Tag: the

  • Ireland and Colombia: the Coal Connection

    Most Irish people could not imagine what links their country with Colombia, or even the extent to which their electricity is still comes from coal into the 21st century. But the Electricity Supply Board (ESB), and therefore Ireland as a whole, is complicit in human rights violations, as well as ongoing air and water pollution occurring in a Colombian region.

    Cerrejón

    To understand better what I am talking about we need to go to the north east of Colombia, to La Guajira region, just before the border with Venezuela. Here we find the largest coal mine in South America – and one of the largest in the world – in operation since 1985, which produces, on average, approximately thirty-two million tonnes of coal a year.

    All of this coal is exported, principally to Europe thanks to a Free Trade agreement highly beneficial to multinational corporations, under a neoliberal global economic model where developing countries in the Global South provide cheap natural resources for the Global North’s energy production, through mining and extractive industries.

    In most cases this model is highly destructive. The company and the mine, both called Cerrejón, have changed owners throughout its thirty-six years of operation and are now owned in equal parts by the multinational companies Glencore, BHP Billiton and Anglo-American, which run many other mega-mining projects all over the world.

    Many local and international activists and organizations, including a UN Human Rights expert in September 2020[i], have been demanding a halt to mining on the grounds of human rights violations.

    Over thirty indigenous, Afro-Colombian and campesino communities were displaced due to the coal mining project. Of these communities only a few have been resettled in urban areas, where they do not belong, and promised a series of measures – services, financial aid, school bursaries – which are mostly inadequate.

    If the company justifies resettlement as a measure of protection of the local communities’ health and safety, no other choice is given to them: they have to leave the land that they have been occupying for thousands of years, since before the arrival of the European settlers.

    In most cases their economy was based on agriculture and livestock, so without access to the land and without the possibility of employment in cities, the subsistence of these people, and of their cattle, is at immense risk.

    In fact, drought  is another big issue in this semi-arid to arid region. The main source of water, which the local communities rely directly upon, is the Ranchería river and its tributaries: the mine has been accused of drying seventeen of these waterways throughout the years. For instance, in 2017, Cerrejón proceeded with the diversion works of the Bruno stream even though the Colombian constitutional court ruled that the company had to consult all twelve of the communities affected before starting the works.

    Wayuu

    The Wayuu, or Guajiros, are an Amerindian ethnic group of the Guajira Peninsula, including the northernmost part of Colombia and northwest of Venezuela. A study reported by Human Rights Watch in 2017[ii] that one Wayuu child dies every week on average because of malnutrition; 5000 Wayuu children died of hunger between 2010 and 2018.[iii]

    Children and youth are certainly the most vulnerable[iv], but are not the only ones suffering respiratory problems due to their proximity to pollution from the mine.

    In particular, the high concentration of substances such as Sulphur, Chromium, Copper, Bromine, Nickel, Manganese and Zinc in the air, as stated in the Colombian Constitutional Court Ruling T-614/19,[v] and the contamination of rivers and bodies of water in the area.

    High concentration of metals has also been found in the blood of people from the communities surrounding the mine: this can lead to DNA damage, skin lesions, lung cancer, respiratory and heart diseases.

    Furthermore, the Wayuu people and organisations have suffered harassment and death threats as a result of dissent and resistance to the coal extraction practices. For example, the local organisation Fuerza de Mujeres Wayuu (Wayuu Women’s Force) has been reporting death threats against them from the far-right paramilitary group Aguilas Negras since 2019.

    You will not find any of the above details either on the Cerrejón company and foundation website and Facebook page or on the mine marketer’s website (CMC), where they claim to be

    a reflection of the best of Colombia: a world-class operation committed to the sustainable development of La Guajira […] in areas such as education, health, culture, sports, productive projects, the environment, infrastructure enhancement, training, employment and basic sanitation for our neighbouring communities, including the native Wayuu people.

    Ireland

    Moneypoint Power Station By GavinZac – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=7582681

    Moneypoint, located on the River Shannon in County Clare, near Kilrush, is Ireland’s largest electricity generation station. The power station is run by the ESB, the semi-state electricity company – 95% owned by the Irish government – and it is the only coal-fired power station in Ireland, and the largest emitter of greenhouse gases in the country.

    It has relied entirely on imported coal since 2011, 90% of which has been imported from Colombia, mostly from the Cerrejón mine, and it has been polluting Ireland too. Coal represents 14% of the country’s total energy mix.

    The ESB claims that it has been purchasing only a small percentage of the Cerrejón mine’s total output and that senior managers personally visited the site and met workers, community leaders and trade union officials; while the company committed to remain vigilant on the issues.

    In 2018 the Irish Department of Climate, Environment and Communications announced that Moneypoint would phase out coal burning by 2025[vi] and in 2019 the Irish government launched its Climate Action Plan,[vii] including a commitment to stop burning coal, so far no concrete details have been provided on what technologies will be used to replace coal, or alternatives for Moneypoint employees.

    In 2018 the Irish government acknowledged the impact of coal mining on human lives in La Guajira and the human rights abuses connected to the supply chain, but no formal action has been taken still on the situation by the government,[viii] nor by the ESB.

    In the last few years, on the one hand, Ireland, like other European countries, has contributed aid towards developing countries to tackle climate change and to the Colombian peace process; yet on the other hand, it hasn’t stopped importing environmentally destructive coal that involves human rights violations.

    But Ireland is responsible also for another reason: CMC, the exclusive marketer of Cerrejón coal, which coordinates the sale and delivery of this coal globally, has its headquarters in Dublin, thanks to the well-known corporate tax regime that has made Ireland such a popular destination for multinational corporations.

    Recent Developments

    In January 2021, GLAN (Global Legal Action Network), supported by a coalition of Colombian, International and Irish human rights and environmental groups, including Christian Aid Ireland, lodged a formal complaint to the Organisation for Economic Co-operation and Development (OECD) through their national contact point in Ireland.[ix]

    They claimed that Cerrejón and the ESB were in breach of their human rights responsibilities by continuing to import coal and failing to take necessary actions to identify and prevent the harms caused by the operations, i.e. human rights abuses; air and water pollution and displacement of local communities.

    Simultaneous complaints have also been filed to OECD representatives in Australia, the UK and Switzerland against the three corporations involved and against ESB and CMC. The OECD will now have to investigate if the multinational companies are in compliance with with the OECD’s Guidelines, and take action accordingly.

    For the same reasons Irish organisations such as Stop Blood Coal Ireland and Terra Justa  – based in Bolivia but with staff members in Ireland and the UK  – have been calling on the Irish government to stop purchasing Cerrejón coal on human rights grounds. Compensation to communities affected for more than three decades, as well as support for basic rights and resources in La Guajira, including transition measures to support mine workers, are also demanded.

    Furthermore, very recently, in March 2021 Still Burning, a ‘network fighting against the global hard coal industry’, also launched the book Coal, Colonialism & Resistance, which centralises the voices of affected communities and warns of ‘false green solutions’, highlighting the colonial entanglements of coal.

    The Irish organisation, Latin American Solidarity Centre, based in Dublin, is now hosting two webinars on land defenders along with the Department of Spanish, Portuguese and Latin American Studies of the University College Cork (UCC).

    On the 13th and 20th of May the Irish organisation, Latin American Solidarity Centre, based in Dublin, hosted two webinars on land defenders along with the Department of Spanish, Portuguese and Latin American Studies of the University College Cork (UCC).

    The second session, ‘Law, threats and criminalization’, analysed the threats that land defenders face. The two panellists, Jakeline Romero, from the Fuerza de Mujeres Wayuu in La Guajira, and Isabel Matzir, from the Resistencia de Cahabón in Alta Verapaz (Guatemala), explained the state and corporate strategies and practices used to criminalize them and delegitimize their struggle. Within Colombian distorted system, threats and violence from the state and corporations against indigenous people are still taking place with total impunity. And the reason is simple, as claimed by Jakeline Romero, “they have interests; economic and political power are in their hands,” so they can still declare nothing of what has been denounced is real.

    She claims also that the recent repression against peaceful protesters has a lot in common with the emblematic violence against the indigenous, Afro-descendent and campesino communities in Colombia. The is the same military response from the state. The government does not recognise either their rights or their cultural difference, but local organisations like Fuerza de Mujeres Wayuu keep on defending the land and denouncing the systematic human rights violations. As it is not always possible to denounce these injustices nationally – people in the territories often fear for their lives – and local communities cannot do everything on their own, international exposure and support are essential.

    “People have to know that the coal arriving in Europe is bloodstained, it’s against human life,” says Jakeline. She adds that the pandemic has been used by the government to legislate against the indigenous people, and in general against the people in Colombia. To repress more than ever on the street of the Colombian cities, as well as in the indigenous areas.

    Further sources:

    Erika Quinteros, Emma Pachon, ‘Climate Change and its Effect on Indigenous People’, Council of Hemispheric Affairs, 27 June 2017, <https://www.coha.org/climate-change-and-its-effect-on-indigenous-people/>.

    Angelica Ortiz, ‘Indigenous resistance: my fight for land and life in Colombia’, The Ecologist, 12 October 2017, <https://theecologist.org/2017/oct/12/indigenous-resistance-my-fight-land-and-life-colomba>.

    Extractivismo en Colombia, ‘Comunicado: Corte Constitucional Ordena Proteger el Agua, la Salud y la Seguirdad Alimentaria de Comunidades que Dependen del Arroyo Bruno’, 21 December 2017, <http://extractivismoencolombia.org/comunicado-corte-constitucional-ordena-proteger-agua-la-salud-la-seguridad-alimentaria-comunidades-dependen-del-arroyo-bruno/>.

    London Mining Network, ‘Open letter to Cerrejon Coal’, 27 July 2018, <https://londonminingnetwork.org/2018/07/21828/>.

    GreenNews.ie, ‘Calls for ESB to explain large coal imports from controversial Colombian mine’, 21 September 2018, <https://greennews.ie/calls-esb-explain-coal-imports-cerrejon-mine/>.

    Marienna Pope-Weidemann, Sebastian Ordoñez Muñoz, ‘The Cost of Mining in Latin America’, New Internationalist, 23 October 2018, <https://newint.org/features/2018/10/23/cost-mining-latin-america>.

    Latin American Solidarity Centre, ‘Briefing – The Irish connection to the Cerrejón coal mine’, 14 January 2019, <https://lasc.ie/briefing-the-irish-connection-to-the-cerrejon-coal-mine/?fbclid=IwAR3q4cEAlV7kXhtSj5lgu8_qCGVhhOUAapaBtxM-GI45mBiUpzgMbslvmvE>.

    Peter Hamilton, ‘ESB called out for ‘contributing to human rights violations’’, The Irish Times, 20 February 2020, <https://www.irishtimes.com/business/energy-and-resources/esb-called-out-for-contributing-to-human-rights-violations-1.4178686>.

    Luca Manes, ‘Colombia, la miniera a cielo aperto della discordia: sfruttamento miliardario di tonnellate di polvere nera’, ReCommon, published in La Repubblica, 1 February 2021, <https://www.repubblica.it/solidarieta/diritti-umani/2021/02/01/news/colombia_la_miniera_della_discordia-285426246/>.

     

    [i] United Nations Human Rights, ‘UN expert calls for halt to mining at controversial Colombia site’, 28 September 2020, <https://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=26306>

    [ii] Human Rights Watch, ‘OECD: Examine Local Hunger Crisis in Colombia’, 30 October 2017, <https://www.hrw.org/news/2017/10/30/oecd-examine-local-hunger-crisis-colombia#>

    [iii] Sandra Guerrero, ‘“4.770 niños muertos en La Guajira es una barbarie”: Corte’, El Heraldo, 15 October 2018, <https://www.elheraldo.co/la-guajira/4770-ninos-muertos-en-la-guajira-es-una-barbarie-corte-553890>

    [iv] Claudia Morales, ‘El exterminio del pueblo wayuu’, El Espectador, 19 April 2015, <https://www.elespectador.com/noticias/nacional/el-exterminio-del-pueblo-wayuu/>

    [v] Corte Constitucional República de Colombia, Sentencia T-614/19, 2018-2019, <https://www.corteconstitucional.gov.co/relatoria/2019/T-614-19.htm#_ftn6%20%20Sentencia%20T-614/19>

    [vi] Eoin Burke-Kennedy, ‘Ireland 2040: €22bn to turn State into low-carbon economy’, The Irish Times, 16 February 2018, <https://www.irishtimes.com/business/energy-and-resources/ireland-2040-22bn-to-turn-state-into-low-carbon-economy-1.3394805>.

