Since before I can remember, music has been my world, and a path that I had to follow. I feel so grateful to be able to channel my feelings, emotions, heart, and experiences into music that can touch others. To be a bridge in the dark between strangers that illuminates our shared human experiences.
My parents have always supported my art unconditionally. I set my arrow on it, and they were fully on board, encouraging me at every step, no matter what struggles may come with this career and life path. From a young age I’d make fake tickets to put on a show in the sitting room, that they’d of course have no choice but to attend. I’m so grateful to them, and their championing of me to follow my own choices and dreams. Having that kind of support made me feel like the sky was the limit, that anything I could imagine I could make possible in my life. My sister has always been such an inspiration to me as well, she’s a creative Goddess and has always been a big part of my artistry since I was a kid.
I grew up around the world. I was born in the U.S. and raised predominantly in Wicklow, Ireland, as well as partly in Italy where my mother’s side of the family is from. I have been living nomadically for five-and-a-half years, and it’s been so special weaving experiences, sounds and connections from around the world into my music.
I’m currently working on my debut album, taking listeners through a very personal heroine’s journey that I’ve been on the last couple years. Losing myself, which was mirrored in the form of a challenging relationship, only to go deep within to find the parts of myself that needed love and tending to, and coming out the other side stronger than ever. This song, Learning to Love Me, and my album, are a celebration of self. All the parts of ourselves we may have not accepted, and realizing they’re all part of what makes us so special and unique. Most often it’s through our biggest challenges that we find our greatest strengths. Hopefully through this journey listeners can reflect on their own story, and this can be a little light on the path, with a few nuggets of wisdom that I’ve learned a long the way.
After the fall comes the rise. With every contraction comes a great expansion. Learning To Love Me is about coming Home to myself. After a relationship where I lost myself, and abandoned parts of me, this song is about that beautiful period post relationship where you start to devote more time to yourself and rediscover your magic, your wonder, and your strength. Where you welcome the fallen parts of yourself in from the cold, tending to them, holding them close to your Heart. It’s a song about power and self love, howling under the moonlight, re-wilding, and dancing like sparks in the night sky.
I’m about to head on my first European tour supporting U.S. artist, Haiden Henderson. I get to go through so many of my favorite cities. I’m really looking forward to connecting with fans from different countries and cultures. I love the energy in the room when you’re performing live, nothing compares. It’s electric.
I feel constantly inspired by time with community, experiences out in the world, adventures and stillness in nature, human relating, I take inspiration from everything! To me LIVING is one of the most important things an artist can do for their art. Feeling the depths of your human experience, the furthest reaches of pain and pleasure, of joy and play and heartbreak. It’s the job of the artist to feel everything and somehow make some sense of the chaos through music, painting, movement, or whatever art form you weave with. I think creativity is a birth right and that we all have this capacity to alchemize our pain and pleasure into art to help us process this complicated and beautiful thing called Life.
I’m hoping to start collaborating with more Irish artists and creatives. I’ve been living abroad for a long time but I’m bringing it back home. So if you’re a music artist, producer, visual artist, director, photographer etc. feel free to reach out! I’d love to make more art in my beautiful homeland.
And if you’ve read this far, thank you for joining me! Feel free to follow me on Instagram @flaviaspeaks.
Naked for you, beneath
some moon somewhere, which sounds
like an ending, unless you begin
with it. White as a page, as a unicorn’s
horn, some skin—all of mine. So stare
down—star-down is how I want to lay
with you. Come further up. Go
further in. Night is falling with us.
Night, the witch’s sweet-tooth craving—
she can’t stop biting it, can’t stop licking
out the hours. Don’t think about that
just now. Don’t watch her. Watch me.
Feature Image: Two Nudes in a Forest, Frida Kahlo 1939
Voltaire (1694-1778) is the self-invented name of François-Marie Arouet, riffed on a childhood description of him as a determined little man. He belongs in the Panthéon in Paris, old wise and wizened, but eyes sharp and gleaming through the stone. The central figure in the Enlightenment, Voltaire’s legacy is now being systematically dismantled worldwide.
It is notable that Black Lives Matter sought to desecrate his statue despite condemnation of slavery in his most famous book Candide (1759). It was an unjust attack, even allowing for his occasional ambiguity as a product of his times. Why not go to Monticello and attack icons of Thomas Jefferson? John F Kennedy famously said in a meeting of Nobel Prize winners in the White House: ‘there is more intellect in this room except when Thomas Jefferson dined alone.’ We may not simply be desecrating statues, but also those who brought Enlightenment to the human soul.
Voltaire’s work is eclectic and difficult to classify. His plays are rightly disparaged, though these were often his main source of income. They also brought a lengthy stay in the Bastille, as well as forced exile for over two years in London, where he got to know among others Newton and Swift. There, he wrote a celebratory text on the English, famously describing them as a nation of one hundred religions but only one sauce. He went on to popularize Newton, and is attributed with spreading the story of the apple tree.
So, using quotations from the man himself let’s explore his central contribution.
Voltaire was imprisoned in the Bastille from 16 May 1717 to 15 April 1718 in a windowless cell.
Freedom Of Speech
I disapprove of what you say, but I will defend to the death your right to say it.
If we resort to ‘no platforming’ or censoring people for saying things we disagree with then all is lost. Sadly, we no longer have a polity dedicated to ideal speech, the utopia envisaged by Habermas, via Jeremy Bentham. Instead, we find a uniform, soporific social media blandness.
Ronald Dworkin towards the end of his illustrious career, and in response to the Danish Cartoon incident, wrote a nuanced defence of the right to offend, saying:
Ridicule is a distinct kind of expression: its substance cannot be repackaged in a less offensive rhetorical form without expressing something very different from what was intended.
So, in a democracy no one, however powerful or important, can have a right not to be insulted or offended.
Thus, for example, in 2015, when 12 journalists from satirical paper Charlie Hebdo were shot in a terrorist attack, Voltaire’s Trait sur la tolerance/ Treaty on Tolerance (1763), which defends freedom of speech was drawn attention to. Protesters marched down the Boulevard Voltaire in Paris brandishing images of the great man shouting: Je suis Charlie.
In the treatise he argued: Oh, different worshippers of a peaceful god. …love God and your neighbour.
Christoper Hitchens Oscar Wilde, along with others such as the English judge Stephan Sedley, have in substance also remarked that the freedom to speak inoffensively is a freedom not worth having They are merely his intellectual offspring.
Voltaire with Denis Diderot, Jean le Rond d’Alembert, Marquis de Condorcet and Jean-François de La Harpe.
Religion
If God did not exist, it would be necessary to invent him.
The problem in this post-truth-transhumanist zeitgeist is that there exists a moral vacuum. Moral relativism and the structuralists have destroyed community, sociability and the Aristotelian tradition of the virtues. The death of God in people’s lives has undermined society and social ordering. Habermas‘ most recent text in effect says so. Voltaire agrees.
Voltaire was actually an atheist but deliberately circumspect. On his death bed he was asked did he want the services of a priest for the last rites and renounce Satan. His Delphic response was: ‘This is no time to be making new enemies.’
