were we to know the difference between ambush and accidental discharge?

    On top of that, it was our stop-off point had us worried. We were briefed that while Lefka was a Turkish enclave, Greek-Cypriot cadres ranged the surrounding hills; we’d have to be especially vigilant passing through.

    Everything we needed to know was relayed to us the day before deployment. I remember being briefed with the entire battalion in the departure lounge of Dublin Airport by a stocky drill sergeant from the US Air Force. A tour of duty in Cyprus, he said. Peacekeeping operation for the UN. Troops from other nations taking part. Fatalities to be expected. For most of us, it’d be our first time leaving Ireland. Might as well have been the other side of the world to me, or Shangri-la, for all I knew about it. I remember boarding the Globemaster, the first time I’d ever set foot on an aircraft. Ann, my wife, had blinked back tears at the viewing lounge by the terminal. Maggie and Nicola, our two eldest daughters, held her hand and watched me leave. All around us, the lads were saying similar goodbyes. All of us were in uniform, as crisp as we could hope to be for the entire mission.

    “Look after yourself,” Anne whispered to me as I held her. I assured her I would, not really believing it. I kissed her and our daughters, promised them they’d see me soon. We’d five nippers by then; our sixth was on the way, shortly. I knew I wouldn’t be home in time to hear its first gurgles. I hoped that whatever apprehension I felt wasn’t showing.

    We’d been married for nearly a decade by then. Ann had had to leave her job after we got together, as the law dictated at the time. Whatever money we had came out of my army pay.

     

    The Land Rover moved quietly enough, but I was worried about giving away our position. Every so often, we’d pass through farming country. No checkpoints or OPs, no need for papers or passports, no furnishings of order we could resort to. The only people we saw were the hunched, black-clad figures of women at work in the vineyards. Men rarely ventured out in broad daylight, for fear of being shot; they’d stay indoors, drinking coffee. Only the women could move freely outside, picking grapes off stalks, their scythes flashing in the heat. I noticed they didn’t stop working, even when our convoy trundled past. A few would glance up and stare after us until we had vanished from sight, but none waved, or even stopped what they were doing. The sight of an armoured lorry, bristling with artillery and fatigue-clad men, didn’t seem to faze them. The few children we saw sat on the roadside, watching us wheel by without fear or amazement, their faces stretched down to hungry, staring masks.

    Our first time out on patrol was during harvest season. We took our position just outside Pergamos, setting up a small base-camp on the vineyard’s edge. Throughout the night we kept watch, scanning the dark horizon on all sides, until the order to head back to base came through.

    “Should we not be looking after them?” I’d asked Byrne, nodding at the hunched, slow moving figures that shuffled amid the grapevines at dawn. “We might save more if we hang on here.”

    “Save ’em from what, Private?” Byrne replied. “Have y’heard any shots since we arrived?”      “No, sir, I haven’t.”

    “No, well then. We’re not here to save anyone, Ned. We’re to keep an eye things. And you’ve to just keep your eye on drivin.”

    I didn’t reply, and closed my fingers around the small gold ring in my pocket. It was my wedding ring; I took it off whenever I was off base. I was too afraid of getting wounded or killed, and havin it stolen. Both me and Byrne were two of the few married men in the entire squad; most of the troops weren’t even shaving yet. At night, Ann swirled through my dreams, her dark hair brushing her shoulders, her eyes sea-green and inviting, her voice a soothing whisper in my ears. The longer I was away, the more she’d visit me in my sleep, until I swore I could smell her perfume and tasted the soft curl of her lips long after I awoke, surrounded by the wheezy snores of the others. The ring was the first thing I made sure I had on me, before my rifle or bullets or dog tags, every morning at parade. And I kept seeing her everywhere. In the rear-view mirror, on the roadside, amongst the women in the fields.

    A mile off, I saw the asphalt coil away into a tangled cluster of fields. The mosquitoes were out in force. I cursed to myself. For all the heat, I noticed the grass was far lighter than in Ireland. White dust swirled on the roadside, whisked by wind. Heat fumes wriggled a mile off. Roads snaked every which way, as though trying to confuse me or render the map superfluous. Sunlight glinted off gunmetal. Beside me, Byrne grunted.  “Them mosquitoes must be takin’ orders from the Greeks. Fuckin’ relentless so they are, Ned.”

    “Yes, Sir. I suppose.”

    “Like rats in the desert, wha’? Fucked from here to there, says you.”

    “Sir?”

    “We’ll be grand, sure. ’Nother five miles never killed anyone.”

    “Yes, Sir.”

    I wasn’t in the humour for small talk. In my head I was thinking of what I’d put into my next letter to Ann, my wife. I’d be seeing her and our children soon, once the month was out. I wrote her every week, detailing everything as best I could in a way that didn’t get her worried. There was plenty I kept out. Mostly I talked about the sea’s lustrous aquamarine, the roads, faces of people I saw. In every letter, I was careful not to call Cyprus a battle zone. Right now, there was nothing to tell her.

     

    For all the Cypriot heat, it was a relief to finally be away from Dublin’s grey brickwork. I didn’t miss much about the old town. Beggars flung crumbs for the seagulls like feed, before shuffling off to drink the few bob they had in the early houses. Roadsweepers hauled refuse laden carts down the sidestreets; steam and coal dust choked the air around Britain Quay where the ships offloaded. On the Liffey, Guinness barges steamed to and from the brewery; slimy green strips of algae smeared the quay walls at low tide. Every second building seemed marked for demolition; the knock-down gang swarmed over them with shovels and pickaxes. On O’Connell Street, Nelson’s statue gazed skyward from its column; a year after I got back from Cyrus, it’d be blown to kingdom come.  Before signing up, I’d worked as a busman, driving Leylands for the CIE; City Hall to Dame Street, Phoenix Park to Dun Laoghaire. Mini cars and lorries swarmed around me as I stopped and started on the morning drive, all the way from depot to terminus. I saw so many faces on my routes and got to know the city so well, the rooftops and the lampposts, that I just got sick of it all. People were reckless crossing the streets then.  And before we tried keeping the peace in Cyprus, a different sort of peace was being bartered back in Dublin. The unions were on the warpath. I’d marched at the front of each picket line. Better pay for a better job. We’d earned it.

    In the end, the unions felt I was strong enough to speak on their behalf. I knew I was not. I’m not John Wayne, much and all as I wished I was then. In the end, it was me they wanted to be General Secretary. I said I wouldn’t do it. I’m not a leader. I never have been. The men needed someone who could stand for them, and wouldn’t be converted by bribery or coercion. I’m just not that kind of man. I could only be so outspoken until I’d be looking at the sack.

    Every man has an enemy against whom he’ll never win. That’s a lesson that never comes easily. If you’re anything like me, kindness is the enemy you know you’ll never beat. I’d heard and seen enough union men killed off with kindness, sniped by possibility of a better job, better pay, more decent living for them and theirs. And they always took it. They abandoned their men very quickly. I knew that I’d be going down that road as well, if I became general secretary. And my son had only just been born. It couldn’t be abandonment for him. Where we lived in Dublin, there were plenty of young fellas who grew up never knowing their fathers. A boy needs his da, I’ve always believed. Walking out the door to go and play soldiers out in Cyprus was a hard choice. He needed me there, to see my face every day and know who I was.