    [vii] Department of the Environment, Climate and Communications, Climate Action Plan 2019, Published on 17 June 2019, <https://www.gov.ie/en/publication/ccb2e0-the-climate-action-plan-2019/>

    [viii] Dail Debates, Topical Issue Debate Human Rights, 12 July 2018, <https://www.kildarestreet.com/debates/?id=2018-07-12a.432>.

    [ix] Eoin Burke-Kennedy, ‘Complaint made against ESB over purchases of coal from Colombian mine’, The Irish Times, 19 January 2021, <https://www.irishtimes.com/business/energy-and-resources/complaint-made-against-esb-over-purchases-of-coal-from-colombian-mine-1.4461662>; Interamerican Association for Environmental Defense (AIDA), ‘OECD to investigate human rights abuses filed against the owners of Cerrejón coal mine; BHP, Anglo American and Glencore’, 19 January 2021, <https://aida-americas.org/en/press/oecd-to-investigate-human-rights-abuses-filed-against-the-owners-of-cerrejon-coal-mine>.

  • The Mythology of Blood

    In this second article Lorcan Mac Mathuna discusses his An Bhuatais & The Meaning of Life a book and CD collection of contemplative songs and essays.

    The past is a foreign country, they do things differently there.
    L.P. Hartley

    The earliest written accounts of war portray a merciless and vicarious world where the deeds of men are steered by the caprice of malicious gods, and the deeds of warriors are frequently elevated to the plane of the gods. Indeed one of the first historical accounts of war, the battle of Megiddo 1479 BC, portrays the Pharaoh, Thutmose III, as a sort of indestructible God figure.

    The deific depiction of the ‘hero’ is similarly featured in the mythological portrayals of conflict in the Celtic epic of The Táin and the Trojan epics of the Greeks. The extraordinary feats of CúChullain and Achilles raise the archetype of war to the plane of the supernatural.

    The Greeks, under the bloodthirsty warlord, Agamemnon, despoil the plains of Troy and relish the viscera of indiscriminate slaughter. All the while the gods entwine fate and death in a mythological fabric.

    The Táin, an Irish epic set in the time of Christ, has the same archetypical representation of the supernatural personality of death and slaughter that the Trojan epic portrays, including a vain and capricious God: the Morrigan.

    The 12th Century accounts of The Battle of Clontarf (track 8) again represents the battlefield encounter with mortality as a supernatural narrative containing a mythological manifestation, or personification, of Death.

    Excerpt from Njáls saga in the Möðruvallabók (AM 132 folio 13r) circa 1350

    An intriguing metaphor of death is given in an Icelandic account of Clontarf, in Njáls saga. It describes a scene of Valkyries meeting in a cottage to weave the fate of the champions of the battle with a warp and weft of the entrails of the fallen. This is witnessed by a farmer named Dörruðr who describes the scene:

    “Men’s heads were the weights, but men’s entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.”

    In the Gaelic account, ‘The Badb’ [baw -v] (the Raven of Death) hovers over the battle. Into this visceral arena, demons and spectres cram, tearing at the warriors, while The Badb decides which souls to pluck from the slaughter.

    This representation of a supernatural fate directed by the hands of capricious gods is the mythological embodiment of violence what some psychologists have termed ‘the death instinct’.

    It is the opposite of reason. It is an attempt to feed our imaginative understanding, and an attempt to give an essentialist grasp of the cruelty of nature. It stipulates that man and nature are entwined, and that man is therefore slave to unpredictable nature.

    The ‘heroic’ mode of being in these epic poems has been described conversely as role fulfilment, and as an assertion of will. The latter is encapsulated by Nietzsche as an individual existence that struggles toward the ‘Overman’. Nietzsche represented this in the extraordinary scene in Thus Spoke Zarathustra where the acrobat walks between buildings on a tightrope.

    Friedrich Nietzsche

    In, Nietzsche, and the Myth of the Hero, Nikos Kazantzakis states:

    it is the process that makes the hero – the adventurous space between his departure and his return. He stands firmly only on the towers, but what defines him as a ‘skilful’ or a ‘clumsy’ acrobat is the walk. The ‘fabulous forces’ that this Nietzschean hero must encounter are the “spirit of gravity,” the ‘nausea,’ and the figure of the ‘jester’.

    The role of the jester is essential in this heroic model.’ The acrobat, by living outside of the constraints of history; by transcending through his heroic struggle in the uncertain space between the buildings, is given a greater horizon and an insight that is not open to the watchers in the square. By assuming the heroic role he ascends to the place of the ‘Overman’. The same is true of the ‘Hero’ in the epic poems of the Táin and the Trojan Epic. It is not so much that they transcend linear history, but that they transcend an archetype that is ever present in a parallel view of history. In this view, the past, the present, the future, are simultaneous.

    In the ‘heroic’ society, death is a form of defeat but not necessarily so. The ceremonies of burial bridge between the role of the hero and the immortal afterlife; whilst a desecrated corpse is a supernatural death. Sophocles took this idea and created the tragedy of Antigone where King Creon punishes the dead Polyneices by prohibiting his burial. In doing so he is murdering the corpse of the hero. The consequence of this are societal-shattering, as were the new ideas of philosophy for the ancient Greeks.

    In the ancient Homeric world, as in the Celtic heroic world described in The Táin, the slave is symbolically dead, because the Slave cannot take the heroic course of action (this notion was carried through to the first conceptions of democracy in ancient Athens where only citizens could take part in civic life).

    In this world-view, to supplicate oneself is death in the same sense, as it is a relinquishing of the role of the warrior. There is an intriguing paradox told in The Iliad after Achilles desecrates the corpse of Hector by dragging it behind his chariot on the plains below the city wall. Priam, the king of Troy and father to Hector, supplicates himself before Achilles so that he may tend to the corpse of Hector.

    The role of Hector as a heroic character is at stake here. If he is accorded the funerary rights of the heroic, his heroism remains symbolically alive, whereas the desecration of his corpse is the death of his heroic character. We see the remnants of this psychology in honour cultures.

    Priam, Hector’s aged father, gives up his own heroic life by becoming a supplicant. Priam dies, so that Hector lives.

    Priam killed by Neoptolemus, detail of an Attic black-figure amphora, ca. 520–510 BC

    But, if we were to look at this episode through Christian eyes we would say that Priam has gained eternal life by relinquishing his public role as king, for that of grieving parent. This is a new concept of virtue, where virtuous action is not defined by role, but is universal and objective.

    In the heroic poem a virtue is a quality which enables a person to act in their well-defined social role: the warrior king, for instance. The Homeric idea of virtue can only be determined after we know the roles expected of the character. The concept of what anyone filling that role ought to do is a-priori to what is virtuous.

    In Njáls saga the Icelandic account of the Battle of Clontarf we are given another alternative on the conception of virtue and the way to act in the world.

    During the rout of the Viking host, one of their warriors, Thorstein Hallsson, stopped running and tied up his shoe-thong. An Irish warrior, Kerthjalfad, asked him why he was not running.

    “Because,” said Thorstein, “I cannot reach home tonight, for my home is out in Iceland.”

    This was seen as a very human assessment of the facts, and so Kerthjalfad spared his life.

    It’s interesting that as the modern era of reason progressed, along with the ability to control our conditions of living, the mythologising of death and the representation and acceptance of cruelty has declined. It seems that the death instinct so often remarked upon, is not an innate part of the psychology of man. The Gods in these ‘heroic’ stories are projections of deep social adaptations of their age.

    Compare this search for a mythological “will to power” with Solzhenitsyn’s search for truth and what he termed the dividing line between good and evil “that runs through every human heart”. Solzhenitsyn clarifies something revolutionary, which was earlier echoed by St. Paul in his letter to the Romans: That hell is created within the corrupted soul.

    Hell is the perversion of human nature through the unfettered feeding of the darkest of human propensities. The Russian cartoonist Danzig Baldaev dealt with his immersion in hell by recording the casual sadism he witnessed daily as a gulag camp guard.

    Image from Danzig Baldaev’s Drawings from the Gulag.

    Danzig had to deal with two terrors: The sadism of his fellow guards, which was inflamed by a malevolent system corrupted to its very core by the philosophy of Marx. And secondly; his complicity within this network of evil.

    Danzig dared not make the slightest protest against the evil in which he was immersed, because to do so would have placed him within the ranks of the victims. One way to survive was to live a demoralizing lie as Danzig did.

    Danzig fought the lie by recording his images in coded hieroglyphs that only he could understand. He redid his drawings with all their horrific realism when the danger of discovery abated after the death of Stalin.

    His drawings from the Gulags are testimony to observations made by both John Paul  Sartre and C.S. Lewis. While Sartre said that “hell is other people”, Lewis more astutely observed that  “the door of hell is locked from the inside.

    What all these have discovered is that evil is separated from good by a philosophical perversion. There is nothing irrational in going from the acceptance of nihilism to becoming a guard of the gulag. It’s the fundamental values we hold that determine the morphospace of possible social relationships and systems. Solzhenitsyn went further than Danzig in his exploration of the ethics of deception. He determined that the only way to combat untruth was to live truthfully. His greatest achievement, The Gulag Archipelago, is a monumental testimony to his realisation.

    The evolved ethical sense in the age of Gods and Heroes is different to that in the modern age of reason. What is adjudged ‘good’ in the heroic age the act of slaughter in battle for instance has no common fundamental with the modern ethic of ‘good’; where moral pre-eminence is given to an empirical view of the world. These fundamental psychosocial understandings of the correct way to behave for which we sometimes use the intangible proxy of ‘good’ shift with philosophical revolutions. This shifting of the perspective is a constant feature. It is hard to say that the perspective of the age is the definitive and final destination. The postmodern ontological view has shifted the view of ‘good’ away from empiricism and reason, and may yet have catastrophically regressive effects. One thing for sure is that we have not reached “the end of history.”

    Band Photography | Musicians | | Holst Photography Ireland

    An Bhuatais & The Meaning of Life is available through:

    Website:
    www.lorcanmacmathuna.com

    Bandcamp:
    https://lorcanmacmathuna.bandcamp.com/album/an-bhuatais-the-meaning-of-life

    Spotify:
    https://open.spotify.com/album/4ughUTW4jIawqVLiY8D5am?si=p6hJeIqsS0yr_3HgPBv2Kw

    Feature Image: William Blake

  • Al-Quds: the Red Line

    Al-Quds (‘the holy sanctuary’), Jerusalem is the red line for the Palestinian people, the wider diaspora and the Arab collective. It is the capital of Palestine and home to the third holiest shrine in Islam, the Al-Aqsa Mosque. Muslims believe Muhammad was transported from the Great Mosque in Mecca to Al-Aqsa during the Night Journey. Islamic tradition holds that Muhammad led prayers towards this site for sixteen to seventeen months after his migration to Mecca. So how did we get to this current impasse?

    Jerusalem is in flames. Gaza is being bombed back to the Stone Age. Israeli Zionists and illegal settlers are attacking Palestinian business, homes, and people in the streets, at their residences and places of worship. Palestinians are defending themselves by any means necessary.

    Palestine: To Exist is to Resist

    I won’t give a historical lecture, just some pertinent facts. The First Zionist Congress was held in 1897 in Basel Switzerland. It was decided then that European antisemitism needed to be challenged and that a new state for the Jewish people, free from European antisemitism was to be created. Several places were considered including Madagascar, Uganda and some Latin American countries.

    Finally, it was decided Palestine would become the new Israel. From 1901 onwards the Jewish National Fund began buying land in Palestine. Palestine at that time was part of the Ottoman empire. The land was bought from absentee Turkish landowners, the Palestinians put off the land and Jewish only migrants employed.

    This continued up until World War I. The British formed regiments of Palestinian and Arab troops promising them freedom from Ottoman occupation if they fought for Britain. When the war ended the troops dispersed and Britain and France carved up the Middle East as a prize for both their colonial empires.

    All manifestations of violence today in the Middle East stem from the secret Sykes-Picot Agreement of 1916 and subsequent redrawing of the old Ottoman Empire into a new white European colonial construct. All those who fought for Britain and for the freedom of small nations were abandoned. They were simply cannon fodder to save British lives by using expendable Arab lives.


    History’s Dead Hand on the Middle East
    (Image: Kevin Fox, all rights reserved)

    The Jewish National Fund continued to buy up land and displace the indigenous population. As the 1920s progressed we witnessed clashes between the European colonists and the indigenous population with riots in Jerusalem during this decade.

    With the outbreak of World War II Zionist designs on fully colonising Palestine were set in motion. After 1945 further ethnic clashes occurred. The Zionists were fully armed and trained and the Palestinians had no army, just bands of neighbours and villagers trying to defend their homes and families.