Thus, the arch-rationalist and pragmatist recognised the need for doubt. He understood the need for Christian compassion and religion as a source of social order. Indeed, he famously was sceptical of certainties.
On the brink of the destruction of the ancien regime, he spent his final twenty-five years in Ferney, a fabulous estate near the Swiss border at Geneva. It was built to some extent on the proceeds of winning the French lottery. He treated his workers admirably and built a model town, which I have had the privilege of visiting.
Luckily, he was not around to witness the descent of the French Revolution into barbarism and terror ushered in by virulent atheists such as St Just and Robespierre.
Indeed, Thomas Paine, the author of The Rights of Man and co-author of The French Declaration of The Rights (1793) narrowly avoided the guillotine by a mark on the wrong door at the height of the Terror.
In the interests of balance it was worth recalling another of his aphorisms on religion:
I have never made but one prayer to God, a very short one: Oh Lord, make my enemies ridiculous. And God granted it. (Letter to Étienne Noël Danielsville, May 16, 1767)”
and
God is a comedian playing to an audience that is too afraid to laugh.
Voltaire at Frederick the Great’s Sanssouci, by Pierre Charles Baquoy.
Miscarriages of Justice
It is better to risk saving a guilty person than to condemn an innocent one.
In the summer of 1765, in the little town of Abbeville in Picardie in northern France, three young men, Franzoi’s-Jean Lefebvre, chevalier de La Barre, Gaillard d’Alene and Charles Moisnel, were accused of sacrilege, blasphemy and irreligion. A crucifix had been damaged on a bridge leading to Abbeville. The three young men had been observed failing to doff their hats as a religious procession passed. They had been heard singing songs with pornographic allusions to the Virgin Mary. Shocking and libertine books were discovered in La Barre’s room, among them Voltaire’s Dictionarie Philosophique, printed anonymously in Geneva in 1764.
On July 1 1766, La Barre was tortured and beheaded. His body was burnt on a pyre together with Voltaire’s Dictionary. Voltaire heard about the case in his retreat at Ferney, when the first accusations were made.
At first, he was hopeful that the death sentence would be commuted. Later, when he learned that the execution had taken place, he was horrified. In a letter to a friend, he expressed his horror at the strange combination of frivolity and cruelty he observed in the French. After the burning and symbolic execution of his Dictionary he felt indirectly targeted and under genuine threat. Extradition in fraught times was a possibility.
He retaliated brilliantly. In the 1769 edition of the Encyclopaedia entitled La Raison par alphabet, Voltaire includes an article on torture in which he relates La Barre’s ordeal. The prosecution mentioned this scandalous book which was later put on the Vatican’s Index Libro.
He wrote initially in the hope of achieving a retrial. With each new attempt to intervene on behalf of the accused, Voltaire goes back to the documents, re-reading and cross-checking. As new information comes to light, he modifies his arguments, considering the potentially biased nature of the “facts” that had been presented to him.
Noticeably Voltaire scatters them throughout his letters to friends, but also circulates them among important members of the judiciary. Luckily, he had the privilege of being on friendly terms with the powerful. Thus, he enjoyed a volatile lifelong relationship with Frederick the Great of Prussia and Catherine the Great in Russia as well as the King of France. This saved his skin.
In the Le Barre case what was at issue was not the legality of the proceedings, but the legitimacy of the judiciary.
A crucial text Prix de la justice et de humanity (1777), describes the French justice system from the point of view of a Swiss protestant traveller in France. Yet, the last important text Voltaire wrote on the case was Le Cri du sang innocent (1775), a letter addressed to the King of France, Louis XVI, and signed by La Barre’s co-accused who had escaped to Prussia. It was a decidedly brave stance.
He also intervened famously in the Calas affair, involving a Protestant merchant who was sentenced to death on the Wheel by the Parliament in Toulouse. and executed on March 10th, 1762 after being convicted of murdering one of his sons who had openly converted to Catholicism. Voltaire wrote to the Comte argental and Memo la Comtesse:
…You will ask me, my divine angels, why I am so interested in this merchant of Toulouse who has been broken on the wheel. I will tell you. First, it is because I am a man. Then it is because I see how foreigners in discussing this affair condemn us. Is it necessary to make the name of France stink all over the continent…. which dishonours the whole of human nature?
Voltaire was contacted about the case, and after initial suspicions that Calas was guilty of anti-Catholic fanaticism were dispelled by his investigations, he began a campaign to get the sentence overturned, claiming that Marc-Antoine had committed suicide because of gambling debts and being unable to finish his university studies
Voltaire’s efforts were successful, and King Louis XV received the family and had the sentence annulled in 1764. The king fired the chief magistrate of Toulouse, and in 1765 Jean Calas was posthumously exonerated. There was also the posthumous pardon of the Comte De Lally, which led to a comment from a Swiss functionary with whom he maintained cordial but confrontational relationships: ‘You seem to attack Christianity but do the work of a Christian.’
Portrait of Voltaire in the Palace of Versailles, 1724-1725.
Post Truth
Those who can make you believe absurdities can make you commit atrocities.
and
It is forbidden to kill; therefore, all murderers are punished unless they kill in large numbers and to the sound of trumpets.
Is there a more apt comment on the way our post-truth disinformation society justifies genocide, racism and the exclusion and murder of the other
Then there is the defining quote representing the motif of his career: It is dangerous to be right in matters on which the established authorities are wrong.
Self-Care
We also find him dispensing advice that is superior to any self-help books currently on the market, and certainly a lot better than Jordan Peterson’s
The more I read, the more I acquire, the more certain I am that I know nothing.
and
Let us cultivate our garden.
And he did so for twenty-five years.
So, what if he was a bit of a libertine. The alt right and indeed puritanical left are very adept at confusing sexual licence with immorality.
He also wrote science fiction. In Micromegas (1752) fiction aliens visiting earth learn that a theologian Thomas Acquinas said the universe was made uniquely for mankind they collectively erupted in laughter.
He is really the creator of all that is now being lost. The father of constitutionalism, the rule of law, decency and anti-extremism, a hater of superstition. His scepticism still stares down from the Panthéon.
Feature Image: Voltaire’s tomb in the Paris Panthéon
The magic place lay under a blanket of snow. On the ridge of the park he walked, a silhouette shifting, hunched and thoughtful under night. The lone trudging figure, wearing a long black wool coat and a brown fedora, moved carefully through the virgin white crunch towards the warren of streets by the Thames. He paused and felt the cold wind on his face as the panorama light of London grew before him. The city had grown to block out the starlight. Everything was quiet. The park was locked but he had jumped the fence and wandered in the snow past the general’s statue that stands watch over the sleeping city. He had something particular in mind. This would be the night of his death. Above the bridge, watching the river, the angel quietly waited.