    Then again, Cyprus was the only choice I had left. After the Union, the jobs I could easily have taken seemed to vanish. Maybe I’d more certainty back then. Didn’t seriously think I would die out there. But the ten bob I made with my busman’s pay wasn’t enough. And now I wanted to see my son’s face again. In dreams, in the Land Rover’s rear-view mirror, in the faces of the starving children of that country, children the same age as him. Some of them did wave, mind, but they were far and few between. It was around then that I started having nightmares of my son, naked and bleeding, and chained to a paling post in a deserted field, crying. Crying with a child’s distraught frenzy, for me to come and rescue him, to cut him loose and keep him safe. I’d see his face, red and swollen with tears, and I’d lose sleep, wondering why I’d ever left Ireland. I should be at home, I’d repeat constantly to myself. I should be watching over my son.

    If there was a message to be found in any of the dreams I had, it was this: why did you leave him? Why did you leave your boy? He’s suffering now and you can’t help him. A father helps his son while he’s able.

    When I finally applied to re-join the army, one of the questions on the form held the caveat that I may very well die if sent into a battle zone. Was I willing to make that sacrifice for Ireland, they asked. Far as I was concerned, Ireland was a grey-green boil on Europe’s left arse-cheek. But I needed the work. So I went on basic training – seventeen weeks of hell in Wicklow, firearm drills at barracks, orienteering. I was able for it all. The only Irish I learned to speak or understand were the drill commands at the barracks: “Deas iompaig!” (Turn right). “Cle iompaig!” (Turn left). “Iompaig thart!” (Turn around).” “Seasaig ar ais.” (Stand at ease).

    Like all the others, I was stationed at the Cathal Brugha Barracks in Portobello. Of course, our actual experience in combat was negligible. It wasn’t until after I entered the barracks that I actually held and fired a gun for the first time. The weight of it in my hands was a shock. By the time I finished up, I was a top-notcher, instructing the newest recruits in weaponry. You name a gun, I was the man to talk to. I could give you detailed specs on an MK 4’s muzzle flash, a Gustav m/45’s blowback, or the recoil of a Browning semi.

    Before that, though, there was basic training. I’d my own induction among the lads. It was in the barracks barber shop. My name was barked out as I stood in line.

    “Private N. Wade, you’re up next!”

    I sat in the chair, while your man got his clippers ready. He grazed it over my skull, my locks fell to the floor. The fella in the next chair caught my eye.

    “Here, what did he say your name was?”

    I glanced over. “Eh, Private Nick Wade, sir. HQ Company. You?”

    “John McCormack. They call me the Count.”

    “Yeah? Y’much of a singer?”

    He smirked. “Am I fuck. Voice on me like a bleedin’ engine, so I do.” He peered at me.

    “Wade? Do I have tha’ righ’?”

    “Yeah.”

    “Like Ned Wade? The hurler?”

    “Eh, yeah. No relation, though.”

    “Ever seen him on the pitch? My jaysus, can he do damage. Rakes in the silver, he does.”

    His rapt expression told me I was already in his good graces. My surname could shore me up, come whatever may.

    “I don’t really follow the GAA. But I know of him.”

    “Well, they’ll find somethin’ for you right enough. A fella by the name of Wade does be needin’ somethin’ to keep himself occupied.”

    And that was that. I was Ned now, no longer Nick. Whenever I was introduced to one of the lads, or called on to give my name at parade, I called myself Ned. Some of the Gaeltacht lads even called me Eamonn. But most of the battalion never even found out my real name. The entire time we were in Cyprus, I went by a name that wasn’t my own.  After a while, I stopped being annoyed and just got used to it. Byrne told me I was better off calling myself Ned, anyway. “It’s good for morale,” he’d say. “Some of the lads used t’play hurlin’ before they signed up. If they know Ned Wade’s on their team, it’ll keep their spirits up.” But I’d never swung a hurley or hit a sliotar in my life.  I was an oddball, detached from the run-around nature of army life and yet oddly respected for it. Of course, I chatted and laughed with the others, engaged in the jokes and slagging, but on the whole, I kept quiet. The reason being that, during training, it was discovered that I was an excellent marksman. Snipers would be sorely needed in Cyprus.

     

    The water hurdled past my ribs as I plunged in, cold and heavy, soaking my fatigues. I dug my boot-heels into riverbed, waited for my balance to return against the current. Wind hissed through the grassy bank. Heavy grey clouds drifted overhead, grazing the shoulder of Lugnaquilla’s foothill. My weapon, which I’d slung to my shoulder, was a 7.62 FN MAG, an open bolt, long-range sniper gun with its own folding bipod, capable of taking a man’s head off a mile and a half away. If it was aimed right. Even in a high wind blowing downward, my eyeline smudged with dust and my target a thousand or so yards off and moving fast, I’d still manage to take it down.

    But it wasn’t a man I was scoping for, not today. The target was hidden amongst the trees, on the far bank. You needed a hawk’s eye to see it. I could just make it out through the scope, a skeletal little carving of a Celtic Cross, its silhouette black amongst the fronds. A thousand yards off, I heard a buzzard squawk.

    There was a rock mound jutting up further upstream. I sloshed a little deeper into the flow, until it lapped at my chest, clenching my teeth against the cold. The rock mound came up to my shoulders. I leaned forward, close enough for the water to brush my jaw, and shut my left eye to get a better look. Fastening the bipod to the gun barrel, I propped it on the rock. Before aiming the FN downrange, I put my eye to the scope.

    The world shrunk into a single, black-rimmed sphere. For a second, nothing existed but the curve of the trigger off my fingertip, the fine crosshairs and the target’s tiny outline. It lurked amidst a knot of gorse, nailed crudely to a tree, its nimbus spread wide. If I fired now, the bullet would zip through the air for a good half-mile before it hit anything. If the target moved, even the slightest motion would give it away. I always pulled that trigger slowly. Once I locked on it, I’d relax. Under those clouds, the surface of the water looked pitch-black. Despite the river’s heavy flow, there was barely a breath of wind. I was lucky to have kept the FN dry and above water. I took a breath, and squeezed the trigger back.

    The bullet spat from the barrel, a flurry of white smoke wafted over me, and through the scope’s ringed lens, I saw the cross fracture and drop before the echo faded away. It was a near-perfect hit, the nimbus cracked right down the middle. Lowering the FN, I trudged back upstream and into declared my headset: “That’s a hit, boss.”

    “Affirmative. Right under the crossbar. Ned Wade strikes again.”

    After that, I couldn’t ever look at a Celtic Cross, or any cross for that matter, and not think of a target.

     

    By the time we reached Lefka, the stench was unbearable, even with the windows open. I slowed to a halt at the checkpoint by the village entrance, which was nothing more than a long, striped pole extending across the road. Beside it was a makeshift medical depot, its grey walls riddled with cracks, while in the distance the golden-brown mountains loomed. Byrne signed us in to the sentry, who lifted the pole in the air, and the convoy snaked down the bumpy road into Lefka. Once we reached the centre, I parked and killed the engine outside a small cafe.

     

    “We’re not stayin’ here long,” growled Byrne, and he spat out the window. I’d gotten used to deserted streets, but Lefka was thronging. It was market day. Stalls were set up in the main plaza, and a steady stream of people, women mainly, drifted from street to street, haggling loudly. Dogs slept in the long, jagged shade of palm trees. Every building was boxy and whitewashed, coated in stucco. Depending which side of the border we were on, we usually saw either the Greek white-and-blue stripes, or the scarlet, star-and-crescent emblem of Turkey. Here, there were no flags, not even outside the depot or the mosques. Soldiers in UN stripes were dotted around, standing their posts or else pacing about absentmindedly, their rifles cradled. Guns and fatigues were now part of normal life in this village, it seemed. In the cafe, a group of men sat in the terraced shade, arguing amongst themselves. When they saw our uniforms, they waved us over.