    The Stern Gangs, the Hagana and the Irgun began a campaign to terrorise, murder and displace the indigenous population. They succeeded with the help of Britain and America at the UN and the state of Palestine under the British Mandate was partitioned and the new state of Israel born at the point of terrorist guns. 750,000 Palestinians were forced into exile into the surrounding Arab countries and the systematic erasure of the Palestine footprint in the new state began. Villages were destroyed so their inhabitants could not return. Businesses taken over by Jewish Zionist families, homes sequestered and the land stolen.

    This happened again in 1967 during the Six-Day War with the occupation of the West Bank. This continued Occupation and the siege on Gaza from 2007 are a continuation of the policy of the theft of homes, theft of land, theft of resources and the displacement of the indigenous population.

    From the Wild West to the Middle East, the European white colonial settlement of North America and Canada became the blueprint for the Zionist colonisation of Palestine. We can see the house evictions in Sheikh Jarrah East Jerusalem for what they really are: a continuation of the Zionist-Israeli ethnic cleansing of Palestine. It is a microcosm of everyday reality and life under Occupation.

    These house possessions by Zionists are just the latest step in the long path to the total Judification of Palestine. West Jerusalem is already nearly 100% Zionist.

    Israeli Prime Minister Benjamin Netanyahu is facing criminal corruption charges and is hanging on to power as leader of an extremist Zionist political party Likud by the skin of his teeth. During the Holy Muslim Festival of Ramadan up to 100,000 Palestinians gather for prayer and worship daily at the Al Aqsa Mosque in Jerusalem known in Arabic as Al Quds

    Now if you remember, the Israeli military Occupation is illegal under international law. The Zionist settlements are illegal under international law.

    Every day Palestinians watch their homes land and businesses confiscated by the Israeli occupation. These daily injustices lead to a growing sense of frustration, anger and discontent.

    The Israeli illegal occupation forces then attacked the peaceful worshippers in the compound adjacent to the Al-Aqsa mosque. They attacked people through dispersal squads who use sound bombs, chemical canisters, arrests and assaults to clear any groups who might congregate.

    This means family, friends, neighbours and communities cannot gather in conversation in the community and in peace at the end of the day attending or leaving prayer.

    The scenes witnessed all over the Arab, Persian and Muslim world of peaceful worshippers, many of them women, being attacked inside the mosque at prayer, has led to the resistance groups in Gaza launching primitive rockets at Israel in retaliation.

    Israel’s disproportionate response by launching military sorties from land, sea and air has destroyed buildings and killed scores of men, women and children.

    While Israelis cower in their bomb shelters from the falling debris of Palestinian rockets with a payload similar to an enormous firework, the Gazan’s have no bomb shelters, no air force, no navy and no land army. They have a few rockets, machine guns, mortars and rifles to defend themselves against one the best-equipped armies in the world today.

    While yet another pro-Zionist American President Biden phones Netanyahu to give his support to the ‘Israel must have the right to defend itself ‘mantra, all we will see and hear from Western media propagandists are further Zionist cries of victimhood.

    I visited Gaza on a medical aid convoy in 2010. I walked the streets the Zionists are turning to rubble. They intend to bomb Gaza back to the Stone Age.

    Electricity only runs for a few hours a day. Fresh drinking water is nearly unheard of and bottled water and fuel for generators is sold to Gaza by Israel

    With a total land, sea and air blockade, the Gazan population has an unemployment rate of nearly 70%. They watch on each day as a bombing campaign destroys one building, one house, one business, one apartment block, and one family at a time. The fear the people, and especially the children, must be living under is unimaginable..

    Occupied Territories Bill: Government Defies Dáil Majority Leaving the Jaber Family to their Fate

    What can we do?

    Support the right of Palestinians as enshrined in International Law to free themselves from Occupation by any means necessary.

    Go on a protest.

    Support BDS and boycott Israel goods and companies.

    Demand your government divests from the political and financial support of Israel.

    Once the killings and bombings stop all the people you see protesting will go home and the Palestinians and the Yemenis and the Syrians will be forgotten. Please remember it’s not just Palestine the Zionists want to destroy. They want total hegemonic control over the entire region. That means destroying any country and its peoples that it cannot control. Look at Iraq and Libya, see Syria and Yemen watch them threaten Lebanon and Iran.

    Netanyahu’s Likud government has made Israel a cancer on the body politic of the region. Like cancer, it must respond to treatment or the host and the body die.

    There will soon be one million Zionist Jewish settlers in the Occupied Palestinian Territories. They are all illegally there. The Fourth Geneva Convention prohibits an occupying force suhc as Israel from settling its civilian population in occupied territory.

    UN Resolution 194 states that Palestinians exiled from their homes, land and property have the Right of Return.

    Israel has never let the Palestinians return. It continues to usurp their rights and ethnically cleanse the West Bank of its indigenous population through dispersal and dispossession.

    In 1901 European Jews had a dream of a land free from hatred, from discrimination, from racial and religious prejudice. Far from creating this land, they created a state based on hatred, discrimination, and racial and religious prejudice. To many onlookers, Israel and its settlers have recreated that which they set out to escape.

    Featured Image of Al-Aqsa Mosque by Frank Armstrong (2003).

  • Musician of the Month: Donal Gunne

    I have nothing to say, and I am saying it. And that is poetry. As I needed it. 
    John Cage

    ‘Nothing to do, nowhere to be?’ This is the space where the best stuff – the best musical stuff – shows its face, ugly, beautiful or otherwise. At first glance, this appears quite simple but when does one actually have nothing to do and nowhere to be?

    I could segue in a multitude of directions about the treadmill of living a contemporary life, or the long and deep impact of smart phones on our monkey minds, how instead of liberating us with ever more efficient apps and services they actually fill in any and all space in a day for idleness, daydreaming or any of these seemingly archaic pursuits.

    In addition, in this day and age, would I not be crazy to at least tip the hat at any inherent privilege allowing one simply to exist and have nothing to do, nowhere to be, even temporarily?

    But this misses what I’m attempting to get at. Anyone who has dabbled in the contemplative arts or meditation may give a knowing nod here. I have found that – and maybe this is the hardest part – I can have ‘nothing to do, nowhere to be’ many times throughout a day even when engaged in doing and going. It involves dropping back and just hearing, listening, feeling, playing; giving oneself the internal space, in the moment, to play and mess and see what happens. Dropping all the to-do lists, the constant planning, the goals, the dreams, the worries, the imagined conversations and arguments with friends and family.

    For me, this is where the good stuff lives. Being in this space allows the drama of ideas, feelings, and connections to unfold itself and for the music to flow. With practice and hard work (it may come more easily for others) that space can be attained on a regular basis.

    This is one part of my creative process. The internal part. The external part is actually carving out some time in the day when one can make use of the fruits of this space. This also is a challenge, for reasons I’ve discussed and many others.

    This part is huge though. I’m sure this phrase has been uttered by many before me but you have to show up for creativity. Show up every day that you can. Show up for minutes or hours and then you  will make progress. Show up in the space described above and you can make all sorts of progress. The direction may be unforeseen and not necessarily the progress you think is most pressing, but, there will be progress nonetheless. This is a process, and I address this to myself as much as anyone else.

    Just a caveat, however, on occasion works can arrive fully formed in an instant, as if received from some wonderful ‘other’ creative dimension. In this case all one can do is try and document it as soon as possible before it dissipates into the ether once more. When this happens it is truly magical, but it is hard to rely on this source so, to move forward, a process must be developed.

    I have been playing the guitar and making music in my own little way since I was eleven years old. Previously, I had wrestled with the piano for a few years, with mixed results. I certainly enjoyed the sounds, getting familiar with melodies and harmony, but at that age I could not relate to the music that I was being taught. It was the height of Grunge so I was deep into Nirvana, Pearl Jam, Alice in Chains, Soundgarden, and also bands like Radiohead. I was also discovering the old guard, The Beatles et al.

    Almost immediately after my piano lessons ceased I picked up my father’s old nylon-string guitar and started tinkering with it. My father was a dab hand at a Beatles number and could certainly entertain for an hour or two into the wee hours at a party. He showed me the basic first position chords, plus one jazz number, ‘The Girl From Ipanema’ and one Classical piece, ‘Romanza.’ With these great standards of the guitar canon, he set me on my way. The guitar seemed so accessible in comparison to what I had been doing with the piano. My thoughts on this have changed considerably since then but that is another article in itself. Plus there was the notion that I could learn songs that I was listening to. Eleven year old mind well and truly blown!

    In addition to all that, and maybe more importantly, the vibrating strings of the guitar seemed to hold a hypnotic power over me. Everything else would fade away and I would be completely zoned in. Whether it was me or someone else playing the instrument. Even very basic chord changes or musical parts would and, I’m happy to say still do, have that effect on me. The sum total of the sounds, the feel, even the look of the fingers dancing on the fretboard, or hands making all sorts of strange, contorted shapes would transfix me, entirely, completely. I was addicted.

    I have found that the guitar, or playing music in general, is therapeutic in many ways. As I grew up I would actually process my emotions on the instrument. Some could call it ‘self-soothing’ or something approximating that (as a new father I am really getting to know that term, happy face emoji).

    All the mixed up emotions of teenage years (or adult years) could be shaped into some form of tangible sound that I could sit with, more easily, until it had passed through me. A friend recently said to me “music is what emotion sounds like” and I think that I tapped into that early on.

    But, let me return to that eleven year old. Very quickly I realised that I was interested in making my own bits of music. Whether an interesting chord change, phrase, melody, finger picking pattern, these little ideas would come out whenever I sat down with the instrument and had some time to breath.

    Calling these creations ‘music’ may be a stretch. They were under-developed ideas based more on the arrangement and structure of the instrument than a clear delineation of a musical idea, and even then I struggled to finish a piece. Enjoying a sense of completion still comes hard for me. Beginning can be just as hard, and yes, the bits in-between can be hard too!

    What I discussed in the first few paragraphs is the beginning. Giving one the space and time to create and play. The ideas then arrive. The middle part is where the craft comes in. Developing techniques for this is certainly an ongoing process, but generating material from a seedling idea is something that can be honed. With all the music notation software and digital recording platforms available one can take a very basic idea and stretch it, shrink it, chop it up, layer it, reverse it, invert it, amongst other things, and, this is the magic part, hear it back immediately. How did the greats ever do anything before the advent of computers?!

    Finishing a piece is another challenge, especially for anyone with any perfectionist tendencies. Letting something go, warts and all, into the world, is an exercise in showing your vulnerabilities. I don’t find this straightforward. It is difficult to put out work when you know the standard that is already available.

    Also, knowing that sweet spot when a work is ready to let go of is a dark art in itself. I have only released a tiny percentage of all the music that I have composed. Much of it is forgotten, a lot of it sits in hard drives or old laptops, and some is still is in my head. And that is ok. What remains is an archive of ideas that I can dip into when and how I need them.

    Over the years I have prioritised the technicalities of music over the emotional content. I have often been lost in the exhilaration and energy of music, while over-looking subtleties and nuances. I have been self-indulgent and egotistical. However, amidst all this, progress has been made and I have found moments of success on my own terms.

    This is a process, and I say this to myself as much as to anyone else.

    Instagram: https://www.instagram.com/donalgunne/

  • The Communist’s Daughter

    In the morning before waking, I dream of vast empty plains of flatland and red undulating weather systems in the far distance. It is a dream I have often which leads me to wake with a nameless anxiety, and while the images quickly dissipate like dreams do, the nervousness persists. It is before dawn and I lie there on the couch for an hour, before rising and dressing without showering because I have resolved to leave for the office alone, but Tadhg appears in the doorway of his bedroom before I can make my exit.

    “Well Senan, how’s the head this morning then?” He asks in his meek manner which belies his Corkonian extraction.

    “Same as.” I tell him as I strip the sofa of bed sheets.

    “Ah man it’ll get better.” He says.

    “It will.”

    I check my phone for messages from Anaz but there are none since last night when she broke the silence which has existed between us for the past week and suggested we meet this evening for drinks. I check Instagram as well but little has been updated since I last checked it at about 2AM.

    “I’ll make us some coffee and we’ll head.” Tadhg says.