His thoughts were closing in on him, condensing the entire galaxy into his field of vision. Every sinew, every hair on his legs and arms, his liver and his feet, his knees, his fingertips, and his nose, were simply a mortal vehicle for his thoughts. A carriage for his soul, for his fleeting being, anchored in evermore. The falling snow was now resting on him, but he was happy to let it settle, comforted by the nature’s way. He had spent most of that day walking the city streets, seeking aloneness among the architecture. He could ignore himself in the crowd. He thought to himself “The London crowd will only end when mankind ends. Maybe that’s why it can be so pitiless.” The blizzard had arrived hand in hand with sundown and the snowfall continued into the night. It sought the soul that cannot flee, that will not hide. It sought the lone figure, who’s spirit was in rebellion. He had decided to murder the endless voice in his head. It was however indecision itself that had brought him to this sad moment.
London was keeping him alive like a patient on a drip. The breathing history of the buildings, the ancient lineaments that welcome each generation, giving the children clues as what to do next, held him in its familiar embrace. The ghosts that had built it had walked him home many times. Now they had fallen as silent as the snow. He looked out at the skyline and registered how it had changed so dramatically within his short lifetime. The glass towers becoming a money made monolith before his eyes, but somehow lacking Manhattans punch. The lack of stone in the shining spectacle reminded the man of the impermanence of glass and metal. Not like good old St Paul’s cathedral, smiling in the vista. He looked ahead down the pavement and saw that the white drift was untouched.
He looked at his phone. One twenty-three in the morning. Maybe no-one had been here. He looked back and saw the single line of footprints he had made being slowly erased by the blizzard. He looked around. There was no-one. He suddenly felt the familiar loneliness, that old dog, the pang of memory. It was the city itself. Empty as the soul of sorrow. Every single generation now gone, every one up until these last living three, vanished, returned to oblivion. He looked up at the snowfall in the lamplight and it eased his troubled mind. He had wanted to die. Not now though, not in that moment, registering the long-forgotten struggles, the long-forgotten victories of the unremembered ones that had brought him here, to this moment. Mesmerized, he stood still for a while. London lay before him like an eternal thing. That night the falling snow was beautiful, and he stayed long enough to understand.
There was one place open. A private party in someone’s house going late into the night. The house stood on the edge of the river with a Christmas tree of white twinkling lights in the window. There were cheerful voices inside, warm in the snowy night. It was a birthday. The stranger wearing the brown fedora and the long coat opened the door and the patrons registered his presence with a dart of the eyes in the candle light. Dancing between the chattering voices was music. The beautiful sound of violins. He sat down in a black leather chair and closed his eyes. He started wondering about music. Music the liberator, the soul of dreams, emancipator of captives, of slaves, uplifter of the downhearted. He wondered whether music was evidence of something unique in us. Music, sorrow and saviour. Creator of dark and light. The meaning of barren planets. The fertile spirit of the wasteland. Crying tears of sorrow and tears of joy. It is both winning and losing. It is hope. It is delight. It is anger tamed. It is dancing. It is the life in the smile, somehow surviving the death of the world.
Above the bridge the statue of the angel with its wings set to heaven watched the Thames flowing, waiting in silence under the falling snow. ‘It has the power to make you brave enough to die.’ He thought ‘Who masters who? The music or the musician?” The lone figure walked out onto the street and lighting a cigarette looked up at the sky as if it was watching him. When the cigarette was done and the cold of the snow had been felt, he re-entered in search of one more drink. He sat back in the chair with another glass of Jameson. The people at the party knew him but he didn’t know them, because he had garnered some fame. He regretted not being inconspicuous in the world. ‘It would have helped my art if I was unknown’ he thought to the point of melancholy. He had been drinking whiskey heavily the night before and it had burnt his brain-peace. When he slowly opened his eyes that morning, registering the havoc lonely rocking and rolling can have, and not just on the liver, he realised his mind-zone was also faltering. Between his brain and his mind he now found himself floating. It had taken him the whole day to recover from the hangover. He had laid in the single bed long enough for it to become uncomfortable. He got up, washed his face only, lit a cigarette and looked out of the window into the pale winter glow of the street and remembered he was young enough. Life took on new meaning, a subtle charge of being, without foreboding or fear. Someone offered him a line of cocaine on a recently microwaved plate. The crisp twenty-pound note bit gently into his nostril as he breathed the powder up his nose feeling slightly invigorated against his drunkenness. He smiled as he handed the plate and note back, but stayed seated as if the party was a film and he was in the theatre just to watch.
Next came the green faerie. He looked into the glass of absinthe as if it was a beautiful painting and as he lifted the glass to his mouth he thought of her. How could he not? As it hit his throat and he swallowed, all he heard was music in his head, above the chattering of the kitchen party. The white lights of the Christmas tree made his eyes glow. He suddenly felt at home in his wanderings for the first time that day. He drank another whiskey back and sighed a great sigh of relief. It took him a minute to adjust to its potency. He realised he was drunk and experiencing a curdling head rush, so he stood up out of the leather chair and walked slowly and deliberately, giving accidently the false impression he was sober. A sudden rush of energy came over him, like the surge of a cold shower. He thanked the strangers who implored him to stay so they could indulge in his celebrity, bade them farewell and exited the place in favour of the snowy streets. The sweet noise of the party evaporated on the lane. It was the middle of the night and he was alone again. Still darkness. The angel watched the river from high up on her perch.
He trudged on through the thick snow. The labyrinth of London was not unfriendly. He made his way forward, trudging through the whirling white, back towards the heart of the city. Now the thing that tormented him didn’t need to be killed. It had gone into hiding. The strong drinks he had consumed were coursing through his veins, but the falling snow had begun to retreat, its diminished ferocity had tempered his awe. His mind returned to its once contented state. It wrapped itself around his body again until he could feel no cold, and see only the hollow of the night.
The lone figure had walked nearly a mile when he looked up and saw a police car with its main lights off, driving slowly alongside him. Annoyance, followed by a dim throng of adrenaline. Could be fun to run. He avoided eye contact with the passing car. He noticed a taxi cab on the other side of the road. The man waved him in and the snow fell from him as he sat down in the car and closed the door. He smiled to see the police lights disappear down the road and gently kneaded the bag of powder in his coat pocket. He said ‘Shaftesbury Avenue’ and the car began to move. He rested his head back and watched as the snowy city passed him by, knowing for sure, for certain if he lived, that some years from now he would only be able to remember glimpses of this undiluted beauty. How can someone remember their exact sequence of thoughts when so much time has passed? Memory is an image in which sometimes lives a feeling. He conceived again his plan. Perhaps the end of pain approached, the end of suffering for good. He began to tremble.