    “You hang on here, Ned,” said Byrne. “I’ll find yeh a min’ral or somethin’. He climbed out of the Land Rover, sloped into the cafe. He’d be in there for a good while, I knew, downing cup after cup of dark coffee with the local head man. It was a show of hospitality that he, as patrol commander, couldn’t refuse.

    I lay back against the headrest and shut my eyes. I thought about my wife, mouthed the first words I’d say to her when I got back to Dublin.

    A screech came piercing up from the plaza, jolting me upright. I could tell when I saw the woman, from the way she moved, something was wrong. I would have noticed her anyway, had she not been wailing to the heavens. The sun’s glare stopped me seeing her properly, but even at a distance I saw she was groping for something to grab onto. The street was crowded enough, but everyone, soldier and civilian alike, walked right past her, without even turning their heads. As she neared, I saw she was young, about my wife’s age, with dark hair. Her threadbare shawl, drawn up like a monk’s, told me she was Turkish. Only when she reached my passenger door did I see why she was stumbling. Her eyes were covered in cuts. She was blinded and bleeding heavily.

    My fingers closed instinctively around my wedding ring in my pocket; my spine tensed. Had there been an attack? We’d been briefed not to interact with Turkish women; their culture forbade them from talking with us. But I had to do something. I flung the door open and sprinted round the front of the Land Rover. She had tottered rearward and was now sloping against the café terrace, gasping for breath. None of the men took any notice. Almost as if they didn’t hear her. A part of me hoped Byrne would step out of the café to see what the noise was. Her wails still soared over the noise of the street. I approached her as I would a small animal caught in a snare. She flailed her arms limply, trying to grab hold of anything she could. I reached out, managed to grip her hand and shoulder, and hold her steady. She fell to me, huddled tight against my shoulder, squeezing my hand.

    She smelled of eucalyptus.

    “Can… can I help you, Miss? Hospital?”

    Once she heard my voice, her howls quieted to a scared whimper. Her free hand reached up, fingertips brushing over my nose, lips and jaw. Both her hands and wrists, I saw, were crisscrossed in deep scratches. I glanced up and saw several of the men in the cafe watching me, curious to see what I might do. Their expressions were blank. One of them blew smoke. Another swished around the coffee in his cup.

    I’m not one to disobey orders. But the medical depot was only a mile back up the road. I took a breath and lifted the woman into my passenger seat. Then I bolted back behind the wheel, and revved the engine up.

    She kept whimpering, heaving out words I didn’t understand. I think she was praying. But she also quietened a little once I shut the door, sensing now that she was shielded. I pulled out of the parking space and drove for the checkpoint, where the medical depot was. If any of the lads saw, or if Byrne ran from the cafe, bellowing at me to get back, I didn’t hear or notice. I kept one hand on the steering wheel while she held onto my free one. Her hands felt small and coarse on mine, and with her head resting on my shoulder, I saw and felt the blood more clearly. It oozed into her shawl and dress, and over my sleeve.

    It was then that I started wondering what colour her eyes had been. What was the last thing on earth she had a good look at, before her eyes were taken? Did she see a wayward eucalyptus branch snap back and plunge the world into stinging darkness? Or worse, a blade, swung at her? There was no telling what had happened to her.

    The soldier at the checkpoint flagged me down and, as I pulled up, looked ready to tell me off for speeding. But his expression changed the moment he saw her huddled beside me. All he did was nod and let me park at the depot entrance. One or two of the other sentries watched us climb out, but they made nothing of it.

    All this time, she didn’t let go of my hand. I led her under the low canopy, into a crumbling foyer. Stretchers were laid out in rows on the hard stone floor. A young medic, also wearing the UN beret, rushed over to us. He pointed me to the nearest mat, and filled a bucket of water. I knelt and tried to guide the woman down but she flailed madly, her hand still clenching mine. The blood on her cheeks was starting to crust. She tugged at my sleeve, until she was sure she lay on solid ground. It took me a moment to let her go. When I turned to leave, I saw the medic place the bucket of water next to her, and kneel down. The last I heard of her was the sound of her wails, echoing off the flaked wall.

    Outside, the sentry offered me a cigarette, which I declined. I was going to drive back to the village, I said, and he needn’t worry about any more irregularities. He gave a wordless nod and let me climb back into the driver’s seat. I turned the key once more and headed back down the ramp into Lefka. I hoped I hadn’t put the 42nd Battalion too far behind schedule.

    I turned down the main street. Byrne, his lips stained with coffee, stood outside the cafe. He glared at me behind his sunglasses as I got out and saluted. A few of the others were with him, some carrying sacks and boxes of supplies. “Nice day for it,” he said. “Enjoy yourself up there?”

    “Sorry, Sir.”

    He took off his shades. “I’m not havin’ you flutin’ around without my leave. That’s not what we’re here for.”

    “No, Sir.”

    “Make sure y’don’t do that again.” He turned to address the lads. “Right, men, let’s go. ’Mon, hurry!”

    There was a scramble as everyone piled back into the trucks. Byrne climbed into the passenger seat beside me.

    “Tell me why y’took the vehicle without notifyin’ me.”

    “Sir, with respect, a woman was badly hurt, and no-one else seemed to be helping. I acted on instinct.”

    “Ned, I’m only lettin’ y’away with this once. Pull another stroke like that, and you’re on half rations. From now on, y’don’t do a thing without my say-so. Am I clear?”

    “Yes, Sir. Crystal.”

    “Good. Then let no more be said about it. Get us out of here, Ned.”

    “Yes, sir.”

    I turned the Land Rover out of the gate and drove us west, out into the mountains. The lads went back to whispering in Irish, or sleeping. Byrne drank from his canteen and stared straight ahead. The radio crackled with static and blurry updates. An hour later, we’d reached our compound, and would be settled in by sundown.

    Image by Michael Klajban of Forest road in Troodos Mountains, Cyprus (wikicommons).

    Daniel Wade is a Dublin-based author. He was awarded the Hennessy prize New Irish Writing in 2015, and his poetry has appeared in over two dozen publications. Follow his progress on Facebook, Instagram and Twitter.

  • Poetry Recording – Paul Curran

    Try mph

    To Payney, Tinpan, JJ, Tom P., Tom C., Col, Ry, Peewee

    I know the car I would most love to own:

    Well red, early seventies TR6,

    That beautiful, British-built, roadster mix,

    Boldly bearing the boxed badge of renown –

    Great jewel in Triumph’s commercial crown –

    Two point five litre, manual, straight-six,

    Mint restored, flying new like a phoenix,

    To be roared, roof down, roared round my home town.

    Not for the dropping into overdrive –

    Instrumentation alive on the dash –

    Nor for near-by-gone auto heritage.

    More for the pace and the raw expressive

    Chase and catching of oneself off guard – Flash! –

    Much unfussed by life’s high, rising mileage.

    Paul Curran was born in Stratford-upon-Avon in 1975. He holds a degree in English Language and Literature from the University of Oxford and a Masters Degree from the Royal Central School of Speech & Drama. He has worked widely as a professional actor. His Only Sonnet loosely follows the pattern of the seasons, comprised of 100+ ‘alternative’ sonnets; Repeat Fees and its 80 sonnets and longer poems was published in July 2017.

  • Review: Frank Connolly’s A Conspiracy of Lies

    Dublin and Monaghan people remember where they were on the 17th May 1974, the day three bombs exploded in Dublin and one in Monaghan. A UCD undergraduate at the time, I was in the library in Belfield when news of the bombs in Parnell Street, Talbot Street and South Leinster Street came through.

    We were shocked. Some rushed from the library. Others, myself included, obeyed a caution from the librarian to stay put. My father’s office at 1 Clare Street faced onto South Leinster Street. When eventually I reached my mother by telephone, I learned he was OK. The blast had smashed all the windows in his office and knocked him over. Otherwise, he was unhurt.