    I want to respond. Tell him that I’d rather make my own way to the office this morning, but I can’t put the words together. Instead I feel irritated by his presence, even though it is his flat I am staying in. I fold the sheets and leave them on one side of the couch, as if in anticipation of another night which will be spent there, and sit. Tadhg, still standing in the doorway, watches me do this, and after a beat when it becomes clear that I am no longer present, he moves to the coffee table in front of me and clears it of the cans and full ashtray that I left there the night before, despite his request that I not smoke inside. In the kitchen I can hear the coffee machine gurgle and spit, and the cans being crumpled one by one and binned. I consider just walking out the door while he is occupied, but checking my phone again I am reminded that I may need his couch indefinitely, so I stay where I am, staring vacantly into the screen of my phone, scrolling aimlessly and without register, down the endless feed of Instagram. Already new stories are appearing from people I barely know and I tap their smiling icons and view their manicured nails, brightly coloured and bedazzled, gripped around cardboard cups or tilting towards the small lens on their phones a plate with muffins of seed and bran and obscure berry or grape, and infused with cinnamon or pumpkin spice even though it is now November and not October, and the rain outside has turned cold and the air heavy, but all the pictures are warm and dry, and yet somehow still frigid and empty. After what seems like a long time but is likely only a few moments I am returned from my uneasy reverie by Tadhg planting a cup in front of me and falling heavily on the couch to my left, both his hands holding his own cup close to his lips as he blows on the steam that rises from it, and it is only then that I notice the cold of the room. The damp feel to it that I hadn’t felt before, and the dull throb of a hangover rousing behind my eyes.

    “Are you gonna see Anastasia later then?” Asks Tadhg.

    “I am.” I answer, though I don’t remember discussing with him my arrangement with Anaz. But then, I don’t remember much from last night.

    “You sure that’s wise?” He asks with only a hint of incredulity.

    “We share an apartment, Man.” I respond, and then after a beat, “And Buddy.”

    “This isn’t the attitude you had last night,” Tadhg says.

    “Well, I was drunk last night.”

    “I can see that,” he says, drinking his coffee now.

    “How many more did you have after I hit the sack?”

    “Not enough.” I respond.

    “Right.” He says, and a silence descends.

    “Look, I know I need to end it,” I concede. “It’s gone fuckin’ toxic.”

    “It’ll get better, Man.” He repeats.

    I pick up my phone again and open Instagram and refresh the feed. A new story from Anaz appears at the top, her icon a smiling glittering visage cuddled up to the dog we share, Buddy. I tap the icon and Buddy appears again, at the end of his leash which trails back up beyond the camera’s sight, and ahead of him is the public park which is across the street from our apartment building. The grass is an almost luminous green, the cloudy sky not grey but bright, and the caption reads “Out for a walk with my little man!”, with the sunglasses emoji. I lock my phone and put it down again and drink the hot coffee, its taste bitter and sickening.

    Tadhg is moving around his small flat, wiping down the coffee table and coming in and out of the living room from his bedroom in increasing states of dress. The place is tiny, the kitchen a cove, shared with an oversized washer-dryer that he was bragging about having bought, about never having to go to the launderette down the street again. The TV is too close to the couch, the coffee table too close to my knees, and the couch too low, old and impacted. I put down the cup of coffee and finish dressing by grabbing my tie, still tied from yesterday, and noosing it around my neck.

    “Not gonna finish your coffee?” Tadhg asks, a look of concern, or perhaps irritation, on his face.

    “I’ll grab one on the way to the subway station sure,” I say, before adding, “Thanks though, it was… decent.”

    From the street the sky is a huge churning spectral mass of grey which cascades over the roofs of the differently crested buildings of downtown Toronto. We walk the short distance to the subway station in silence and I am tempted to put my headphones on now rather than when we get on the train. I hold off and tell Tadhg that I am running into Tim Horton’s to grab a cup of coffee, but he follows me into the shop and stands with me after I order.

    I check my phone again for messages from Anaz, or anyone, but there are none. There are numerous new stories on Instagram, mostly of coffee cups and allegedly healthy breakfast choices. Anaz has posted a picture of a cardboard coffee cup and the yogurt and granola pot that she likes but always says is too expensive. I study the photo closely but there is little more info I can glean from how the picture is cropped. When I receive my own coffee, without thinking, I hold it out in front of me and open the camera function on Instagram.

    “Are you taking a photo of your coffee?” Tadhg asks me, laughing.

    “No.” I mutter, quickly locking my phone and putting it back in my pocket, disturbed by the apparent instinct of my own action. Tadhg continues laughing at me and despite the fact that he is probably my best friend in this country, the desire to walk away from him and put my headphones on is intense, and the knowledge that this reaction is merely a projection of other feelings does not quell the almost overwhelming impulse.

    I walk out of Tim Horton’s and make a beeline for the entrance to the subway station, holding my coffee in my right hand and pulling my wallet from its pocket with my left. At the ticket barrier I stop and struggle with one hand to remove my subway pass. Tadhg sees this, and his own pass already in his hand, takes my wallet and removes my pass and hands it to me so that I can easily go through the turnstile.

    “So where is it you’re meeting her tonight?” He asks me when we’re both on the other side, Tadhg this time holding my coffee cup while I put the pass back into my wallet.

    “The Communist’s Daughter,” I tell him, before adding, “Ossington.”

    “Ye seem to like that place, you go there so often,” he says, “I’ve still never been.”

    Redundantly I reply, “We don’t go there that often.” Though I find myself thinking about this point as we descend the city and catch a train that’s already waiting at the platform.

    At lunchtime I don my Bluetooth headphones again and hit play on a new episode of the podcast I’ve been listening to which is about an Irish serial killer who murdered his victims by pushing them in front of tube trains in London. I manage to duck out of the office unnoticed and make my way to the underground concourse 70 stories down and walk past a small second hand electronics store which is run by a short, crippled Asian man, past a dollar store where I bought a red rubber spatula when we first moved into our apartment, and through the link corridor. Then past a chain clothing store which reminds me of Dunnes Stores or Marks and Spencer or something of that ilk from back home, but is far more expensive just like everything is here. Past an LCBO which if I’m honest is located too close to where I work, and around the corner past three different Canadian banks, to the food court. I follow the kiosks which circle the seating area, reading the menus of each – Falafel, bagels, Indian, Chinese, Italian, Burger King, A&W Burger, Sushi – but I become aware that the seating area is full and bustling which will make it difficult to sit alone and away from absolutely anyone else, so I make a snap decision to leave the shelter of the concourse and take to the street.

    The clouds still hang low and swollen and ominous, and though the pavements are stained damp it does not appear to have rained again since last night. I walk steadily along the footpath, dodging some people and overtaking others, passing different shops where I could take a look at the lunch options but am put off entering either by the crowds or by the glimpse of my own haggard and tired reflection in the windows. Persistent, the hangover has abated to something more familiar and manageable, but my mood is a strange amalgam of weariness and restlessness. Tired and tense at the same time. Muscle memory leads me to subconsciously take out my phone yet again, and by the time I realise what I’m doing I’ve already unlocked it. So I relent and go through the process of checking everything: messages from Tadhg and Aidan and Freddie and Harry asking where I disappeared to and if I’m free for lunch; a missed call from our apartment building manager; an email from my bank offering me increased credit and an additional credit card; countless emails from Linkedin even though I have unsubscribed numerous times, and Facebook even though I deactivated my account months ago; nothing from Anaz. Instagram consists of stories depicting what people are actually watching on TV at any given moment and  posts about the colour of the clouds, or about how rain cleanses everything and how we should feel positive about this: “Positive vibes only”, followed by love heart emojis and the sun wearing sunglasses, probably expensive ones.

    I’ve walked as far as the shop fronts go before they turn into condo building entrances, so I enter a Loblaws and absently wander the isles not focusing on what I might eat for lunch but thinking instead about the last time Anaz and I were together.

    Despite a barrage of texts from Anaz asking where I was, rather than go home that evening, I had been out drinking with Tadhg and Aiden. I let myself into our apartment as quietly as I could so as not to set the dog off, or Anaz. But she was up.

    “Do you realise we don’t had sex in two weeks more than?” She said from the shadows before I saw her on the couch eating caprese salad in red lace underwear and a halter top. Her trousers, shoes, socks and jacket were strewn to various different points throughout the apartment, which was lit only by the sprawl of the city shining through the floor to ceiling windows in sharp spears of light. I wondered briefly if she had been alone the entire time. Whether she had removed her clothes herself, but before the thought could fully form in my mind she spoke again, “Where the fuck were you?”

    I digressed to the fridge and grabbed a beer, trying to remember what excuse I had made up, before finally settling on, “I told you, I was having drinks with clients.”

    “Sex,” she said again, not listening to me, lifting above her head a slice of tomato with a generous sliver of mozzarella cheese heaped on top of it, and a leaf of basil, and then lowering it, craning it, slowly into her mouth, and then shutting her eyes tightly and clenching her fist with pleasure. It was a display I had observed before, and had previously found strangely arousing, but in that moment I was so utterly repulsed by the show that I felt like weeping. Instead I did as I always do and opened the beer and downed it while standing at the kitchen counter.

    “Why we don’t had sex?” She repeated.

    “Because we don’t even like each other, Anaz.” I muttered to myself.

    “What?”

    “Where’s Buddy?” I asked her.

    “I walk him and feed him and now he sleep in the bedroom, where you think, Senan,” She answered me with a calculated bite.

    “You supposed to walk him,” She continued.

    “I walked him this morning, like I do every morning.”

    “Oh ya!” She scoffed.

    “Why are we fighting Anaz, it’s Friday and we’re both drunk. We should be happy,” I said tiredly to her. To the empty apartment.

    “Why you don’t come home?”

    “Drinks. Clients.”

    “Bullshit.”

    Had I not been drunk I may have considered the fact that she was right, I was bullshitting her, and had done so countless times before. Had I not been drunk I may have contemplated the possible reasons I preferred not to go home to our spacious apartment in leafy midtown Toronto, where I had a beautiful girlfriend and a dog and a future unfurling. But rather than think I drank, and I don’t remember who initiated it or how and I don’t remember desire awakening in me, and I don’t remember but I must have joined her on the couch, and I must have allowed my eyes to trace up the silken sheen of her sallow-skinned legs, crossed and toned and elevated on the coffee table, to her underwear delicate and transparent. I must have because an image of it lingers even now. So too lingers the fragrance of sex, still in my nostrils. The smell of stale cigarettes and liquor and caprese salad. The taste of her mouth in mine. The sensation when her teeth broke the skin inside my lower lip, and the sight of blood, black in the dark, marked on her chin. The taste of it when my teeth and tongue followed the line it had traced. My hands as they held her hips and her waist. My fingers when they found the flesh under her top and drew up to her arms and threaded her fingers held high above her head. Then her underwear torn away and my trousers unbuckled and lowered just enough. The impatience we shared as we both tried to ease me into her, our hands wet with spit. The image of a tug at the corner of her mouth forming a sinister grin which I should have paid more attention to as I held her arms down with one hand and arched a leg with the other, blood smeared on her face, dripped from my lip tense with intent. The image of her legs locked around me as they negotiated a rhythm. The memory of her words of goading in the guise of encouragement. The tightening of her legs around me and the slow inward rise of an orgasm. The memory which is trying to bury itself of her holding my hands to flesh under her hips, of her holding me there, inside her. The memory of her intent. The memory of my words of caution turned pleads, turned echoes unheeded.

    The whole scene replays before me as I stand in front of single serving plastic containers of red and green salads, of triangular sandwich boxes, or wraps, or veg sticks and fruit cups. I haven’t eaten since lunchtime yesterday and though I feel empty and depleted, nothing in the array of options in front of me, anywhere in this shop, appeals to me. The disembodied voice of the Irish serial killer, gruff and slurred, brags in my ears about how many people he pushed in front of oncoming trains, how they were all ruled just suicides, and he repeats those two words several times, “Just suicides”.

    Still standing in front of the lunch options, as if to break the trance I’m in, I take out my phone. Another missed call from our apartment building manager. Instagram stories from people back home, coffee cups and porridges with seeds and honey, salads of avocado and lettuce with tomato and egg, and complaints about the cold and the wind and the rain and “It’d be a grand aul country if you could only move it har har!”. A picture of a dazzling warm sunset posted by my sister in Australia with a caption about there being “A grand aul stretch in the evenings”. So many different emojis plastered over every picture that I can’t fathom what I’m supposed to feel at all. And a reminder that a friend’s birthday is tomorrow, which I dismiss.

    I grab a sandwich and slalom the isles again, unsure if the sandwich will suffice or if I’ll need something more, something other.

    At the dairy freezer I stop and peruse the different cheeses, all of them foreign to me and expensive, like everything is here. I pick up a cheese that Anaz likes. One we eat with crackers in front of the TV. Aged Five Years is advertised on its red ribbon emblem, and without looking around me, I open my jacket and slip it into the inside pocket, and walk to the checkout where I purchase only the sandwich, before leaving the Loblaws and without thinking, without giving it any conscious consideration at all, acting purely on some sort of toxic instinct, I walk out into the middle of the street, traffic coming in both directions, and I cross the road and walk into a Firkin Pub which has a John Cleese silhouette on the wall ascending the steps, and I sit at the empty bar and order a pint of Moosehead and a shot of Jameson, and when I’m told that I can’t eat the sandwich that I bought in the Loblaws, I ask what sandwich. The bartender actually has to nod at my hand before I realise I’m still clutching the sandwich box tight, crushing what’s inside, so I ask for a food menu as well and end up ordering a Classic Poutine which I don’t initially think I’ll eat but end up devouring.