Thoughts of Soho re-emerged in his mind’s eye. That’s where the lonely people go. That was his tribe. He thanked the driver and got out and saw he wasn’t the only one lost. He walked past prostitutes who beckoned him to join. It was a potent mix, desire and loneliness. Perhaps the most potent. Disregarding humiliation, the cause of almost all violence, his temptation was reflected in his change of pace. He carried on with the melting appearance of a fake smile. One of the prostitutes dressed in a skirt of red leather asked for a cigarette. He spontaneously turned around and handed her one. The lack of mercy and compassion in her eyes chilled his spirit more than any winter night. He sensed something wicked deep inside her, but then thought it was only himself, reflected. He concluded as he turned and walked away toward the river that she had killed more innocence than most. ‘Good old London. It is beautiful in the snowfall.’ He thought. Sometimes people have been able to achieve this rarity, to build an environment that reflects their imagination. As the white haciendas of Andalusia are built for the sun, so London is built for the people now forgotten, the barely remembered past of the world, and its unintelligible, mysterious future. The lone figure had bitten and hit himself countless times and cried bitter tears deep into the night. Now he understood why. Now his life was nearly over, in ruins, he finally understood what his tears had meant. They were what he was destined to become. And how he had been ordained to die, by his own soul. He turned and walked down elegant sideroads to the river.
He looked down an empty street and saw no one. Then, from behind the corner at the end of the block he saw the head of a stag, with large antlers, slowly emerge around the street corner. The large, strange eyes stared straight at him. He blinked to awaken himself, to catch his senses. It was obviously a prop, being worn by a man. But the man was obscured by the wall. Then the arm and hand appeared, a long black arm with hoofs for hands rested on the wall, but still the weird head, motionless, stared out at him.
“What?” He thought. Only questions, only surprise. It offered no immediate threat, but its rareness induced fear. The strange looking animal head stared at the lone figure, immovable and unflinching. They stood there staring at each other for long drawn-out seconds. Then slowly, the stag’s head with its large black eyes retreated back behind the wall leaving the lone figure totally alone. In the unexplainable moment it began to snow again. He quickly span around to see if anyone was there, if anyone had seen what he had just seen, but there was no one. Only the snow, falling from the night.
He took a half-drunk miniature bottle of whiskey from the deep pocket of his coat and drank it back, skilfully opening his gullet to allow the fiery liquid to pass. The aftershock nauseated him so he washed it down with a quick cigarette and walked away from the other worldly scene with a quick pace, rolling his ankle on the snowy cobbles as he went. He stood still in the falling snow, unable to detect any psychodelia within or without his senses. He made his way quickly to the river.
Soon he reached the dark brooding swirls of the Thames and it seemed to him that the river itself was dancing. He looked over the iron railing. The Thames devoured the snowfall as if it had dominion over the sky. In the near distance was the bridge, devoid of all movement. With clumsy drunken movements he climbed up on the wall and as he stood up, he realised his feet had fissured the untouched, untainted snow. He stood there alone and looked out at the old magnificent buildings on the other side of the river. There was no-one there, no-one to tell him to get down. But a part of his soul wanted to die. A great part. He was unexpectedly reminded of the beauty that humankind holds in its hand, but the boundlessness of its potential was somehow being blocked out like starlight behind the blackness of clouds. London was singing. The falling snow was obscured by the black river night. He looked at the distant bridge and saw the angel. There it was, made of stone, waiting still.
And then, from on top of the bridge, the stags head slowly ascended above the grey brick wall. The lone figure rubbed his eyes. The weird stag was up on the bridge staring down at him. How he had got there so quickly the lone figure didn’t understand. His breath was swallowed up by the adrenaline rush of fear. His footing felt unsteady on the snow-covered wall and he had the sudden sensation he was about to fall, fall, fall down into the dark river. The wind and snow took up and blew the lone figure’s hat clean off his head. He wobbled as he quickly stretched for it but it had gone into the babbling darkness below. He caught sight of it in the light of a street lamp, right way up, riding the white washing waves of the river. It sank beneath the gloom. He sighed sadly to see it drown, like departing an old trusted friend forever. He looked up and the stag was still there on the bridge staring down at him, with those strange, dark eyes. The wind stormed in and blew his hair up into his face, but now he only had the will to let it do its work. Staring through the swirl he saw the stag looking directly at him, motionless in the blizzard. Then the arms of the stag man raised and his hands rested on the antlers but still those black eyes were fixed, penetrating the stormy night. The lone figure, terrified, looked down at the river and heard the sound of the rushing waves calling.
And then, he heard music rising. The melody exploded through the curtain. His soul began to shine. Hiding in the visible, the music burst in colours, lighting the lone figure’s eyes like underwater lamplight reaching the surface of a lake. The music. The beautiful music. The lone figure wept. He remembered kindness. Through his tears he saw his hat re-emerge on the surface. The dream world came back to him. The world of imagination. He looked up and there was the stag man, now standing up on the wall of the bridge. He suddenly felt frightened to see the pagan thing. The stag man stood still, looking straight at him. A feeling came over the lone figure to jump down off the wall. But he stayed. It was as if he was beckoning the strange apparition to make the first move. The cold wind whipped up. The adrenaline surging through the lone figure’s body kept him warm enough. Then the man on the bridge took off the stag’s head and stared down at him. ‘It can’t be’ said the lone figure out loud as he looked at the man. ‘No! It can’t be!!’ He screamed at the night. It was his own face up on the bridge, staring down at himself. Tears burnt through the freezing air. The stag man smiled and dived off the high bridge with a look of joy on his face, down into the Thames and under he went. The lone figure could feel his heart beating fast as he looked at the place where the stag man had landed. It was time. His pain would soon end, and his joy. Heaven and hell waited in the waves. He leapt from the wall into the mist, with his arms stretched out in front of him, his hands hitting the ice-cold water first. Unwatched by any living soul, the lamplit murk of the river consumed them both. They were seen no more. High above, the stone angel watched the scene, her tears made of rain, her open wings gathering the falling snow.
She was summoned back from the dead, a spirit with form to keep me company, sword, sister for me, brother- man. I missed her, was lonely so she came. Her voice tore down buildings as she flew around me, and though it comforted me, the price was too high, people were going to get hurt, the earth was sinking in, the ground cracked and sunk. My sister brought me to a canyon, vast desert open plains and still they crumbled from my dead wife’s voice. This place was suitable, but was no way to live. I would have my love by my side but no one could come near. And she was a floating thing, I could never really touch her, flying pixie with dark air, dark hair. ‘This is the only safe place’ my sister said, but even then the mountain tops were crumbling on the horizon. Blue sky yellow ground and yellow tumbling mountain tips breaking away and falling down. ‘Send her back’
‘So many bad things happened here. So many good things can still happen here.’ Photo by Luisa Felicia Clauss Taino symbol of Protection of the Earth Mother taken during the solar eclipse 2024 in a basement where a mother and child were murdered by the father.
Girls have fathers. Conjuring the man but keeping him in the bag. I can have all the dinner I want at this kind of resort. And everything’s ok with this girl now right? I think she came out of the bag enjoying a raven’s crow. Beehive around my arm at night. Thrown against walls and not held warm. In a pit of hate, pleasant petals falling over the dainty hunt and slaughter.
I Loved the Gauntlet and There Was No Other Way. Album Released October 29th 2024. Photo and images by Uhuruheru Costume, headpiece & makeup by Uhurumatahari with help from their daughter Laxmi.
Such a relief to breathe a dream, loving the solid ground and also the spirit of breath coming on like a volcano. Dreams that were written on parts of my body were part of something else you were interested in. A point of light was written something about you on my side, showing you were also written inside me. There were so many words, so many words that you were interested in.