    Forty-five years on and no-one has been charged with an offence relating to the bombings. Every year there is a commemoration in Talbot Street, at the memorial there which bears the names of the dead. There have been judicial enquiries, books, newspaper articles, TV investigations but not, until now, a drama or fiction which centres on the Irish state’s largest ever crime, if you count all four explosions as one transaction.

    I noted the omission ten years ago in a paper delivered to The Plato Centre TCD entitled ‘Robert Emmet and An Aesthetic Of The State.’ Why didn’t Irish writers write about the State and its institutions? Why didn’t they write about the Dublin-Monaghan bombings and the State’s role in that debacle?

    Charles Dickens’s Bleak House offers a vision of the courts of chancery in 19th century England. Tom Wolfe’s Bonfire Of The Vanities offers a view of Wall Street in 20th century USA. Myriad British and American movies and T.V. series portray the operation of law, medicine, the army, the police and government.

    In 2008, when I read my paper, the plain people of Ireland were confronted with a local and international banking crisis following the collapse of Lehman brothers in a tsunami of fraud. The terms of the banking crisis and the state’s role in it were novel and incomprehensible. Who, if anyone, should be explaining the anatomy of the swamp to the Irish people? Why not Irish writers?

    History or Fiction?

    A difficulty, which must have often presented itself to Frank Connolly in the writing of this novel – one which he handles adroitly – is the temptation to write history rather than fiction.

    Various people and events loom large in the history of the bombings. General Frank Kitson for example, was in Belfast from 1970-1972, and his ‘Low Intensity Operations’ is the standard.

    The British Army’s Textbook on Counter-Insurgency advocates, inter alia, the use of gangs and pseudo-gangs to ‘counter-terrorize the terrorists.’

    Notably, on Friday the 21st July 1972, the Provisional IRA detonated twenty bombs at various locations in Belfast within the space of eighty minutes.

    Liam Cosgrave was Taoiseach in May 1974. Patrick Cooney was Minister For Justice. Conor Cruise O’Brien was Minister For Posts and Telegraphs. Declan Costello was Attorney-General. These characters and events are close to the action of Conspiracy Of Lies, yet they are not called to the stage.

    Liam Cosgrave, second from the left with U.S. Gerald President .

    A fiction or drama which relates to actual people and actual events is primarily concerned with characters and telling a story about those characters. Thus Neil Jordan’s film Michael Collins conveys the action of The War Of Independence through a romance, a love-triangle to be precise, in which Collins and his friend Harry Boland are rivals for the affection of Kitty Kiernan and subsequently compete for the hearts and minds of the Irish people in the dispute which arises over the Treaty.

    Any romance needs a villain, a role fulfilled by Eamonn De Valera in that film. Sometimes there is tension between the requirements of the genre and historical facts. Did Harry Boland really die like Harry Lime in The Third Man in the sewers of the city?

    Moreover, if Kitty Kiernan did look like Julia Roberts, then why bother with the Irish Republic? Was Eamon De Valera actually in the vicinity of Béal na Bláth in County Cork at the time of the ambush and complicit in the assassination?

    https://www.youtube.com/watch?v=s96v_DkOug0

    Wedding Signal

    A Conspiracy Of Lies offers romance against a background of bombings. Both Joe and Angie are scarred by the events, and Angie’s mother is virtually blinded by one bomb. Joe narrowly misses being blown up by another.

    Both eventually get jobs in a Dublin restaurant where they chance upon information which points to the identity of the bombers and their accomplices. Their efforts to pursue the matter bring them into conflict with various institutions.

    In a vividly realized scene, Joe is beaten up by the police. The villain is a corrupt cabinet minister who has taken a bribe from an oil company and is in cahoots with British intelligence agents, who are complicit in the bombings. Angie is arrested and charged with a serious offence. Facing a long prison sentence, she is spirited out of court by her supporters, ultimately reunited with Joe on the continent where the story ends.

    A Shakespearean comedy ends with a wedding, signalling the renewal of society. The wedding of Joe and Angie is not meant to signal the renewal of Irish society, however, which is portrayed as corrupt, incompetent, divided, treacherous, dishonest, cowardly and incapable of dealing with a crisis like the Dublin and Monaghan bombings. Instead it signals the survival of Joe and Angie, radicals who might be able to come up with a response.

    Frank Connolly’s book is a carefully crafted, brave and challenging work which I think will feature on Irish Studies courses for some time to come.

    A Conspiracy of Lies was published by Mercier Press.

    Featured Image, courtesy of Dublin City Library and Archive is of the wreckage caused by the third Dublin bomb (c. 5.32pm) at South Leinster Street (with Trinity College railings in the background), where two women were killed instantly. Seven more people would be killed when a fourth bomb exploded outside Greacan’s pub in Monaghan town at c. 6.58pm. https://www.dublincity.ie/library-galleries1/171?page=5

  • New Music Video: Niwel Tsumbu & Éamonn Cagney ‘Words of Wisdom’

    Congolese composer, guitarist, and singer Niwel Tsumbu has just released a video for ‘Words of Wisdom’ with Éamonn Cagney — and you can check it out below. This new track features Tsumbu on guitar, percussionist Cagney, violinist Cora Venus Lunny, as well as a host of sampled voices.

    The composer describes his intention with the piece:

    A multitude of sampled wisdom keepers such as: Maya Angelou, Malala Yousafzai, Neil DeGrasse, Jane Goodall and Joseph Campbell, ‘Words of Wisdom’ explore the planetary and human challenges we face in our society today. Maya Angelou speaks about courage as the foundation for right action, compassion, and kindness, Malala Yousafzai speaks of the simplicity of equality and the importance of education for every child, Neil DeGrasse Tyson tells us to persist until we have made a difference, Joseph Campbell wants us to follow our bliss, and Jane Goodall begs us to eliminate the crippling poverty around the world. I hope you enjoy and more importantly the message gets through.

    For more information about Niwel Tsumbu’s work see: https://www.improvisedmusic.ie/artists/details/niwel-tsumbu

  • Poetry – Kevin Higgins

    Advisory Epistle From Literature Quangocrat
    after Alexander Pope 

    About my person, I at all times carry
    a bowl of re-heated cocktail sausages
    and a completed application form asking
    that I be better funded next year. I only read novels
    which interrogate the relationship
    between gout and Islamist terrorism,
    translated from the obligatory French;
    and poets whose words make me sink
    more comfortably into
    my brown swivel chair.

    It’s taken five hundred thousand Euro
    strategically invested by a range
    of government agencies
    over the past three years to give
    the literature loving public
    me sitting here in this office, knowing
    the name of the third most
    popular poet in Mongolia;
    a country I had to visit
    three times last year,
    at your expense, to ascertain
    the correct pronunciation
    of said verse-maker’s name.

    My most ardent followers,
    a hairy-palmed crew
    of professional online smoochers
    who append themselves to me
    on the off-chance, like maggots
    around an untreated wound,
    each with an avant-garde masterpiece safely
    locked way inside his or her head.

    My own favourite writers? By far
    those who are on nobody’s
    side but their own.

  • Artist of the Month – Keshet Zur

    Poiesis, from the Ancient Greek: ποίησις meaning knowing by making, is ‘the activity in which a person brings something into being that did not exist before.’[i]

    It is the process of shaping as opposed to doing. It is not imposed; it is a process of listening; of working with. In an interview with Meredith Monk on her process she said, ‘I have to keep following it, and see what it needs.’[ii]

    When we shape we are in dialogue with material, not merely self-expressing, but also being open to the unexpected, tapping into what some call ‘flow’; something beyond the self.