    Back in the office I spend the afternoon sending emails to clients: millionaire hedge-fund managers, managing billions of dollars worth of wealth. I send them short snappy missives which emphasise how I know how precious their time is and assuring them that I’m not in the business of wasting it. How their quarterlies show good numbers while many of their competitors are sliding precariously into the red. “It was my robust macroeconomic advice which assisted this, and with year end approaching I hope I can count on your business for what I’m sure will be another successful year. Kind regards, Senan O’Sullivan”. Then I avoid all calls and scroll Reddit and Instagram for hours until my neck and shoulders begin to ache. Anaz has continued posting stories throughout her day, of her yoga mat laid out in our apartment which she refers to as “My place“. Of Buddy at the obliterated end of a chew-toy even though it is usually me who plays those games with him. Of the view from our balcony which looks down the long stretch of Yonge Street to the city, broad and still at a distance. I am still scrolling Reddit when I leave the office, and still when I am waiting for the elevator, and still when I am riding it down the throat of the building. I am so engrossed in the variety of nothingness reeling before my eyes that I do not notice that Tadhg has gotten on the elevator as well and is speaking to me. I have to ask him to repeat himself twice before I can register that he is asking me about sleeping on his couch again tonight.

    “You’ve been pretty out of it all day.” Tadhg says to me with a forced kind of humour.

    “Have I?” I feign. “Just tired.”

    “And will you be needing the couch?”

    “Probably…” I tell him, wanting to form more words, to give him an answer more certain, but I am just breathing audibly on the verge of a panic attack. He stares at me puzzled until the elevator doors open on the ground floor, where we exit to the lobby and walk together to Bloor subway station.

    The sky is now a disintegrating black horde manifested on the street as the heaviest rain I have ever seen, and we run through this along with hundreds of other people finishing work at the same time and descending from their offices in the sky and following the same routine. Cars and buses and taxi cabs blast their horns and make their presence known but otherwise there is only the sound of the falling rain and then the squeak of rubber soles on tiles as we enter the shelter of the concourse. At the ticket barrier Tadhg turns to me and says: “Let me know then, I’ll be downtown having a drink but the couch is there for you if you need it.”

    To which I nod and respond: “Grand, I’ll let you know.”

    And I’m thankful to him for being a friend, and I want to articulate this but instead we separate, going in different directions on the subway lines.

    When I arrive in Ossington the neighbourhood is drenched in the light of the city, the streets shimmering back at the night sky like a warped mirror. I’m early and I stand for a time under the awning of a restaurant in the style of an American diner on the other side of the street from the small speakeasy bar that reads above its door The Communist’s Daughter.

    It has been five years since I met Anastasia Smirnov on that curbside one sweltering summer night. Four years since I moved here to be with her. Three we have lived together. And two that we’ve shared Buddy. Each year marked by some type of progression or milestone or marker. Red Toronto streetcars pass me and chime at clocklike intervals. I take out my phone and text Anaz to say that I will be a little late, and then turn around and enter the diner restaurant and take a booth by the window facing across the street, and when the waitress comes by I order a gin and tonic off the bar-rail menu. In my ears ring the unsubtle hymns of Arcade Fire, and for the first time all day I feel tranquil.

    Anaz texts me back to say she will be there in the next ten minutes. I respond sarcastically that I’ve been enjoying the stories she’s been posting all day, but I realise the subtext was lost when she says she has been able to relax and think. That she has tomorrow off work so we should put some wood on the fire tonight and enjoy ourselves. Adding wood to the fire is something she has always said: that our fire will die if we don’t add to it.

    Instead of waiting just a little longer to speak to her in person like I know I should, I type out the message:

    “Are we just going to ignore what happened the other night?”

    “Ignore what Baby?” She responds a little too quickly.

    “That you made me finish inside you,” I write.

    And then immediately on top of that: “I wasn’t wearing a condom.”

    “No Baby, you didn’t pull out because you were drunk.” She immediately responds again.

    “Anaz, you wouldn’t let me pull out.” I tell her.

    “No Baby, it was you.”

    “Anaz, we were drunk but I remember,” I write, the memory of my rising panic giving me a sudden jolt.

    “I wasn’t drunk.” She says.

    Minutes pass and I don’t respond to the last message. I replay in my mind the events of the night as I remember them, only now I doubt myself. I doubt what I know is true. The minutes stretch and a directionless anger rises within me. I finish my gin and tonic and order another and while the waitress is walking away from me, I find myself typing: “The thing I’ve come to realise about you Anaz is that you are undeniably beautiful… but only on the outside.” I read this message over and over trying to calculate its effect before my fingers delete it and instead type and send:

    “Did you take Plan B?”

    “Yes Baby.” She says.

    “How can I know that’s true?”

    “Well you’ll see in 9 months when I don’t give birth.” She tells me and I can’t know if this was meant as a joke or not.

    Another expanse opens between us, the only sound the din of shifting metal cutlery and ice in glasses like a death rattle. Anaz has posted a picture looking out of a bus window at the rain with the caption “Date night!”, and the drinks emoji. When I look up from my phone I can see her across the street finishing a cigarette outside The Communist’s Daughter, and as always I am struck by her beauty, and the night maps out in front of me coldly.

    I will go over to her and we’ll order drinks, perhaps beers to start with but then we’ll move on to cocktails and we’ll definitely do shots, and then we’ll probably move on to another bar somewhere. Maybe we’ll take a cab back downtown, and maybe we’ll score some coke and then we’ll go home, possibly with some random people in tow, and the night will blur and we’ll never address that night or our problems directly, but we’ll take some wonderful pictures and videos and we’ll post them to our Instagram accounts and we’ll call them the memories we’ve made together, and people back home will comment on them saying how great I look and how happy we seem, and I’ll like the comments and respond with emojis which will assure everyone of my complete and utter contentedness.

    Anaz vanishes briefly into the darkness of the bar but reappears when she takes the booth in the window box which is the best table in the place, and I become aware that all I need to do to break this cycle is to not join her tonight – that on some unconscious level I already knew this and took the first steps by entering the restaurant and not the bar.

    I chew the ice at the bottom of my glass.

    I tear a napkin to shreds.

    I watch the waitress meander about the tables filled with the frivolous Friday nighters.

    I order another drink.

    The rain outside has started up again and I watch her over there, as she removes her red beanie hat which through the two water streaked windows that separate us looks like an undulating beacon, warning me, while always drawing me in.

  • The Other Great Troubadour

    Unlike Bob Dylan who is still actively making music, Leonard Cohen has not released a new song from beyond the grave. Cohen is dead. Of course he was from an older generation than Dylan.

    If Dylan represents the Baby Boomers then the Canadian national poet and songster represents the preceding Beat or Beatnik generation of Kerouac and Ginsberg, which he, and Dylan, reference frequently.

    Cohen and Dylan are the two central figures of a movement in popular, or folk, music, which morphed into cultural commentary and public intellectualism. Thus, the troubadour or bardic poet jumped the tramlines from pop musician into serious art. Dylan was rewarded with a Nobel Prize, but many thought it should have gone to Cohen. While Dylan is a poet in a minor key dedicated to the craft of songwriting, Cohen was a major poet, who learned his trade, and novelist – Beautiful Losers (1965) is a hidden treasure – and that poetic sensibility is reflected in his measured songwriting.

    With Cohen a poem such as the stunning Going Home,’

    I love to speak with Leonard
    He’s a sportsman and a shepherd
    He’s a lazy bastard
    Living in a suit

    Becomes ‘Old Ideas’ (2012) a song.

    This genre hopping perhaps explains why Cohen’s style is less prolix or baroque than Dylan’s, although both arrive at a point of brief severity, and a compression of language which is to be admired. There are other similarities, such as both mining the political protest genre.

    The Influence of Lorca and Spain

    As an aspiring young poet, and through much of his career, Cohen was influenced by Federico García Lorca and the sense borrowed from Lorca of Duende, a Spanish term for a heightened state of emotion, expression and authenticity, often connected with Flamenco music. In fact the famous song ‘Take This Waltz’ is a translation of a Lorca poem. As he put it in an acceptance speech for the Prince of Asturias Award in 2011:

    Now, you know of my deep association and confraternity with the poet Federico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when — when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice; that is, to locate a self, a self that that is not fixed, a self that struggles for its own existence.

    The speech is a beautifully crafted admixture of jokes and seriousness, reflecting an interior monologue of his love of Lorca and Spain, but acutely conscious of shall we say some of the sensitivities of his audience.

    He also reveals how a Spanish guitar teacher in the space of three lessons taught him the rudiments of Flamenco that proved crucial to his style:

    He said “Let me show you some chords.” And he took the guitar and he produced a sound from that guitar that I’d never heard. And he — he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets.” And he — he put my fingers on the frets. And he said, “Now, now play.” It — It was a mess. He said, “I’ll come back tomorrow.”

    As he put it: ‘It was those six chords — it was that guitar pattern that has been the basis of all my songs and all my music.’

    Sadly after completing this initiation Cohen discovered that his mysterious teacher had taken his own life:

    I knew nothing about the man. I — I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he stayed there. I did not know why he he appeared there in that tennis court. I did not know why he took his life. I — I was deeply saddened, of course.

    Early Songs

    The initial albums stemming from his poetry are a chronicle of loners, romantic love, beautiful losers – to use the title of his defining 1966 book – and are decidedly non-political. They are a kind of erotic tablet and backdrop to a very different age.

    The songs are a soundtrack to Robert Altman’s masterful revisionist Western ‘McCabe and Mrs. Miller’ (1971) in which the doomed love of the interloping property baron (played impeccably by Warren Beatty) and the hooker with a heart (played by Julie Christie).

    It is a film of stunning autumnal clarity and candour but wistful nevertheless. We meet a bygone age, though strangely redolent of our age of boom and bust. Gentleman outsider capitalists should be wary of their surroundings. Will of the wisp behaviour. As we will see Cohen saw these hard times coming.

    Those songs of romantic disappointment such as ‘So Long Marianne’ and ‘Suzanne’ are often hymns to ex-lovers. Cohen was a ladies’ man which probably brought some reputational damage. Although thankfully he was Canadian rather than Irish, otherwise this sensuality would have been crucified.

    He seems to have required muses in orbit to function creatively. The well of inspiration was often carnal or at least he needed the mother lode to function.

    In his famous comeback tours, after being liquidated by a dodgy business partner, he was surrounded on stage by a bevy of ex-lovers and chanteuses, at least when I saw him in Kilmainham in Dublin. He collaborated with some and slept with others. Surprisingly these ex-lovers did not seem to resent him. By all accounts he was a charming man and curiously self-reflexive about his predilection for the other sex, best captured in ‘Death of a Ladies Man’.

    By all accounts, including the way he treated his children, he was in general a lovely man. Yet those earlier songs have almost become caricatures. It is the later songs, particularly those after he came back from the Buddhist retreat that gain the most traction.

    Hallelujah and Politics Protest Songs

    Perhaps the defining song of that pre-retreat period was ‘Hallelujah’ (1984), memorably covered by Jeff Buckley, the suicidal chanteuse of incompletion. The blending of the spiritual and the erotic are well captured in the opening stanza.

    I heard there was a secret chord
    that David played and it pleased the Lord
    But you don’t really care for music, do you?

    And then God and faith but faith in romance and carnality:

    Well your faith was strong but you needed proof
    You saw her bathing on the roof
    her beauty and the moonlight overthrew you

    And an intense religious ambiguity:

    Maybe there’s a God above
    but, all I’ve ever learned from love
    was how to shoot somebody who outdrew you?

    It is a spiritual odyssey and not for the last time a conversation between Cohen and God, although in the case of Cohen a belief in the divine was Buddhist, hence the ill-advised decampment to a Buddhist monastery ostensibly to see out his end of days. His work tells of a spiritual journey evoking a divine disapproval that might be traced to the Jewish tradition.

    I saw Jesus on the cross on a hill called Calvary
    “Do you hate mankind for what they done to you?”
    He said, “Talk of love not hate, things to do – it’s getting late.
    I’ve so little time and I’m only passing through.”

    I sense that Cohen believed that God, if he exists, thinks of him as a naughty boy and recalcitrant artist. It is vastly different to Dylan’s political engagement or indeed Dylan’s much more fearful and eschatological sense of God. So Cohen was spiritual, but not a defined believer. A fence sitter.