On the cusp of welcome, on the cusp on invasion. Do you feel you are a soul-less cog in a wheel? Do you regret every time you push people away? What is it that people meet if they don’t meet your heart? I’m dying to meet you in a space that’s strong enough to really see you and to be fully seen. I think I’m ready, I want to try. I want to sing your song that’s my song too and get well paid. Steer me away for terror and into kindness. The edge hell so near suddenly and I only on a sofa reclined. I stomached the casual racism too, alerted to make an intelligent difference. There is no reason to be circling around the carcass. Let’s eat and be strong, clean up and to move along with the true meaning of the scavenger and the vulture. The child, the man and the woman do not need to walk down such a dark path alone, do not need to walk down such a dark path at all. A little company on the ledge let’s say, a little company on the ledge. My secret space is small and round and along the edges are some rectangular friends (they are not all bad you know)
Still from ‘Very Fond’ video.
These days are simple for me now. When it’s time I withdraw to greet my grief and menstruation while watching the evening sky turn dark. Writing living Taino song. Do I write a song how I’ve been fucking spirits? Any spirit, any and all? And when I stopped, when it was time to shut the factory down, how they came at me first in dreams of iphones of porn but they couldnt tempt me, I had got so clean. Later was next level. I thought I was in heaven until I couldnt move my arm. Then I knew I was dreaming. In my fake dream of heaven I knew I was asleep in my bed. I knew it was coming for me and that I must wake up fully. It’s true that when good healing is happening it also attracts the bad spirits.
‘The Free Hand’ Italy 2025
They held me down when they couldn’t tempt me to use, and be used. They held my left hand to the corner of the bed. When I fully woke up my arm was being pulled slowly. They rubbed my breast just as I got myself free. Lol. That was weird I said. And you know the difference between dreaming and not. Cheeky bastards. I slept with the light on, ok, but still spooked and scared. Next night my wardrobe door popped open. Is that what’s been following me around this whole time? Is that the demon I was feeding? Now we’re going to get to know each other real well. We can become true and caring friends because all the cards are on the table now. Surely there’s better things we can be doing than rolling around the sack with all those blue and pink probing tendrils from outer space pumping into us. I had been pushing this gunk into me for years. And years with the way I was forcing my body to feel a certain way. So after thirty days and thirty nights she showed me how it was done. She’d be the boss of the hand, not the other way around and nothing would be forced. And yes, I had strict rules on simple things and in the end it was the inside and the opening of a flower that could actually seduce me and nothing less.
U.S. citizens Charles Horman and Frank Teruggi were detained and executed in Chile during the early days of the US-backed dictatorship of Augusto Pinochet. Investigative reporter and author John Dinges, who has written extensively about Latin America and Operation Condor, investigates the earlier premise that both men were murdered by the Chilean military upon direct orders from the U.S. government. Chile in Their Hearts: The Story of Two Americans Who Went Missing After the Coup(University of California Press, 2025) finds no evidence to confirm direct US involvement, upon which earlier books, as well as the 1982 film Missing, starring Jack Lemmon and Sissy Spacek, were based.
Dinges wastes no time in affirming the outcome of his research. In the early 2000s, thousands of declassified documents pertaining to the dictatorship were released, including some relating to Horman and Teruggi. ’I had long thought the movie’s theory of the case was highly probably, and I set out to find the evidence to prove it,’ Dinges writes in the introduction. The author also reveals a personal interest, having lived in Chile during which time he met Horman once, and was friends with Teruggi.
Charles Horman
U.S. involvement in Chile’s destabilisation, brutal military coup and dictatorship is well documented. Thus the theory of U.S. involvement in the execution of both men is plausible. The only mention, however, of direct U.S. involvement rests on a statement by Rafael Gonzalez, a National Intelligence Directorate (DINA) agent who was on the scene at the time of Horman’s detention, and who retracted his testimony years later.
Frank Terrugi
There is a certain note of dejection that immediately strikes the reader in this book. Dinges’s meticulous research rests on careful scrutiny of documents, the court files and interviews, through which he pieced together a picture that reveals no direct U.S. involvement. This is disconcerting when one considers the extent of U.S. involvement in toppling the democratically-elected socialist government of Salvador Allende.
Elimination of the earlier premise is also compounded by the absence of a known motive for why Charles Horman and Frank Teruggi were targeted and killed by the Chilean junta, other than them being leftists.
’The evidence I found,’ Dinges writes, ’led me to conclusions I had not expected, especially about the U.S. role.’ However, the author notes that the U.S. is not entirely lacking in culpability. ‘The evidence demonstrates definitively that the U.S. Embassy and State Department shielded the Pinochet regime by hiding the truth, conducting a sham investigation, and sanctioning Chile’s official coverup of the murders.’
Dinges devotes separate chapters to the backstories of Charles Horman and his wife Joyce, and Frank Teruggi, who arrived in Chile separately. Both men met in Chile through their involvement in the Fuente de Informacion Norteamericana (FIN). Chile had become a safe haven for those fleeing oppressive dictatorships across Latin America. At a time when U.S. activists had mobilised against their country’s involvement in the Vietnam War, Chile offered alternative, participatory politics as part of the socialist reform implemented by Salvador Allende. At the time, Chile was hosting around 20,000 foreigners.
Salvador Allende in 1972.
Both Horman and Teruggi became involved with left-wing movements in Chile. Horman was carrying out his own research into the assassination of General Rene Schneider, while also working with Chile Films, which brought him into close proximity to socialist and communist groups. Teruggi became involved with the Frente de Estudiantes Revolucionarios (FER, Revolutionary Students Front) and also became friends, and willingly involved with, the Movimiento Izqueirda Revolucionaria (MIR, Revolutionary Left Movement). Notably, Teruggi had also been on the FBI’s radar for his antiwar activism in the U.S..
Valparaiso, the port city which was central to the plotting of the coup, emerges as a key component of the earlier premise of direct U.S. involvement. Both Horman and Teruggi had taken photos of military ships in the port, to be published in the magazine Punto Final. Horman’s presence in Valparaiso and his conversations with Captain Ray Davies, the head of the U.S. Military Group in Chile – as the coup was underway – were central to the narrative around his death. For decades, Horman’s execution and disappearance were linked to him having unearthed information about U.S. involvement while in Valparaiso, condensed into the phrase “he knew too much”.
U.S. Complicity
Dinges uncovered no documentary evidence to support this premise, but the book illustrates two main components that can be proven. One is about the U.S. embassy’s painstaking efforts to shield the Pinochet dictatorship from accountability over Horman and Teruggi’s murders. The other concerns the U.S. failure to investigate important leads on both men’s executions. These findings illustrate the U.S. intent to prioritise diplomatic relations with the Chilean junta at all costs.
Both Horman and Teruggi were reported as missing to the U.S. embassy. Their disappearance, however, is described by the author as representing to the embassy, ’an awkward inconvenience, a snag in the U.S. determination to help the junta succeed.’ The U.S. embassy could have investigated the detention and execution of both men, but orders from Washington, specifically from Henry Kissinger in the immediate aftermath of the coup, directed otherwise: ’The first thing for us not to do is to give the appearance that we are putting pressure on them.’