    Origins

    When I first moved to Ireland in 2002, I studied fine art in KCAT, an art centre with an inclusion policy where people with artistic talent, regardless of neurotypical or diverse definitions, all studied together. It meant my introduction to the stance taken by second level art education was inclusive, and never elitist.

    I then moved to Dublin to study photography at Griffith College and pursue a longstanding dream to become a photographer. Having been introduced to photography at the age of ten, by twelve I was developing my own film and printing photos in the dark room.

    I loved the tangibility of photography, and so the rise of digital photography initially brought heartache; I continued to crave the craft element. One of the ways I experimented was in creating sculptural photography, but it felt as if I had to make a hard case for it within my photography course.

    I was on the road to completing my degree, while at the same time working for a youth service in the inner city, teaching cooking and setting up a community garden.

    All the while attending exhibition openings and getting a taste of Dublin’s art scene, I was aware that the children and adults I was meeting through my work were not exposed to the galleries I was visiting, nor were they necessarily spaces in which they would have felt welcome.

    My final photographic project was about the changing structure of family life in Ireland, and the gaps in legal services to represent their interests. By the end of the degree I came to realize that as much as I loved working with art, pursuing it as a solo career was not going to be enough. I wanted to learn more about bridging the two worlds of art and community.

    Expressive Art Therapy

    A month after graduating I began an MA in Expressive Arts Therapy (EXA) at The European Graduate School. I felt an immediate connection to the philosophy of EXA and its method of practice. EXA embraces intermodality, working with multiple forms within one session.

    Suddenly my impulse for tangible photography needed no explanation. As with other therapy styles, the therapist creates a frame of trust by providing an environment free of judgment where a client feels held. With EXA, however, the element of art is what moves us into action.

    The arts provide a safe container for the unknown to emerge, as we step away from linear thought patterns to discover the new. We suffer when we feel paralyzed and hopeless, and when what we perceive as possible feels restricted. Working with the imagination creates unrestricted openings wherein we feel empowered and excited to move into action.

    ‘Who the city belongs to?’ Print on wood with nails and thread. 
    This work was made in July 2019 out of frustration with the current housing crisis. 

    In 2010, I co-founded Expressive Arts Ireland with my parents, both of whom are expressive art therapists. Since then we have been facilitating professional and self-development workshops and collaborating with international universities.

    Initially, while working with the intermodal approach our core subjects differed; my own photography; my father’s storytelling; and my mother’s nature; nowadays one flows into the other.

    Environment

    It has become increasingly important for me to work with nature. Natural disasters around the world had been overwhelming me to a point of despair and numbness.

    Last September we decided to offer a weekend workshop integrating arts and nature. We worked with people’s inherent connection to nature, and in doing so broke down some of the boundaries separating ourselves from nature.

    By focusing on personal and individual stories we are reminded of human resilience which builds hope. Working with nature, we see ourselves as an intrinsic part of it, neither separate nor opposed.

    This thinking leads to new behaviour, which in turn leads to change; this leads to empowerment and ultimately system change. By regaining faith we foster the power to move into action.

    Curating 

    As well as working with Expressive Arts, I have also worked for community organizations and charities. In recent years I became an outreach facilitator for artists with autism, promoting participation and inclusion through the arts by curating exhibitions and supporting their careers.

    With Autism Initiatives I curated and coordinated a group show at the Mermaid Arts Centre in 2018 called INSIDEOUT / MAKERS, as well as an exhibition and associated publication entitled ‘Bringing About The New’, at The Lexicon Library in 2019.

    I am currently working independently with one of the artists from the group, who will launch his first solo show in 2021. At each exhibition the works were carefully handled, beautifully framed and presented, enhancing and fostering the artists’ pride and self-regard.

    How we respond to what is made and how we take care of it is no less valuable than the process of creation. Notably, artists revisiting the show following its opening related differently to the public space as they now felt a sense of ownership over it.

    Art spaces which promote diversity are beneficial to all members of society, as we advance through exposure to a wide range of views and experiences. Any progressive society must challenge prevailing understandings of value and ability. Art spaces can be forerunners in advocating for diversity.

    Art is an amazing communication tool for social change, with the capacity to convey messages through metaphor and by invoking emotional and contemplative responses. Through art we can work with what connects, rather than separates, us from one another.

    This performance took place in September, 2019 at a week long residential Body/Landscape workshop on Arranmore Island, Donegal, with the dancer and choreographer Frank van de Ven. 
    At various locations on the island, and in particular at the fisherman’s dock, I encountered sculptures of Mary. I learned that the fishermen prayed before going out to sea, some of them not knowing how to swim. For me it drew a connection with the natural crisis; people sending their prayers yet not being called into action.

    Art as an agent for change

    Life for me is about asking questions; without interrogation there is little capacity for change. But to be in a position to ask ourselves profound, life-altering questions, we need to feel acknowledged, loved and accepted.

    Only then can we embrace life’s uncertainties and provisionality. Art-making provides a frame within which we make sense of the world, while accessing an opportunity for shifts in thinking. William Kentridge describes his process as such: ‘The hope is the work itself will not just give you an answer, but even provide the questions and make connections you hadn’t thought of before.’[iii]

    I believe the personal is political and that in making changes in our lives we are taking part in collective transformation around the world. Embodiment of this notion ignites a fire within us to take responsibility and a pride in our capacity to contribute to shape a healthy society.

    I trust there are many others out there that desire and conceive of a better life for all. In supporting people to embark on an artistic journey through the expressive arts approach, and community engagement projects, I hope I am partaking in facilitating this global transformation.

    To find out more about Expressive Art Therapy and our upcoming workshops please visit www.expressiveartsireland.com

    Weekend Introduction Workshops 2020:

    Integrating the Arts of Storytelling With Expressive Arts Therapy

    March 20th, 21st, 22nd.

    Integrating Intermodal Arts and Photography With Expressive Arts Therapy.

    May 15th,16th,17th.

    Integrating Art and Nature in Expressive Arts Therapy

    September 25th  ,26th, 27th.

    [i] Donald Polkinghorne, Practice and the Human Sciences: The Case for a Judgment-Based Practice of Care, SUNY Press, 2004, p. 115.

    [ii] Meredith Monk, ‘I believe in the healing power of art,’ Tate Gallery, November 3rd, 2017, https://www.tate.org.uk/art/videos/tateshots/meredith-monk-i-believe-healing-power-art

    [iii] William Kentridge, ‘Instructions on making sense of the world,’ Text by Kerri von Geusau, TLMag   https://tlmagazine.com/william-kentridge-instructions-on-making-sense-of-the-world/

  • Poetry in 2020: ‘Dream and so create’

    At the end of 2019, I wrote:

    In these times it is perhaps inevitable that people will want to write poems about climate change, or Twitter and politics. But poetry knows in its heart, what has already ended inside your consciousness, to which you and the world are gradually catching up.

    In the greatest poems I have read, an old man or great lady has already died, to be reborn inside my imagination at the dawn of a new reality. That essentially linguistic act, or border experience, at the heart of poetry, means that this art is perennially relevant, or always ahead of its time.

    The poems to which a few will continue to return must be in some way about the experience of being able to write to them from out of eternity, which is always to be found in the future.

    And it is in times like these that we need to listen to a still small voice that speaks from that revelatory moment when poetry completes the eternal act of creation in its own last judgement. Like the ancient scripture of different traditions, the poet knows we are living in an iron age, or Kali Yuga, and in his or her work, we come to withstand the day or night when the son of man is revealed.