    The political songs come later and are as angry as Dylan’s. ‘Democracy’ (1992) sounds an initially optimistic note:

    It’s coming through a hole in the air
    From those nights in Tiananmen Square
    It’s coming from the feel
    That this ain’t exactly real
    Or it’s real, but it ain’t exactly there
    From the wars against disorder
    From the sirens night and day
    From the fires of the homeless
    From the ashes of the gay
    Democracy is coming to the USA

    But this move to utter despair in the apocalyptic warnings of ‘The Future’ (1992).

    Things are going to slide, slide in all directions
    Won’t be nothing
    Nothing you can measure anymore
    The blizzard, the blizzard of the world
    Has crossed the threshold
    And it has overturned
    The order of the soul
    When they said (they said) repent (repent), repent (repent)
    I wonder what they meant
    When they said (they said) repent (repent), repent (repent)
    I wonder what they meant
    When they said (they said) repent (repent), repent (repent)
    I wonder what they meant
    You don’t know me from the wind
    You never will, you never did
    I’m the little Jew
    Who wrote the Bible
    I’ve seen the nations rise and fall
    I’ve heard their stories, heard them all
    But love’s the only engine of survival
    Your servant here, he has been told
    To say it clear, to say it cold
    It’s over, it ain’t going
    Any further
    And now the wheels of heaven stop
    You feel the devil’s riding crop
    Get ready for the future
    It is murder

    It’s a dirge worth quoting in full that is redolent of doom, and a world disorder upon us. God is more readily embraced, but as in Dylan’s album Slow Train Coming (1980) we have met the God of retribution and vengeance. The God of the Old Testament.

    The only song of equivalent outrage in Dylan’s oeuvre are possibly ‘Hurricane’ (1975), and certainly the recent song about bankers ‘Early Roman Kings’ on Tempest (2012).

    Cohen’s ‘Closing Time’ (1992) also senses the end of days and that the shooting match is over.

    loved you when our love was blessed
    I love you now there’s nothing left
    But Closing Time.

    However, my favourite song and to my mind his greatest work is ‘Dance Me To The End Of Love’ (1996). I listen to it regularly and I find it most apt for our times.

    Today we seem like shadow dancers, ghosts, marionettes spinning towards oblivion. It is most relevant to our plague-driven times.

    Dance me to the children who are asking to be born
    Dance me through the curtains that our kisses have outworn
    Raise a tent of shelter now, though every thread is torn
    Dance me to the end of love

    So Cohen still has much to say from beyond the grave, and his death left popular song without one of its titans. Dylan now almost has the stage to himself as a probing popular commentator in this genre.

  • Musician of the Month: Ellie O’Neill

    I’ve never needed a reason to write a song. There have never been any conscious considerations of failure or success during the process. If anything, I can say that what I discover through writing is that there are endless landscapes of discovery. This feeling has not changed in the eleven years I’ve been writing and playing music, but it has definitely been challenged many times by different circumstances, by frustration and impatience.

    The first few months of the pandemic were some of the most challenging of times of my life in so many respects, but in particular, to overcome creative blocks of all kinds. I’ve read and heard similar sentiments from artists in all disciplines, from all over the world. Out of necessity I had to find new pathways through the distraction and despair that were surrounding the drive to write.

    https://soundcloud.com/ellieoneillmusic/half-immune

    During the second lockdown, around September, I read Carmen Maria Machado’s book In The Dream House for the first time. It was a graduation gift from my friend Molly. It’s so rare to happen upon a book, or any somewhat mainstream art really, about which you have no preconceived notions.

    I’d somehow never seen it talked about online or even heard about it from friends. It turned out to be a life changing experience for me for many reasons, one of which was Machado’s capacity for searingly honest storytelling.

    She quotes Dorothy Allison at the beginning of chapter five: ‘Two or three things I know for sure and one of them is that telling the story all the way through is an act of love.’

    Molly giving me the book was an act of love; my reading of it through to the end was an act of self-love. Beginning to think about telling your story in this way opened avenues for me in my own writing that had been heavily blocked, long before the lockdowns.

    But in terms of attempting to write in pandemic times, it allowed me to exhale into the situation, rather than instinctively turn a blind eye and try to write as if it had never happened; like it wasn’t happening right now.

    I suppose I struggled with the situation of wanting and needing to write but being unable to do so truthfully, without noticeable inflections of isolation or disease or separation permeating the language and the music.

    Viewing acceptance of the current situation as an act of love allowed me to begin writing again, a couple of months into the pandemic, and to allow these inflections to come, marking my ideas and words and notes, and accepting them as realities in the moment of writing. So, a form of acceptance came and settled in, and I slowly started to come out of shock and into writing mode.

    In an online workshop I took with guitarist and songwriter Buck Meek last month, he referred to his own periods of inspiration or prolifigacy as ‘seasons’ of writing. This resonated deeply with me as a metaphor for those couple of weeks at a time where creativity is flowing: working when there’s no mining to be done, because it’s all there on the surface, ready. These seasons come in cycles, and they bring with them their own unique collection of senses, words and thought processes.

    For me, this most recent season has been rife with images of birds, pyramids, wild animals and the cold sea. These are related to finding comfort, it would seem, in thoughts of flight and weightlessness, of ancient beauty, and again, of natural cycles twinned with wild unpredictability. This is what I’ve been observing, I think, most consciously in the past year: a stillness or stuckness; the prospect of infinite lockdowns and days seeming to repeat themselves; coupled with the unstoppable force of everything around me changing in both minute and massive ways, all the time.

    https://soundcloud.com/ellieoneillmusic/anna

    The pandemic afforded me the privilege to slow down enough to actively watch the physical seasons of the year changing. I had the chance to feel the day it became too cold to swim for more than five minutes, and the day it finally warmed up again. Leaning into the fact that the seasons will return, renewed each time, has been deeply comforting; where I used to deny myself the right to repeat ideas or phrases or even chord progressions I instead began to lean into it, to try and see why they kept raising their heads. I’m beginning to remember that each new season will bring all new types of light and shade.

    It’s been liberating also, to return to writing lyrics in the present tense about things from the past. The movement and immediacy of it has been like stretching out of the confinement of the days, a vibration that helps dissolve the walls of stuckness. Dredging up old stories you thought you were finished with feels nostalgic and sticky and whiny sometimes, but exploring them in the present tense makes them become  dreamlike and fluid.

    It’s been almost a way of travelling, for me, during this time of sudden and intense constrainment. Back to Montreal, back to Cork, back to when Dublin city didn’t feel completely empty. Time becomes irrelevant in this merging of tenses, if only to the writer, but that’s the  liberation. After all, I am the first person I’m trying to communicate with, through all of it.

    Feature image: Jeanne Castegnier-Mainville

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    Image Jeanne Castegnier-Mainville
  • The Dogs and Deer with Fionn mac Cumhaill

    We’ve lost Fionn and his Fianna, the stories that were told for hundreds, thousands of generations by firesides in Ireland and Scotland. Our language gone from us, and with it these science-fiction-like stories have drained away.

    The stories of the poets and hunters and warriors may, it seems to me, have been part of a Neolithic shamanistic religion.

    This was Ireland’s Dreamtime, our golden age, the perfection of time and place that we long for, we remember, we memorialise, we identify with, we idolize.

    All of the important names of these idols of the Fiannaíocht relate to deer. Fia is a deer in Irish, a fianna is a deer herd; Fionn, named for his white-blond hair, was originally Deimne, a fawn; the name of his magically-acquired wife, Sadhbh, means a doe, and Oisín and Oscar, his son and grandson, are both words for young male deer.

    Both Sadbh and Oisín came to Fionn in deer form – they were hunted down by the Fianna’s hounds, but defended from the hunting-pack by the enchanted superdogs Bran and Sceolan.

    Tír na nÓg

    The Fianna and their wit and prowess are part of the language – of our lost language in Ireland. To someone arriving late and bewildered we used to say they were “Oisín i ndhiadh na Féinne” – Oisín long after the Fianna, searching hopelessly for them. It’s a saying that came from the story of Oisín, lured to the land of youth, Tír na nÓg, by a seductive blonde on a white horse; he comes home for a visit and finds himself crumbling into a man of three hundred years old as soon as his foot touches the soil of Ireland.

    Ossian playing his harp, by François Pascal Simon Gérard, 1801.

    For equality we said cothrom na Féinne, the equality of the Fianna, because equal shares and equal respect were their watchword. Even our picnics and barbecues were fulacht fia, the word coming from the ancient method of pit cookery. We said “Dar fia!” for “by Jove!” Our ancient board game was fiachall, played with pieces called fia. It’s not for nothing that our national anthem starts “Sinn na Fíanna Fáil”, identifying us as Destiny’s deer.

    All of the stories might be medieval fanfic; or they might have been written by monks schooled through childhood in the oral tradition, who took their chance to undercut the Christianity from which they were now making a nasty, brutish and short living. Or they might be ancient béaloideas given written form by those transgressive monks. Wherever they come from, their echo rings out from our hearts.

    Fionn mac Cumhaill

    Fionn, the leader of the Fianna, started his life, as did many heroes in stories everywhere in the world, hidden from those who had killed his family and were hunting for him. Brought up by poet aunts deep in the woods of Slieve Bloom, he sallied out and became the leader of the royal guard that included his father’s killers.

    In between battles and contests, hunts and hero-deeds the Fianna loved to sit around on mountain-tops composing poetry. In one of the beloved stories of these poem-contests, one of the lads asked what was everyone’s favourite sound. The pretty boy Diarmuid said it was the cries of women in love; Oisín said it was a cuckoo calling from a hedge; Oscar, the sound of a spear on a shield. Then they asked Fionn, and he said the best music in the world was “the music of what happens”.

    But back to the dogs. The Fianna’s dogs were central to their stories, and especially Bran and her brother Sceolan: “We went westward one time to hunt at Formaid of the Fianna [aka Ballyfermot], to see the first running of our hounds.

    These are the words of Fionn Mac Cumhaill’s son Oisín, a few days earlier a buff young man in his prime, now suddenly three hundred years old and feeling it.

    Lady Gregory

    “It was Fionn was holding Bran, and it is with myself Sceolan was; Diarmuid of the Women had Fearan, and Oscar had lucky Adhnuall,” he says, in Lady Gregory’s translation of the debate between the the two ill-tempered old gentlemen, St Patrick and Oisin, in her book Gods and Fighting Men.[i]

    “Conan the Bald had Searc; Caoilte, son of Ronan, had Daol; Lugaidh’s Son and Goll were holding Fuaim and Fothran.

    “That was the first day we loosed out a share of our hounds to a hunting; and Och! Patrick, of all that were in it, there is not one left living but myself.”

    Oisín had landed back from his Tír na nÓg love nest and gone around Ireland looking for his family and friends. Everyone he met told him these were people from a myth, or had lived hundreds of years ago. He was at the south end of Glenasmole, in the Dublin Mountains, when he went to help some puny little fellows who were trying to shift a boulder out of the way of a road they were building. The girth of his horse broke and he got a shocking land, his burden of years coming on him in a moment. St Patrick took him in, in the hope of bringing him to the Christian way of thinking. But they had one big problem with each other: their attitude to dogs.

    “Fionn, the son of Uail, delighted in dogs,” wrote James Stephens in one of the best children’s books ever written, Irish Fairy Tales[ii], a reworking of the Fiannaíocht stories. “And he knew everything about them from the setting of the first little white tooth to the rocking of the last long yellow one. He knew the affections and antipathies which are proper in a dog; the degree of obedience to which dogs may be trained without losing their honourable qualities or becoming servile and suspicious; he knew the hopes that animate them, the apprehensions which tingle in their blood, and all that is to be demanded from, or forgiven in, a paw, an ear, a nose, an eye, or a tooth; and he understood these things because he loved dogs, for it is by love alone that we understand anything.”

    Fairy Child

    John Duncan ‘Riders of Sidhe’

    Fionn was the son of Uail Mac Baiscne. He was, in the way of mythic heroes, also a child of the Sidhe; his mother, Muirne, was the granddaughter of Nuadha Airgeadlámh, the Tuatha de Danann’s silver-handed king.

    Fionn was also – in one of those family problems we don’t talk about – a cousin of his dogs Bran and Sceolan. Fionn’s mother’s sister, Tuiren, made the mistake of falling for and marrying Iollan, a man of the Sidhe, but Iollan’s old partner, Uct Dealv, took grave exception to his marriage.