Thus, U.S. embassy officials upheld the dictatorship’s official narrative, which shifted from statements that no foreigners had been murdered, to denying the military operations that led to Horman and Teruggi’s detention and subsequent executions. One cover story disseminated by the Chilean military and taken at face value by U.S. diplomats was that both men were killed by leftist snipers in the aftermath of the coup. The State Department repeated this narrative to the media, allowing the U.S. to deflect questions on why it had failed to investigate.
With the U.S. rigorously maintaining the dictatorship’s official narrative, it stands to reason that the gaps would be filled by analysing the contradictions spouted by the Chilean dictatorship and U.S. officials. Dinges explains that this was Ed Horman’s process. Having travelled to Chile to investigate his son’s execution and disappearance, and encountered enough ambiguity and insufficient solid evidence from U.S. officials, Ed Horman concluded that the Chilean military would not have acted without U.S. complicity.
Dinges writes, ’The mere absence of such evidence cannot be used to argue that such evidence must exist. Or, as I tell my students in teaching the techniques of investigative reporting, “The absence of evidence is not evidence of absent evidence.”’
While direct U.S. involvement can be ruled out for want of evidence, Dinges shows that upholding the Chilean dictatorship’s narrative aided the U.S. embassy’s refusal to investigate. One new piece of evidence that Dinges unearthed and included in his book is that Michael Townley, a U.S. citizen who worked for the CIA and DINA, and who was responsible for the assassination of Chilean diplomat Orlando Letelier in Washington in 1976, knew the identity of Frank Teruggi’s killers. U.S. officials failed to pursue this lead.
U.S. officials also failed to follow up on the evidence gathered by Raul Meneses and Jaime Ortiz, the two Intelligence Military Services (SIM) investigators who told Ed Horman that his son had been executed, despite their names being included in an embassy draft letter dated 1973. Meneses’s report detailing that Horman had been killed on the orders of DINA agent Pedro Espinoza was destroyed by SIM. In 1987, the U.S. State Department hesitated to accept Meneses’s testimony. Embassy officials also knowingly withheld information and failed to call in the FBI to investigate the cases.
Photographs of victims of Pinochet’s regime.
National Commission of Truth and Reconciliation
Such wilful negligence had legal implications. In 1991, the cases of Horman and Teruggi were among the first to be made public by the National Commission of Truth and Reconciliation. Nine years later, the Horman family filed charges of murder and kidnapping in the Chilean courts, but the judicial investigation was based on the interpretation of declassified documents, rather than hard evidence. By 2003, the court’s attention had shifted to the presumed U.S. involvement and Davis was charged with Horman’s murder, on the premise that the latter “knew too much”, based upon Gonzalez’s initial statement, later retracted.
Despite the U.S. coverup for the Chilean military, Dinges’s examination of court records do not reveal evidence of direct U.S. involvement. In his discussions with Judge Mario Carroza – well known for his role in investigating crimes related to Operation Condor – Dinges notes that the Chilean courts required ‘an assumption deemed to be reasonably based on other established evidence.’ According to Carroza, the charges against Davis were so weak, ’It would have been easier to convict Henry Kissinger.’
Dinges also recalls research by Peter Kornbluh, director of the National Security Archives, and investigative author Pascale Bonnefroy, who conducted extensive research into Chile’s terror under the dictatorship. Neither unearthed evidence regarding US involvement in Horman and Teruggi’s executions. Reflecting Dinges’s own research, Bonnefroy stated that assumptions were being made upon association and liaison, rather than documented evidence.
This is perhaps an unsatisfactory conclusion to such detailed investigation into this snippet of U.S.-Chilean history. Even as Dinges lays bare the logic guiding his research, readers cannot help but grapple with the question of whether there is more to the story. While Dinges writes with both logic and humanity, it is in the acknowledgements that Dinges pays tribute to the questioning of the unknown, particularly to the Horman family, who remained committed to uncovering the truth. Dinges’s research narrows the search, but the heart will keep searching.
Our research on toads and carabids
considered predator and prey.
Japanese toads and bombardier beetles
were ‘introduced’, let’s say.
The relationships were explosive –
but complied with current laws.
We intend to show you footage.
Please, hold your applause.
Our methodology? Each beetle placed
in tongue’s reach of a toad.
Each swallowed.
Chemical explosions soon showed
toads bulging, swelling,
changing shape –
till finally, through emesis,
they let their prey escape.
Our results? All beetles were ejected –
and survived. No toads died.
We timed explosions, measured vomit,
observed from every side.
We’ve now described how toxic creatures
can avoid digestion.
Ah yes sir, at the back there,
do you have a question?
Reference Sugiura, S., Sato, T. 2018 Successful escape of bombardier beetles from predator digestive systems. Biol.Lett. 14: 20170647. http://dx.doi.org/10.1098/rsbl.2017.0647
Feature Image: Japanese Common Toad by Yasunori Koide.
Corruption is worse than prostitution; the latter might endanger the morals of an individual. The former invariably endangers the entire country. Karl Krauss
Leonardo Sciascia or Shaza was an Italian or rather Sicilian political journalist, an elected radical member of the Italian parliament and the most prominent anti-mafia and indeed anti-corruption critic of his time. He was also a voice of moderation in a sea of extremism in the 1970s and 1980s.
All this features in his famous detective novels which are really anti-detective novels or works of political observation. Along with his masterful analysis of the assassination by the Red Brigade of the Christian Democrat conciliator and former Prime Minister Aldo Moron – a book not unlike the equally masterful News of a Kidnapping (1997) by Garcia Marquez concerning Colombia in the era of Escobar – his oeuvre offers a sustained critique of Italian and Sicilian political and cultural life.
This reflects the complex interstices of corruption and collusion between extreme-right-wing Catholicism, organised crime and the shadowy self-protection syndicates of big business, politics, as well as a malevolent state bureaucracy deeply embedded in all of the aforementioned. His books also demonstrate the lethal effects of innuendo, smoke, mirrors and the nefarious rumour mill.
You could cut and paste these, change the names, and apply them to Ireland, the U.K. or U.S. or any country where extreme neo-liberalism or Christian evangelism holds sway.
Sciascia was a specialist on the mafia, and he demonstrated how they kill and destroy. First, they isolate and disempower and then they denigrate. Often, demonising or scapegoating their prey. And those who seek to investigate them – such as the anti-corruption Sicilian Judge Giovanni Falcone – who act on principle are destroyed. This is exquisitely detailed in Equal Danger (1971), his best book.
Illustrious Corpses
In Sciascia’s fiction, it is the detective, not the murderer, who is isolated and suspected, suffering the same fate as whistleblowers around the world today. It is a post-truth doppelganger of good and evil. Thus, those who oppose corruption in the words of the film adaptation of his book become Illustrious Corpses [1976].