    As W.B. Yeats declared in The Tower (1928), ‘Death and life were not | Till man made up the whole, | Made lock, stock and barrel |Out of his bitter soul’; the world can only end were we to vanish from it; ‘And further add to that | That, being dead, we rise, | Dream and so create | Translunar Paradise.’

    Thoor Ballylee in County Galway, Ireland: Yeats’s ‘Tower.’

    New Year

    At the beginning of 2020, I’d still stand by those high-sounding words, but I would like to add that we have plans to make recordings of the poems we publish.

    Poetry may well be all that I have said it is, but it is also a deeply compelling, sometimes scandalously illogical, thing that exists in the ear as much as on the page.

    A revelatory moment for me in my twenties was listening to W. B. Yeats read ‘The Lake Isle of Innisfree’ and other poems on a 1930s radio broadcast. The slightly cantankerous old poet said that he would begin with this poem from his youth ‘because if you know anything about me, you will expect me to begin with it.’

    One senses here a Yeatsian slight disdain for a modern radio audience. Or could he have felt as George Orwell imagined the poet feels ‘On the air’: ‘that he is addressing people to whom poetry means something’? Surely, Yeats cannot have hoped that his ideal reader or audience would be listening, that freckled fisherman in grey Connemara cloth whom he imagined in ‘The Fisherman’ (1919): ‘A man who does not exist, | A man who is but a dream’.

    What struck me most about Yeats’s reading was its incantatory style. Before he started, he was careful to explain: ‘I am going to read my poems with great emphasis on their rhythm and that may seem strange if you are not used to it….It gave me a devil of a lot of trouble to get into verse, the poems that I am going to read and that is why I will not read them as if they were prose.’

    I can’t imagine that many poets today would read with quite Yeats’s emphasis on the rhythm, and even a hundred years before Yeats’s reading, William Hazlitt in 1823 could express suspicion of ‘a chaunt in the recitation both of Coleridge and Wordsworth, which acts as a spell upon the hearer, and disarms the judgment. Perhaps they have deceived themselves by making habitual use of this ambiguous accompaniment.’

    That said, I was at first somewhat disappointed when I heard Seamus Heaney read out his poems in such a casual, almost faltering, manner, at a literary festival to which I was once taken in my youth. It didn’t quite match my expectations from the work I had read alone to myself, and it was certainly nothing like the crackly elevated recordings I had heard of Wallace Stevens, or even Tennyson and Browning, which retain something of that still, small voice I seem to hear in the poems I love.

    It was also something of a revelation working with Paul Curran a couple of years ago, making a recording of him reading out some poems of mine for a radio documentary. As we sat under duvets in the improvised studio of a back bedroom of the producer’s house, I was taken aback by the care with which Paul was able to draw out nuances of meaning during repeated takes of the same poem. I knew I would have to smarten up my act at future poetry readings.

    But, then, Paul Curran is an actor as well as a poet. You should be able to hear him read a couple of his poems on the Cassandra Voices website soon.

    To be honest, I am slightly suspicious of the strongly performative element of a lot of contemporary poetry. Poetry is not quite rap or folk song. And why get some actor to read out your poems, when it’s so endlessly fascinating to hear the poet herself read her work?

    I would say that my work’s shape on the page is as important as its shape in my ear as I mumble it out during the often-long hours of composition. Its heritage is, after all, a literate and courtly one, when manuscripts might be passed around a small readership, to be read aloud perhaps in coterie groups. Of course the roots of that tradition are ultimately in folk song and ancient incantation.

    I wonder how much of what I have now said will be applauded or deplored by the poets we have already published on Cassandra Voices. In any case, I am delighted to say that over the course of 2019, we published the following poets: Michael O’Siadhail; J.P. Wooding; Quincy Lehr; Alex Winter; Bartholomew Ryan; Edward Clarke; Sammy Jay; Alberto Marcos; Navlika Ramjee; Nance Harding; Ben Keatinge, Mark Burrows, and Daniel Wade.

    These join a list from 2018 comprised of: Chris Robinson; Ned Denny; Ernest Hilbert; Paul Curran, J.D. Smith, Jamie McKendrick; Anthony Caleshu; Timur Moon and Paul Downes.

    All poems are complimented by compelling imagery, mostly from the photographic library of Arts Editor Daniele Idini, and I am looking forward to hearing many of these poems, hopefully, read out or recited by their poets so that we can make audio files available for you too.

    Edward Clarke is Poetry Editor of Cassandra Voices. To submit a poem for consideration e-mail Edward@cassandravoices.com

    Cassandra Voices Poetry 2018-19:

    Psalm 70 by Edward Clarke

    Psalm 95

    The Firstborn

    Demon Cum

    LA RÉSISTANCE

    Double Take

    From Psalm 119

    On Suicide

    Poetry – Out Walking

    Poetry – Daniel Wade

    Poetry – Mark Burrows

    Poetry – Ben Keatinge

    The Sunset Drive-in Cinema

    White Woman Brown Heart

    Visita de obra

    Carbon Negative

    Forest

    BREXIT – A Poem

    From Psalm 119

    Two Poems

    RAT RUN

    Two Poems

    Twinned

    Nonetheless

    Gitanjali – after Rabindranath Tagore

    B Road Blues

    Visitations

    Blaze

  • The Public Intellectual Series: Noam Chomsky

    They who have put out the people’s eyes reproach them of their blindness.
    John Milton, ‘An Apology for Smectymnuus with the Reason of Church-Government’ (1642)

    Unfortunately I just missed out on meeting one of the totemic figures of our time in Noam Chomsky. In 1997, as a Boston-based Harvard student, I was taken to visit an unprepossessing office inside an apartment block, only to find the veteran M.I.T. professor and author had left the building.

    What remains to be said about the darling of the radical anti-imperialist left?

    In my previous account of Michel Foucault, I touched on Chomsky’s revulsion towards post-modernism and moral relativism, and his acute anticipation of the post-truth zeitgeist. He was the first I think to point out that Jacques-the-lad-poseurs such as Derrida and Lacan were saying little of substance, and what they were holding forth on was nonsense on stilts.

    Chomsky anticipated how post-modernist mumbo-jumbo would be appropriated by neo-conservatives to sow a culture of disinformation. Perhaps a scientific background in formal linguistics armed him with the rigour to cut through the morass. He has frequently spoken of his dislike of deceit, and adherence to Cartesian common sense.

    Chomsky shares with George Orwell – another of our public intellectual subject-matters – a commitment to the truth and an almost mystic-like perception of how propaganda operates. This leads him into a degree of bemusement at popular culture that may come across as elitist. But he understands how a spectator democracy and a free-fall in journalistic standards has lead to Populist demagogues.

    Manufacturing Consent

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

    The effectiveness of political propaganda is managed by hegemonic media and other vectors of public opinion, which undermine democracy and promote a corporatocracy. This brought us Donald Trump rather than Bernie Sanders.

    It is what Chomsky has termed Manufacturing Consent, borrowing a term from Walter Lippmann, whose Public Opinion (1921), argued for democratic control through a specialised class or cool observers to control the agendas, manipulating public opinion by means of clever illusions and simplification.

    Chomsky borrows this insight to demonstrate how the media works through diversion and dumbing down. Popular energy is dissipated and voters infantilised.

    Interestingly, a recent highly critical account by Chris Knight called Decoding Chomsky (2016) points out that for much if not all of his career Chomsky’s science, eminently debatable, has been totally disconnected from his political engagement.

    From the outset of his career he has effectively relied on the promotion and funding of the military industrial complex, through the Massachusetts Institute of Technology (M.I.T.).

    Why? Well it seems they quite like the idea of an anti-establishment token radical on their payroll. It gives them a degree of legitimacy, at least as long as his voice is not heard too widely. Indeed, in other countries he might be regarded as a class traitor.