    She kidnapped Tuiren and turned her into a bitch, as you do, and handed her over to Fergus Fionnlaith, the man in Ireland who most disliked dogs. However, Tuiren’s charms were just as powerful in doggy as in human form, and Fergus was soon as besotted as anyone with a new puppy.

    Fionn tracked down his auntie and disenchanted her, but in the meantime she’d had two pups which remained in dog form, and were Old Irish superhero dogs – Bran and Sceolan.

    Bran, whose name meant ‘raven’ was the kind of dog we nowadays call a merle. “Speckled back over the loins; two ears scarlet, equal-red… Yellow feet that were on Bran, two black sides and belly white, greyish back of hunting colour,” as Douglas Hyde translated the bitch’s description in his collection Beside the Fireside, adding “Bran would overtake the wild geese, she was that swift.”[iii]

    Some 1,969 years later, Led Zeppelin underlined this good taste, singing, “You can tell all your friends around the world, ain’t no companion like a blue-eyed merle.”[iv]

    Heaven Awaits

    As Oisín debated with the newfangled patron saint of Ireland, he was enraged by Patrick’s insistence that his beloved dogs would not go to heaven, a place Patrick was bigging up.

    The leap of the buck would be better to me, or the sight of badgers between two valleys, than all your mouth is promising me, and all the delights I could get in Heaven,” he says snarkily. “Fionn never refused strong or poor, although cold Hell is now his dwelling place.

    Patrick tells him he’s a withered, witless old man, and what’s more, the Fianna are all in Hell.

    “O Patrick, tell me as a secret, since it is you have the best knowledge, will my dog or my hound be let in with me to the court of the King of Grace?” asks Oisín.

    “Old man in your foolishness that I cannot put any bounds to, your dog or your hound will not be let in with you to the court of the King of Power,” says Patrick.

    Yes, the pre-patrician old Irish were doggy people. In the long-gone words of Oisín:

    If I had acquaintance with God, and my hound to be at hand, I would make whoever gave food to myself give a share to my hound as well. It was a delight to Fionn, the cry of his hounds on the mountains.

    Lucille Redmond’s collection of stories, Love, is available on Amazon and on Apple Books

    [i] Gods and Fighting Men by IA Gregory, published by John Murray, London, 1905

    [ii] Irish Fairy Tales by James Stephens, published by Macmillan, New York, Toronto, London, 1920

    [iii] Beside the Fireside: a collection of Irish Gaelic folk stories, by Douglas Hyde (parallel texts in English and Irish), published by D Nutt, London, 1890

    [iv] Bron-y-Aur stomp, from Led Zeppelin III, released by Atlantic, 1970

    Feature Image: The Monarch of the Glen, 1851, by Sir Edwin Landseer

  • Artist of the Month: Letizia Lopreiato

    This drastic, clean-cut deprivation and our complete ignorance of what the future held in store, had taken us unawares; we were unable to react against the mute appeal of presences, still so clear and already so far, which haunted us daylong … The plague forced inactivity on them, limiting their movements to the same dull round inside the town, and throwing them, day after day, on the illusive solace of their memories. For in the aimless walk they kept on coming back to the same streets and usually, owing to the smallness of the town, these were streets in which happier days, they had walked with those who now were absent …
    And the narrator is convinced that he can set down here, as holding good for all, the feeling he personally had and to which many of his friends confessed.
    It was undoubtedly the feeling of exile – that sensation of a void within which never left us, the irrational longing to hark back to the past or else to speed up the march of time, and those keen shafts of memory that stung like fire.

    Albert Camus, The Plague p.60, 1947

    ‘Mood 1: Suspension’ from ‘The Timelapse’. (c) Letizia Lopreiato

    Of trauma and of the exile from self and the world we once knew …

    My handcrafted trauma therapy

    I only recently got back to this book, and how strongly these pages resonate with my tireless work to bring to life my “Timelapse” project experience during this time of self-isolation. It has left me speechless. A poet left with no words, almost ironic in fact … These words truly have been marked by an imposed distancing from all things social so beloved to me, which is starting to feel quite painful at times whilst all these photos and all those words and all these memories have no other place for now, other than the walls of my apartment …

    © Letizia Lopreiato

    This book was left to me by a good friend, one of Dublin’s main characters if you ask me. He was working at “Dublin’s best kept secret café” as the signs says, right behind one of my favourite bookshop. Paco knew, I remember the first day I went there, I just felt his humanity. And so since then I came back every day, my refuge in time of pain and sorrow whilst traveling back and forth, at one stage even every week, and for over a year, in between so many spaces, so many memories … Paco knew I was exhausted but he also knew I had a story tell, letting me write, taking photos for hours in the garden. Always the same seat, by the corner, where it was safe for me to hide. One day he came to me with a flower and a glass of bubbly with a strawberry, a big smile, which would have cheered the entire city up. He just knew though I never told him what was happening. He knew now I know, because we have all, for one reason or another, from the ones we love, the ones far from what we knew as an anchor to our self, we have all been there, in that no man’s land that trauma throws you on. Like a massive wave it carries you to a foreign land. It is a shore, you just can’t see the rest of the island … yet. For many years the sensation of exile following the death of my father truly followed me too, just like the narrator in The Plague, until I arrived home. Ireland, Dublin, its magical people, its incredible feeling of community, allowed me to be present, to slow down, to feel my own thoughts. Thoughts that I have had for so long but that I could not hold the energy to engage with, it was like I couldn’t handle the intensity of them for so long, until when It finally felt like I had no escape from the awareness of them, if I truly want to make through it and still be myself.

    © Letizia Lopreiato

    Paco left me this book the day before he left, after almost twenty years in Dublin, to return to his home town. A return I could never see for myself, as Ireland is already home, it truly always had been for me since I first came here as a kid to practice English. I just knew it was where I belonged, this magical land where healing is led by the creative force of its nature, if you only allow it to flow through you. And thankfully now my mum is here, she is back home too. Her healing began when she asked me for help two years ago, up to then she tried everything in her power not to “disrupt” my life she said. When the only thing I could have asked for, what I was waiting for, was for her to be ready to let me in, and be present. I have never seen myself as the type person living so close to their family, I always aimed to live abroad. I never felt at home in my country, never like I have always done here. But one thing is to choose not to, another thing is to feel you can’t reunite with what you feel as family, simply because trauma took it away, because the losses became unbearable, because the world you knew, the life you had, simply ceased, simply leaving you wondering around like a ghost amongst ghosts, haunted by the sensation of feeling betrayed by life somehow … Losing faith in the unexpected, in the positive, fearing any new beginning, perpetually condemned to relive that painful past, which is always so present, over and over again.

    Love does not equal hurt, it might equal pain, so does life, because that is what life means, it makes us feel. The state of being frozen, collapsed in one’s own perception of constant risk, as if the entire world is aiming to hurt us sooner rather than later if we only allow it. It is that dimension whereby expressing feelings equals weakness, the “better be numb and selfish” mentality, rather than admitting we still feel too hurt. When we think nobody cares anymore, as everybody moved on, somehow, with their lives. Everybody but us … It is hard to dismantle false beliefs, put there to protect us in the first place, when by nature we are drawn to think firstly of all negative possible consequences to our actions. We are animals after all, and nature is something to be feared, the unexpected is a threat, and it can only be fought back, by staying constantly alert.

    ‘Mood 2: Anxiety’ from ‘The Timelapse’. (c) Letizia Lopreiato

    Getting out of the hole in which we stick ourselves in whilst experiencing trauma, and where we ourselves decide to remain even after the event, is because of the self-complacency bubble, the of victimhood, which is way too easy to live in versus the admission of being always able to save ourselves, which does requires effort, accountability and above all which involves the need to learn (or to learn again), to be response-able.

    It might be not what we really want to do what matters in this case, to me at least, it has been more a case of, “did I really feel like leaving that state”, and for this, timing is crucial and it is different for each and every person.

    In this story, I needed to reach rock bottom, and so did my mum, to realise, to feel, that we weren’t betrayed, that trauma has always been there as the most precious healing opportunity, in its pain and apparent unfairness.

    And so surely this is a long way of saying, the way to healing, it requires a choice, and this choice should be recognised as growth, and not as threat, it requires awareness, and awareness to grow, it needs a fearless space, which can only be built through gentleness, compassion, self-love and loads of self-respect, for our need for safety and security, to finally be met. Because fear means resistance, and within resistance, change is nor recognised as growth, but a self-inflicted pain, chaos, anxiety, which becomes the only comfort zone.

    © Letizia Lopreiato

    It is possible to rewrite our story, at any moment, anywhere you are. And each and everyone’s story is always different, but that is the thing, this is not a competition about who had the worst in life. And I won’t go into the details of what exactly happened to me because it is not what I believe the value of sharing this experience is. This is just one experience, one story, which has been sitting in my room making me almost unable to breath properly at night when looking at all those photos hanging on my wall. Every day, I have been reliving the feeling of all those memories, It wasn’t pleasant, but I knew it was “a storm I had to face” to find my land, to find peace. Writing this piece, I have started reflecting on why this was happening, and what this creative process has meant for me. Reflecting on where I stand now after all this, and why I was resisting looking at how this crisis, this storm, changed me and led me to feel love again, to open my heart again.

    I was risking stagnation, the elephant was not even just in my apartment, it was sitting on my chest wherever I was going before I embraced this experience and let it flow through me … My shadow was there, asking me to look at it and become friends. And so I did, I befriended my demons, I accepted my shadow, and now I am at peace. And my mum is on her way to heal too, embracing the last phase of her life, leaving the sensation of shame, of guilt, of abandonment that trauma shuffles you with when not explored, when not embraced.

    This process to me, the one of embracing my shadow, as my dear Jung would have defined it, it has been the highest lesson that self-love could have led me to.

    And I did it through art. Art for me has not only meant survival, art has brought meaning to my life, without which in all likelihood, I would not be here to tell this story.

    My mum is now starting her first ever art therapy course, as well as her English classes, encouraged by how therapeutic this project has been to her too. Her reactions passed from outburst of irritation, to laughter, to surprise when looking at herself in this project’s photos. Hanging on my walls for the past month and a half since lockdown started, there are the photos of the incredible journey within of two women, out of their roles of mother and daughter, two friends, coming back home, home to themselves, and to one another.

    ‘Mood 3: Grief’ from ‘The Timelapse’. (c) Letizia Lopreiato

    A journey of self-healing, of self-empowerment.

    If we would only choose to be present, to gift our time when we sense discomfort, within us and in others, if we would only train our hearts and our minds to hold that space, the space needed for everybody to share their stories of difficulty, of pain, of trauma, of guilt, of shame even … This world would be a better place, a place for empathy, a place for self-acceptance and for truth, rather than a comfortable fiction dimension with “positivity 24/7” as one solution fitting all purposes.

    We have our own unique narratives. But it is important always to keep in mind that history is shaped by those who tell the story.

    So why not being ourselves, to tell our story? To share our truth? To reshape our narrative?

    “Nobody better than you could depict your feelings”, John Gunn, another Dublin’s icon if you ask me, once told me to encourage me to start taking photos of myself in order to portray my poems. This was instead of my original choice to find a photographer for this purpose.

    In Trauma Therapy from a somatic approach, we study that in order to heal from trauma, what needs to be guided is a work reconnecting one’s images, feelings, meaning, expression, actions and relationships. This is because of the disconnection that trauma creates, and which fractures one and / or many of these links.

    If you would ask me what photography helped my mum and I with, I would tell you:

    Using photography along with poetry and reflective journaling, helped the reconnection through images, of the meaning of our feelings, to find a reason and closure for our actions, and even for the hurtful actions of others. It allowed us, to give ourselves a path towards forgiveness.

    © Letizia Lopreiato

    It has represented a free form of expression for our relationship with ourselves, with what happened and with one another.

    Art in the form of what I call “my handcrafted art therapy during lockdown”, truly allowed for this reconnection to start happening.

    This film photography and poetry project, titled “The Timelapse”, is the result of the last two-and-a-half years of documentary work, which felt more like an exploration, and a deep dive into the experience of trauma, bereavement and all its consequences for the mind, the body and surely the spirit.

    The consequences created by the unexpected sudden void which opens under our feet when death knocks at the door. Death, as well as love, triggers within us the more primordial fears, but also the most shining of all glimmers: the one of hope, the one of happiness, the one of that on-going learning process that is the letting go of what has already happened, and which is no longer with us.

    No matter how long we feel we should wait and hold on to the memory of it, how long we feel we should do so, to honour its prior existence … It is a call for the acceptance of the inevitable change that is the jump into the unknown after the experience of loss that has to be embraced to start healing. That beginning of a new cycle in life, where, luckily, everything has already changed, us included, no matter how long it takes for us to admit that.