In fact, his current heir, as the anti-corruption conscience of Italian letters, Robert Saviona was placed under police protection after his exposure of the Neapolitan mafia in Gomorrah (2016), and his fabulous text Zero Zero Zero (2013), which was made into a T.V. series that highlights how the practices and modes of organisation of the drugs trade are mirrored in corporate organisation, and vice versa. The same brutality. The same hierarchical structure. The same partnerships.
Mr Saviona was recently prosecuted by Meloni for calling her a bastard over her immigration views. A cautionary tale perhaps for the revival of the hate crimes bill in Ireland, and our anti-immigrant stance? Who would dare call Jim O’Callaghan a bastard? I doubt he would sanction a prosecution, but who knows as the centre-right moves even further to the right, just as Starmer has the taken the so-called Labour Party.
In Ireland, anti-mafia or anti-corruption activists face an uphill not impossible struggle in our present universe. Witness the case of Jonathan Sugerman.
In a world of statist and corporate authoritarianism, what Eisenhower historically called (in interview with the late great Walter Cronkite at the end of his Presidency) the military industrial complex poses an existential threat to humanity. Meanwhile, on X, Elon Musk perversely uses freedom of speech to undermine the civic space.
Indeed, Habermas‘ ideal of communicative action is poisoned by misinformation undermining the democratic rights and entitlements of all by pandering to far right-wing extremists and racists and WOK simpletons.
The film Illustrious Corpses. (1976) begins with the murder of Investigating Judge Vargas in Palermo, amidst a climate of demonstrations, strikes and political tension between the Left under a Christian Democratic government. The detective Rogas is assigned to investigate the case and no sooner has he started then two more judges are murdered.
He is encouraged ‘not to forage after gossip,’ but to trail the ‘crazy lunatic who for no reason whatsoever is going about murdering judges.’ He focuses mistakenly on a suspect leftist wrongfully convicted by the judges. Whereupon he is advised by the President of the Supreme Court, played in sinister fashion by Max van Sydow, that the court is incapable of error.
At a party he is advised there will be a coalition of the Communists and the Christian Democrats, and that the murder of the judges as well as Rogas’s investigations were causing tensions, and justify the prosecution of the far-left groups. Rogas also discovers that his suspect, Cres, is present at the party. Rogas meets with the Secretary-General of the Communist Party in a museum. Both are killed. And the murder is blamed on the innocent detective.
The film ends with the dictum: ‘The people must never know the truth?’
Giovanni Falcone and Paolo Borsellino in March 1992. Two assassinated judges.
Equal Danger
It is this kind of disrespect for the truth that has led us collectively, in my view, into the present quagmire. The gatekeepers of the system must be above reproach, and the exposure of corruption may lead – as it did to the Italian judge Falcone – assassination by the mafia, although in more ‘civilised’ countries this may consist of a fabricated charge, or some form of propaganda-by-omission where a critic of government policy is no-platformed in the media.
The salient message of the book Equal Danger is that the system breaks down when one of the canonical features of the Rule of Law is eradicated. This includes when the gatekeepers are no longer independent, as Lord Bingham suggested in his canonical text on The Rule of Law.
At the core of the ideal of the Rule of Law, the legendary Law Lord and jurist Bingham, suggests is the idea ‘that ministers and public officers at all levels must exercise the powers conferred on them reasonably, in good faith, for the purpose for which the powers were conferred, and without exceeding the limits of such powers.’ Sadly those conditions have been undermined in many jurisdictions.
Ironically in the end, Sciascia attacked crusading judges for putting civil rights at stake in an article, while on his deathbed, that irredeemably punctured his reputation: attacking Falcone as a celebrity judge which was ludicrous and frankly in bad taste.
First Edition.
Anomie
Another Sciascia theme, particularly evident in his most famous text, The Day of the Owl (1961)’ is the Sicilian trait of anomie or indifference, implying that pursuit of principle, justice and the truth are all a waste of time.
In controlled societies, such as Italy or Ireland, Sciascia’s books demonstrate the lethal effects of innuendo, smoke, mirrors and the nefarious rumour mill, along with the collective trivialisation that amounts to a resigned admission that the victims of crime had it coming to them in some obscure way. This betrays a latent desire for yourself not to go the same way. What C.S. Jung referred to as the shadow.
The Day of the Owl also brilliantly shows that to succeed in a mafiosi culture you must pay the protection money or pizzo; just as in Mario Puzo’ s vastly underrated The Godfather (1969) you must kiss Don Corleone’s ass. An understanding of patronage and feudalism remains crucial in our time.
That book also canvasses another theme of distraction central to our age: the playbook of the false sex allegation. The virtuous are undermined by the crime passional, the allegation of sexual impropriety, including child abuse. Those who carry out the task appear sanctimonious and mask political persecution, often framing their victims. A favourable appointment follows. Robespierre would approve.
In the context of false allegations Roy Cohn, Trumps lawyer, was barely twenty-four years old when he played perhaps the central role in the Rosenberg’s’ espionage trial, relentlessly and vindictively lobbying the judge for their execution. Both were found guilty of passing information to the Soviet Union and electrocuted at Singh Sing in 1953.
It was quite clear that this was utterly malicious in that he knew Ethel Rosenberg was innocent but used forged documents, perjured evidence and the art of persuasion – in that he believed her indictment would force Julian Rosenberg to reveal his espionage sources.
Well whistleblowers and anyone accused of sedition, espionage or treason also come from the fascist playbook. That is now Trumps agenda for even academics and students.
And people forget. Memories fade. The shadow play moves on. Thus, Sciascia a proper Sicilian communist has much to say about the rule of law and not just in Italy. His work is crucially relevant to our time.
Roberto Calvi
Roberto Calvi
Close to my Chambers is Blackfriars Bridge where Roberto Calvi the former head of the Vatican bank was found dangling. Sciascia’s acidic response was: ‘Why was a good mystery preferred to finding out the truth?’
But the truth depends on memory, pattern recognition and a sense of history, and as Milan Kundera – as good an exposer of corruption as Sciascia in his way – remarked, the first way of liquidating a people is to destroy memory, or the lessons of history.
Thus, in contemporary Italy the mayor of Montefalco banned cricket in a village played by immigrants near Joycean Trieste, forgetting that AC Milan was founded as a cricket club. And lest we forget that in the jaw-droppingly beautiful village of Sant Angelo in Ischia Italy gave refuge to one of the great artists and enemy of Pinochet, the Chilean Pablo Neruda, though the film Il Postino (1994) fictionally suggests it was nearby Procida!
Thus, as I enthused about the country on a train from Perugia, after viewing the Fra Angelica painting Resurrection, an Italian lawyer said yes but what about the government? He reminded me not just about Berlusconi, but Andreotti so closely connected with the corruption I have referred to – Il Divo (2008) to reference Sorentino’s film about him. Surviving into his nineties, he was the reptile like crystallisation of the world’s corruption. A man who sent people to their death via his associations with the mafia, but a pious Catholic. Sound familiar?
Now let us pave a path for a new resurrection to create a better world based on the Rule of Law and moderation, whether secular or Christian. Let us wonder if the good man Jesus would stand for what has been done and is being done in his name.