    Moreover, his ground breaking hypothesis of human beings possessing an innate syntactical language of deep structure, contrary to the claims of behaviourism assisted the Pentagon in an ultimately fruitless search for a computer encoded Esperanto. They were seeking a common dumbed down language that could be used for commercial and corporate purposes: a precursor to the patois of social media perhaps.

    It is important to recall that as an American academic he has had to navigate a snake pit of careerist in order to make his mark. One should recognise the constraints of working within a uniformly commercial culture that encompasses the universities.

    Knight maintains that psychologically his ab initio common-language-from-nowhere linguistic theory, and advocacy, promoted isolation, and led to a form of cognitive dissonance that influenced his political beliefs. In effect, Knight alleges, he became a neurotic at odds with the rest of society. The accusation thus is one of hypocrisy, or like Oscar Wilde’s Dorian Gray, he has been living an alternative life.

    A Picture of Dorian Gray

    Knight also maintains that when his critics maul his ideas on linguistics he reverts to ad hominem tactics, dogmatism, with counter evidence dismissed in favour of his own mystical vision, which is precisely the kind of self-evident-genius-argument I despise.

    So I am certainly not fully persuaded by his linguistic theories but convinced indeed, unlike Knight, that the institutional support has brought him unique intellectual influence and responsibility – perhaps manipulated for his own ends – but for the good of humanity: as Chomsky is a principled man.

    The Public Intellectual

    One of his very early pieces, much modified, is brilliantly written on a theme close to my heart: the responsibility of the public intellectual.

    Chomsky draws a clear distinction between the ever more prevalent academics who sing for their suppers, and parrot for promotion, and those who take the difficult path of what Albert Camus would call engagement.

    Today, value-orientated intellectuals are likely to be dismissed as troublemakers in our short term universe of disposability. The generalist is lost in the mix.

    Chomsky in fact is very conscious of how, ever since Jimmy Carter, right-wing, Christian conservatives in America have warned against the radicalisation of the young, and are now hell bent on purging radical thinkers from citadels of learning.

    The universities and the media engage in self-censorship to suit corporate paymasters. The polite-paper-paradigm meets with incredulity at the nuclear explosion of true dissidence. I discovered this under martial law-like conditions when giving a Rule of Law paper in Trinity College Dublin. On offering robust opinions I was told there would be no circulation of the paper, and another invitation was unlikely.

    In Manufacturing Consent (1988), Chomsky demonstrates how market forces and the neo-liberal agenda compel colleges and the media to select topics within defined parameters. This restricts debate and brings the nonsense of ‘balanced’ coverage, and the filtering of information with an over-emphasis on tone. Appropriate tone. Authorities fear upsetting corporate sponsors, leading to the rule of political correctness by the banal.

    More to the point, Chomsky is attuned to the independent stance of public intellectualism, which we have all but lost.

    Henry Kissinger

    Chomsky has also written about Richard Nixon’s National Security Advisor Henry Kissinger, a dangerous war criminal still in our midst, and how he exterminated or was complicit in the extermination of East Timor, which was absorbed into Indonesia during the American-backed Suharto dictatorship, with tremendous loss of life and Crimes Against Humanity.

    Still in our midst. Henry Kissinger.

    In the documentary Manufacturing Consent, like George Orwell, Chomsky is attentive to the misuse of language to justify atrocities. Thus in East Timor the invasion was code-named Operation Clean Sweep. More sotto voce language distortions to justify ethnic-cleansing, itself a term sanitising Genocide that only came into being during the Yugoslav conflict of the 1990s.

    The book Manufacturing Consent sets out clearly how American foreign policy, from Vietnam to the Bush wars, moulded the message and demonised the Other. Even if we are wrong we are right, and embedded reporters will exonerate any wrongdoing. If, like the claims of weapons of mass destruction used to justify the invasion of Iraq, the truth is damaging, we ignore it.

    Thus a world is divided into worthy and unworthy, with the lenses of the powerful never turned on themselves. Enemies are reduced to vermin to be exterminated, and democratically elected socialists like Salvador Allende in Chile in 1973 are, if necessary, removed from office. That’s because democratic socialism is contrary to American values. Better to have a son of a bitch, so long as he’s our son of a bitch. If our boys are engaged in terrorism, it is not really terrorism. If we murder vast numbers of civilians it is hardly Genocide.

    As Chomsky reminds us, democracy has to be subverted to purge the average citizen of consciousness, and the critical faculties necessary for it to function.

    ‘Socialism is contrary to American values.’

    Hegemony and Survival

    Another crucial text, Hegemony and Survival (2003) demonstrates how the elite regard democracy as, in effect, a spectator democracy. To paraphrase Alexander Hamilton, the ordinary person must be deemed irresponsible and kept within strict confines. He should not be allowed to vote in his interests, or even consider them.

    From Vietnam to the present day U.S. Imperialism has dismissed unworthy races. Those who are not a part of the twenty percent who control the planet are to be excluded and disempowered. A culture of dissent is expurgated.

    In Hegemony and Survival he sees clearly the beginning of what Stieglitz called The Great Divide (2017), and development of a lunatic neo-liberal hegemony. That divide now has led to the destruction of the middle class, and the cartelisation of wealth into ever decreasing hands

    The corporations control the press, leading to self-interested non-reportage by job preservers, reporting beyond the neo-liberal straightjacket is not permitted. The Irish Times in Dublin is a totemic exemplar of the decline of independent media.

    As he mentions in his book on propaganda Media Control (2002) state propaganda is used and supported by the educated classes in order to exclude those less fortunate from the discussion. The responsible people, which Yannis Varoufakis would call the Adults in the Room, exclude the herd from infecting their decision-making. Thus people are atomised, segregated and alone. Scholarship becomes conformist and lies beget and compound lies. Scholars who show an independence of spirit are de-frocked.

    That which the media excludes is dictated by corporate ownership and advertising paymasters, bringing stories that focus on less central issues, or infomercials masquerading as news.

    Thus the thinking public á la Cambridge Analytica is fed disinformation, dictating and influencing popular misconceptions, problems and prejudices.

    Ten facts about media control

    Chomsky summarises the ten facts of media control which I further synopsis:.

    1. Distraction: compel the public to focus on irrelevance and chatter in our Brave New World. Overload them with nonsense. Press control from Murdoch to social media augments this.
    2. Generate Problems that do not exist and do not need solving: Bail out the banks to enforce fiscal stabilisation and impose austerity on those who have no responsibility for the mess. Reinforce the message, TINA (there is no alternative) but fiscal stabilisation.
    3. Gradualism: Brexit is likely to lead to the slow death of the NHS. First deny it to non-nationals, then to the socialists… Once the British public is conditioned to the idea, pull the plug out altogether and fully privatise.
    4. It will be better in the long run if you take your medicine now. The short sharp shock of austerity. No it will not.
    5. Kill people’s critical faculties and infantalise them. The Greeks and Irish are merely children anyway. Appropriate adults in the room, in the form of the IMF, have arrived to tell you what to do.
    6. Appeal to Emotion, frenzy, hysteria and not rationality. Thus our world is being torn apart by mob orators pulling at the heartstrings.
    7. Disinform and create a sideshow. The public are being fattened up by bread and seduced by circuses of the absurd, causing us to lose sight of the real point.
    8. Pander to bland consumerism. Assure people constantly that they have never had it so good. Brexit will create unlimited prosperity. Drug people with disinformation like soma from A Brave New World.
    9. If we have acted criminally and are powerful then it is your fault and your responsibility. You are derelict because we are criminals, but we never acknowledge that.
    10. Play the person not the ideas. Then if the person is troublesome go after their relationship structure, or just make them disappear.