The message of our sceptical and brilliant communist Sicilian friend is most relevant to this age. Keep to the truth and let the heaven’s fall.
Title Image: Paolo Borsellino with Leonardo Sciascia (Creative Commons).
Marina and I wait for a bus, and when it comes, we squeeze our way into it, blending in with a crowd that pushes and carries us like a wave into the sea. I say “squeeze”. This is literally what it feels like – something very familiar to me and, at the same time, almost forgotten, because this happened every morning in my childhood when I rode trolleybus number…Oh my, I wish I could remember the number of that trolley bus I used to ride every morning to my kindergarten, with my father holding my hand while the crowd carried us along. I both remember it and don’t remember it because, although it happened every morning back then, it never happened once my childhood was over. I told Marina what it used to be like, who is so squeezed from all sides. There’s no need for her feet to touch the floor – the crowd holds her so well. And while I am squeezed between a plump young man in uniform, Marina is squeezed between me, on one side, and, on the other, the crowd of people that keeps growing every second. Still more people enter the bus, until finally, the door closes—a miracle—and the closing door pushes everyone even further in.
An old woman behind the plump young man in uniform, to whom I will refer as “soldier” for short, says, in a chastising tone that older women in Ukraine and other post-Soviet countries often use: “Muzhchina, you swerve me. Stop swerving me!”
It sounds funny to me because I never heard the Russian verb she uses, “kolyshete,” used this way means “push” and, as far as I know, it is not a transitive verb, that is, it is not usually followed by an object, which, in this case, is “menia” (me). The old lady’s complaint is just her way of saying a simple thing: “Sir, you are pushing me”. It sounds funny but I tell myself I should be careful saying “funny” about anyone’s speech here, after all, what do I know about funny, I, who had left the Soviet Union so long ago and whose ancestors lived in Ukraine when none of the people alive here had even been born. Whether funny or not, I tell myself to remember the old woman’s use of “kolyshete”– not so much because I want to use it myself but because I like colorful expressions, and hearing it from the old lady on this crowded bus seems like a find I should treasure.
Muzhchina, i.e., the soldier she addresses, says, “Lady, it is not I swerving you! People, she says I’m swerving her! But it is not I who is swerving her! It is my bulletproof jacket! I would never swerve anyone alive!”
He pauses, unzips a mini sack with a little carry-on pharmacy he carries on top of his bulletproof jacket, takes out a small set of medical wound dressings, and pushes it into my closed hand: “A gift for you, Indiana Jones!”
I say, “Indiana Jones… Is that because of my hat?”
“The lady is from America,” Marina says. I am getting used to this explanation of my presence in Ukraine, because even though I don’t feel like a foreigner here, it helps making my Russian-only speech, which might have been perceived as unpatriotic otherwise, (or for that matter the strangeness of my Indiana Jones hat) seem fine.
“True, the lady is from America,” I say about myself, “but the hat is actually from Australia, where no one thought of it as an Indiana Jones hat.”
I take off my hat to show its underside to the soldier. “See, what it says here? I point at a tag: Designed in Australia.”
He doesn’t react to my mention of Australia but nods when I say “America,” and at the end confirms: “Indiana Jones, yes.”
Again, he unzips his portable pharmacy and takes out a little present for me. This time it’s a small rolled-up package of gauze. “No, no,” I say with more conviction than before, “You need it much more than I do! Please keep it!”
“Indiana Jones,” says the soldier in all seriousness. “This is for you. Do not reject it. I imbibed a little more than necessary last night, but it doesn’t change the fact that this humble medical gift is all I can offer you. In honor of Indiana Jones movies, which I loved so much in the days of yore.”
He pushes the small package of gauze into my hand, and I must accept it, if only out of politeness.
“Well, thank you,” I say. “Not that I ever thought of myself as a replica of Indiana Jones…”
The old woman who complained about the soldier swerving her is now immersed in light – her toothless smile lights up her face, and every wrinkle on her face seems to exude light. I say ‘quite a sight’ to myself, considering that we are squeezed in the back of the bus like chopped-up herring in a tin can.
I say, “Really, I don’t want it.”
I give the small rolled-up package back to the soldier: “Not because I dare to refuse the honor of the gift, but because you need it much more than I do. In fact,” I say, “One day, your life may depend on having it. Which is why it would be wrong of me to accept it.”
“No, Indiana Jones, it is my gift for you. I would have given you a gun, but this is all I can give you right now.”
Marina says it’s time for us to get off, and I’m getting ready to make my uneasy way towards the door. Luckily, most people standing between us and the door get off at the same stop, and right before Marina and I leave, I try to push the gauze and the wound dressing into the soldier’s hand again. Still, he’s adamant: he closes his hand into a fist so no gifts can be returned, and that is that. The door shuts behind us, and the bus is gone, and along with it, the plump soldier with the little pharmacy sack on his chest and the old woman with wrinkles that exude light.
I say, “Wasn’t it funny, being called Indiana Jones because of my hat?”
Marina says that the soldier was sincere. She uses the word “iskrenniy”: he earnestly wanted to give me these things, and he meant well, so I shouldn’t hold this Indiana Jones thing against him.
“I know he meant well,” I say. “I just thought these medical supplies should have stayed in his little pharmacy bag. He needs them more than I do.”
“Well,” she walks ahead, showing me the way to go. “He did say that he had imbibed more than usual the night before. Although I still think it was very touching…the way he was so happy to see his Indiana Jones on this crowded bus.”
We walk some more toward Drobitsky Yar, the Holocaust Memorial just outside of Kharkiv, the goal of our trip, when Marina says, “Here’s a checkpoint. I hope you have your passport with you.”
I reassure her, “Don’t worry. I have two, which is more than enough for one checkpoint.”
____________________
FOOTNOTES
1Muzhchina – a male. “[…] you swerve me!” is a literal translation of “Мужчина, вы меня колышeте!” (romanized: Muzhchina, vy menya kolyshete”).
Vincent in Hiroshima “A work of art is a corner of creation viewed through a temperament.”—Emile Zola
I.
Daubigny’s Garden, a late
masterpiece of Vincent van Gogh,
painted in July 1890 (the same month he died),
now hangs in Hiroshima. Talk about
ghosts of the blast. Beauty clings
to Horror, and still clings, even when
it let’s go; just as we suspected:
Siamese twins.
II.
Glimmer at the edge of fog.
Sphinx at sunset, red paws.
Oval flocks of moons while drunk.
A bow of measure in a coffee spoon.
The way her delicate lips pucker
while thinking of yesterdays
you never entered.
III.
Back to Vincent in Hiroshima.
Back to the gravity of collage. How each day
slips into the groove of whirling
months. How the garden
swirls with flowers and a church
tower in his final summer. How
Vincent’s last words were:
“I wish it were all over now.”
How the true page is never printed. How
the puzzle we call history shrinks
as the world grows into one
piece of a larger puzzle.
Feature Image: Vincent Van Gogh’s ‘Daubigny’s Garden’