    Chomsky cuts against the salon culture of the Enlightenment, championed by Jürgen Habermas. The challenge lies in counteracting the disconnected memes and silo bubbles of self-interest that the world’s elite direct at us.

    Data retention

    Orwell’s idea of double speak from Nineteen-Eighty-Four dovetails with Chomsky’s significant observation that it is much more important to have less data, but to have greater understanding or indeed comprehension of what we do hold on to.

    That requirement for nuance, judgement and perspective is dissipating rapidly. We are addicted to useless information and data retention, not comprehension or understanding. We are now bombarded with a deluge of superfluous information by social media. More to the point the useless data and bricolage condition our judgment, as it must in order to survive.

    How many now join up the dots as Chomsky has and bring them into common sense utterance in simple plain speech and with social engagement? Very few. Very few from the academic community at least. Chomsky is right that the time servers and corporate drones of academia are deliberately or intellectually missing the Big Picture.

    One point he has not addressed is how the current neo-liberal rewarping of human identity is creating social atomisation and political disconnection. We are now so embroiled in what we do that we hardly ever question it or fully understand the machine behind it. We no longer have time to consider what we are doing.

    Chomsky quotes Robert McNamara in Manufacturing Consent to the effect that all the power brokers are interested in is quiescent serfs dedicated to personal wealth maximisation, not a culture of dissent.

    McNamara, a brilliant but non-deviant character, was an ultra-competitive and narrow-minded technocrat which made him complicit in the carpet bombing of Tokyo and the Vietnam war. He even acknowledges that had he been on the losing side he could have been prosecuted for war crimes. If only McNamara had slightly wilder college days.

    So the masses are duped by propaganda and caught by a Social Darwinist cult that Chomsky despises. Paradoxically, Chomsky is himself a survivor in that world, and has had to make his compromises, as we all do. ‘You’re going to have to serve somebody,’ as Bob Dylan sang.

    Optimism Over Despair

    Nonetheless, as Chomsky argues in his new book, we need Optimism Over Despair (2017), perhaps a social-democratic New Deal, checking unbridled capitalism.

    As creatures of bounded rationality in an increasingly over-specialised world the Big Picture is a luxury perhaps, reserved for a corporate- and military-funded former M.I.T. Professor. He now operates from a salubrious post-retirement position in Arizona – the greatest quality of life retirement home in America – which is not to be in the least dismissive of Chomsky’s staggering achievements.

    Chomsky rightly regards the U.S. as a terror state that acts without restraint, while accusing others of the same crimes. Thus the labels of terrorism and counter-terrorism conceal a multitude of agendas and doublespeak, while permitting the basest acts.

    I am unconvinced by the evidence for a common nascent language of universal and deep structure. Chomsky has never explained adequately the idea of recursion, a kind of infinity of deep structure, and thus the linguistic ideas appear counter-intuitive and perhaps fundamentally incorrect. But I claim no expertise in this domain. Nonetheless, I cling to the belief that there is a common universal of pragmatic compunction, though varying in context and time.

    Of course none of that is to gainsay or contradict the clear speech of his inter-subjective and all-encompassing journalism and political tracts, for which he deserves great praise.

    Responding to Chomsky

    Here I summarise the injunctions I have gleaned from Chomsky’s work:

    • Think independently and do not buy into the mass media consensus. Remain acutely vigilant to doublespeak technobabble. Hearing euphemisms such as ‘politically impossible,’ ‘fiscal stabilisation,’ ‘military intelligence’ or ‘known unknowns’ should sound off alarm bells.
    • Question how implausible nonsense is considerable acceptable, and campaign, if at all possible, for freedom and justice.
    • Assert the importance of historical memory, as Milan Kundera emphasised. In laughter all evil is compacted as Friedrich Nietzsche wrote. If we fail to remember, we’re sure to repeat the same obscenities.
    • Oppose fascism in all its current incarnations, including corporate fascism. Do not sympathise with your captors or enemies.
    • Recognise true hypocrisy for what it is. The hypocrite is someone who applies to others standards they refuse to apply to themselves, of which American foreign policy is a paradigmatic case. Remain flexible and non-puritanical however.
    • Understand that the definition of terrorism is manufactured by a terrorist corporate and state elite. Just as the French tortured in Algeria, the Americans did the same in Guantanamo Bay. Yet both claimed the high moral ground. Terrorism is only what they do to us.
    • Resist the rise of moral relativism, which is part of a triage of evil (joining post-truth and neo-liberalism) that Chomsky identifies in the U.S. Republican Party, which he has singled out as the most dangerous political organisation on Planet Earth.
    • Acknowledge how the cost-benefit analysis of neo-liberalism is turning us into homo economicus, making us lose compassion for one another, besides generating environmental catastrophes.
    • Embrace the educational tools necessary to defend oneself, and develop communities of resistance within rapidly atomising societies.
    Interrogation carried out in Guantanamo Bay.

    *******

    Perhaps the most disturbing idea that comes through in Knight’s book about Chomsky does not apply to him directly, but relates to how the political ground has moved so far to the right that Richard Nixon, who supported environmental initiatives, Keynesian economics and state-funded medicine, might now be labelled a Communist.

    If Chomsky manipulated the corporatocracy to achieve and advocate his political views I would tend to applaud rather than condemn him. To penetrate the orifices of the establishment and to subvert from within is surely a great achievement in itself. It’s always better to be pissing out than pissing in, for as long as you can anyway.

  • Twenty Questions for Bob Quinn

    We sent twenty questions to Maverick film maker Bob Quinn who published ten excerpts of his memoir A Monk Manqué with us last year.

    The featured image is of Bob Quinn meeting Colonel Ghaddafi in 1988 from one episode that can be viewed here.

    What advice would you have for your eighteen-year-old self if you were to meet him in an alternative reality?               

    Treasure your ignorance. It’s the only thing that’s unique to you.

    What is love?

    Nature’s trick to keep the species going.

    Why do you live in Conamara?

    Can’t think of anywhere else that would tolerate me.

    Why should anyone learn Irish?

    A person with two languages is twice the person.

    Which decade that you lived through gave you most pleasure?

    The Fifties. Ah, Youth!

    Do you find evidence of a divine intelligence at work in the universe?

    That’s a matter of belief, not evidence, thank god.

    What advice do you have for Leo Varadkar?

    Learn something about life outside The Pale.

    Who is your favourite writer at the moment?

    Christine Dwyer Hickey & Charles Bukowski

    Will Ireland ever make it past the quarter final stages of a rugby World Cup?

    Yes!

    What is the worst thing anyone could say about you?

    The truth.

    Do you think a united Ireland will come about any time soon?

    As day follows night, yes.

    What changes would you make to the educational curriculum?

    Make Natural History the main subject.

    Who should become the next president of Ireland?

    Fr. Peter McVerry

    Fr. Peter McVerry for President!

    Which one of your films best represents your oeuvre?

    “Cloch.”

    Was there a film you saw last year that you particularly enjoyed?

    A biopic about Gore Vidal called The United States of Amnesia.

    What difference would it make if more women were in positions of authority?

    They would embrace and intensify the balls-up of Patriarchal Capitalism.

    What reforms would you make to public service broadcasting?

    Slim down, abolish commercial advertising and cherish the real creatives on your staff.

    Do you expect Donald Trump to be re-elected President?

    I’m a pesssimist. Yes.

    What is your party piece?

    ‘Me father was the keeper of the Eddystone light and he slept with a mermaid one fine night..’

    What, if any, are your New Year’s resolutions?                       

    Hang in there.

    Follow Bob Quinn @LumberBob on Twitter.