    We grew. We evolved. It was painful, it was harsh, but it did happen. No matter how long we chose to numb ourselves for, by trying not to look in that mirror. Trauma equals change.

    Trauma is that breaking point, for the no-return to the ones we once were. In its toughest form and shape it is the deepest of all lessons, it is there for us to learn, once and for all, to avoid stagnation.

    Resistance to the inevitable change that trauma imposes translates into stagnation for the spirit, for the mind, an intoxication for the body, that is desperately trying to follow up with a mind that can’t fit the memories of the experience anymore into any of the drawers which once were so orderly, storing the reality we knew before the event. It is a shock to our system.

    © Letizia Lopreiato

    About this project and my creative process:

    The Timelapse – Its digital launch and release during lockdown

     

    View this post on Instagram

     

    A post shared by LaLety (@letizia_lety_lopreiato) on

    This project and deciding to finalise and release it during lockdown anyways, with a digital launch instead of a physical one originally due at The Darkroom, here in Dublin, on April 30th, for Poetry Day Ireland, it was surely a journey of exploration for both myself and my mum.

    A deep dive into the the ocean of those memories which truly didn’t fit with any of own or my mum’s drawers anymore. The cabinet of our hearts and of our minds needed to create a new filing system. I write poetry in outbursts, an uncontainable impulse, I feel it as a real need for me to maintain my mental health, rather than an aesthetic exercise. Only recently I started remembering what I write, and this I believe happened because the work of matching poetry with photography allowed me to finally reconnect my mind, my heart, and my spirit.

    Before starting using film photography, I used to write, fill diaries with my poetry, and never open them again. Almost like my poems were truly some little creatures which I was growing until they came of age when they could be let out and about in the world and out of my mind.

    ‘From the Front’ from ‘The Timelapse’ (c) Letizia Lopreiato

     

    I only now realise that I wasn’t taking proper care of them once I released them into the world though, I have realised this now through a deep self-love journey, that I was probably scared of them somehow, scared to see what parts of me I was releasing into the world, scared of what they truly meant to me. Of what they have been representing of me. Basically I realised that there is a lot of “fear of self” in the mere fact of not wanting to be fully accountable about my own art and in not having wanted it to become a final product until now, an independent creature.

    I have realised I was afraid of losing control of my own fears, my deepest and most guarded secret instincts. A fear that my sensitivity will not be protected if it is released into the world. It was fear and guilt about creating my own Frankenstein, releasing it into the world and then abandoning it with no protection in front of it, to be accepted in its diversity.

    A fear I released fully and substituted with love and respect for myself and for my own creations during lockdown and thanks to this experience, and to all who supported me and believed in me and my art.

    I am thankful above all, greatly thankful to life for having granted me this healing space and time.

    In fact, I didn’t quite understand why It felt so natural since the very first photo I took with my one and only film camera, for me to feel the actual action of turning what I see and sense into an actual tangible creature which finally was freed from my mind.

    ‘When Travel Means Need’ Part 1, from ‘The Timelapse’ (c) Letizia Lopreiato

    The creative process is like alchemy to me. It feels like alchemy. The transmutation of what once was mainly painful and almost unbearable, into light, into meaning, into a being which has a life of its own, for anybody who would like to take it by the hand and go for a walk with it, in the midst of their minds, their hearts, their spirits. It will be a companion for their journey, wherever they would like to be, whenever they might feel like it. It is and will be, always available, just like breath.

    Photography has allowed me to understand, to slow down, always to look with the eyes of the heart, at a manageable pace, the one of the human being, the one of a creation which is and has to be one with nature to feel whole.

    Any distance, any avoidance of that space we need as animals by default, deep within us, to hold understanding of our actions, based on the feeling of it, it translates into a disconnection which we can’t afford. Playing the disconnected ones leads us to not being held accountable not even to ourselves, for our actions, for our words, because if we feel love, we feel pain, we feel loss, we feel it all. Soon it is there to realise that this which seems to be an easier option, always comes at a price, but that whoever loves and cares for us will be the ones paying it, paying the price of our disconnection.

    And if one thing, death, loss, or any trauma in itself, does teach anything, it is that being selfish in this journey means more pain, it means more death, it means more losses, and it means stagnation. It is the emotional resistance to the experience of a change that in our body, in our cells, in the chemistry of our being, has already happened that feeds the disconnection.

    It is the way I liked to see it, and unfortunately I have learned the hard way, it is paramount to need to release the water, our emotions, to follow its flow. Because only water can carve mountains.

    ‘When Travel Means Need’ Part 2 from ‘The Timelapse’ (c) Letizia Lopreiato

    PTSD, depression, anxiety, loss, death, the experience of bereavement itself, both experienced first-hand, as well as lived through the experience of my loved ones, only represented for me the desperate call of my heart to find home, to go back to its true identity, which I had to bottle up to feel safer. Just like we all do. Photography along with poetry and creative writing journaling filled the walls of my apartment now turned into an art studio with photos hanging on almost every wall, and filled the walls I had built within as well. The difference is that now, I can see it, I can see those walls, and they are not within me anymore.

    At the highest stage of the disassociation that trauma had left me with over the past decade, I was almost feeling like I was creating different movies. In every city, evert country, every job I chose to engage with … Experiences that now feel like belonging to different lives, many different movies, that you almost can feel like you wanted to switch from or watch again, to jump in and out of the memory of them without being overly impacted by it as you were living with them in a detached way, to protect yourself, but that is not life. That is surviving. Survival mode made a life style.

    It really is not fiction though, and eventually the realization that all those movies would be looking better as one, and that you truly need to find and hold the space within yourself to sit, and watch it all. You need to feel it all, as your own. Because it represents you, and there can be no shame, no guilt, no fear anymore, because you have always had a choice, to leave behind the victim’s cloak. And you do this with compassion, kindness, self-love and self-respect, whenever you have felt ready for it. Whenever you truly felt at home again, whenever you can trust that out it is safe out there again for your needs to be met, for your voice to be heard, for your feelings to be truly “seen” and welcomed.

    © Letizia Lopreiato

    To experience the fear, to feel the pain, and to find freedom, once again. To be at one with yourself, and with all that is around you. Because independence does not equal loneliness and others can and want to be there and meet our needs, with patience, with time, with real love, with genuine care, if we choose to let them in. All levels of trauma, from childhood to adulthood leave us with the feeling of not being able to choose a way out. Being gentle with ourselves and one another, doing all in our power to show empathy, to feel tolerance, to experience connection as many times per day as we can. Write down the sensations, carry a diary, note it down on your phone, just remember, remember what it feels like to be present, once again. Out of your mind, into your body. There is always time to breath.

    With light and respect,

    Letizia Lopreiato June 2nd, 2020

    ‘Mood 4: Suspension’ from ‘The Timelapse’. (c) Letizia Lopreiato

    Featuring Image:

    Interruption – The Missing Peace: This work aims to represent what grief meant to my mum and I, the way I felt this process has been perceived by the people around me too. An interruption, the missing peace … It was to my eyes that void which opens up beneath our feet, in our stomach. That fracture suddenly claiming its space. That gap which we need to learn how to walk around on, and make our own, as it is now part of the landscape. © Letizia Lopreiato

    instagram.com/letizia_lety_lopreiato/

    These below are some references for the curious minds, to my learnings in regards to the perspective I gained whilst researching on trauma therapy, from a somatic psychotherapy approach:

    • The Polyvagal Theory, Neurophysiological Foundations of Emotions, Attachment, Communication, Self-Regulation (2011), Stephen W. Porges, published by W. W. Norton Company, NY, United States
    • The Pocket Guide to the Polyvagal Theory: The Transformative Power of Feeling Safe (2014), Stephen W. Porges, published by W. W. Norton Company, NY, United States
    • Clinical Applications of the Polyvagal Theory: The Emergence of Polyvagal-Informed Therapies (2018), Stephen W. Porges and Deb Dana, published by W. W. Norton Company, NY, United States
    • The Polyvagal Theory in Therapy, Deb Dana, published by W. W. Norton Company, NY, United States
  • The Late Risers’ Manifesto 2020

    Today it is shameful to be unemployed and regarded as an achievement to sell oneself into part-time slavery, meekly accepting as natural that one is not free for half one’s waking hours.
    Theodore Zeldin, The Hidden Pleasures of Life – A New Way of Remembering the Past and Imagining the Future (2015).

    With an Irish general election looming, Taoiseach Leo Varadkar has again appealed to early risers.[i] Thus the early bird, rubbing sleep from his swollen eyes, is promised an array of tax cuts. This is compensation, we assume, for the long commute and attendant sleep deprivation involved in living in a ‘starter home’ in a peripheral zone, all to the ultimate benefit of a minority in an increasingly unequal society.[ii]

    Considering the impending obsolescence of so many forms of work, however, politicians should be daring to dream of another kind of life; one where human flourishing is given priority; and what Greta Thunberg described as the ‘fairy tale’ of economic growth-without-end is abandoned.

    As David Graeber put it: ‘The real question is how to ratchet down a bit more toward a society where people can live more by working less.’ He further opines that the non-working poor may be ‘pioneers of a new economic order that would not share our current one’s penchant for self-annihilation.’[iii]

    The Tedium of Work

    Neo-liberalism is predicated on a shaky assumption that success, measured in money, sex or fame, derives from a single-minded focus on hard work, and paying off one’s debts. It has led to Leo’s misplaced veneration for the alarm clock, and political scapegoating of ‘welfare cheats,’ and others among the ‘undeserving’ poor.

    It is a grand delusion that early rising and hard work make dreams a reality, at its extreme recalling the banner greeting Concentration Camp inmates: arbeit met frei ,‘work will set you free’. A devotion to labour for its own sake is misplaced. In fact, an excess can dull the mind.

    Detail of the main gate at Dachau concentration camp in Germany.

    Adam Smith, the father of Classical Economics, argued that the tedium of monotonous industrial tasks would render anyone ‘stupid and narrow-minded.’ He maintained that the torpor of repetitive labour renders an individual incapable ‘of relishing or bearing a part in rational conversation’, or ‘conceiving generous, noble or tender sentiment;’[iv] asserting this would come in the way of  ‘any just judgment concerning even the ordinary duties of private life.’

    Over the course of the last century especially, workers, including those engaged in monotonous ‘unskilled’ work, joined forces to win a series of improvements to their conditions. These included a five-day week and eight-hour working day, along with a living wage. It brought scope for many, if not most, among what has been pointedly referred to as ‘the working class’ to enjoy a reasonable standard of living across the Western world.

    Steadily rising standards of living in Post-War U.S and Europe brought a profusion of recreational activities including sports, and unprecedented access to the arts, especially film – the defining cultural form of the twentieth century – along with access to higher education for the children of the poor.

    La Dolce Vita

    With a decent life available to most of the population, the decades after World War II are known as Les Trente Glorieuses in France and Il Miracolo Economico in Italy, as salaries kept pace with labour productivity. In large part down to the political clout of the left, including Communist parties.

    But these developments have given way to a sustained global period of widening inequality,[v] associated especially with Ronald Reagan in the U.S. and Margaret Thatcher in the U.K.. Henceforth according to David Graeber, ‘we were all to think of ourselves as tiny corporations.’[vi] This has worked to the detriment of the bulk of the population ill-equipped to understand the complexities – or just uninterested – in financial transactions. Above all it has brought a veneration of property ownership, with speculation encouraged by unscrupulous banks, leading to the property inflation that culminated in the Financial Crash of 2008, when the bubble burst in Ireland and elsewhere.

    Far from bringing wealth to the many, since the 1970s real wages have stagnated, while private, and public debts spiraled, with the wealth of a few expanding grotesquely, especially in recent times.

    U.S. Productivity v Real Wages (source https://thecurrentmoment.wordpress.com/2011/08/18/productivity-inequality-poverty/)

    Tellingly, whereas in the 1950s the CEO of General Motors, then the model of a successful US business, was paid 135 times more than assembly-line workers, fifty years later the CEO of Walmart earned 1,500 times as much as an ordinary employee.[vii] In recent times, the efficiencies enabled by new technologies, often protected by exclusionary patents, are enriching those at the apex of corporations.

    Unions, which were vital for bringing workers’ rights, are now in retreat. Those that remain often only represent employees in privileged positions. A chasm below an unemployment cliff looms in front of us, with little opposition to the new world order.

    Automation

    These developments are a feature of a technological revolution, especially in communications with the advent of the Internet, shattering an apparent post-Cold War consensus, and now shifting the political substrate. The world wide web has rendered words, video and music virtually uncommodifiable, wreaking havoc upon the livelihoods of independent-minded writers, musicians and others artists, who struggle to share their revitalising visions for life.

    Automation now beckons in a host of industries which will further enhance ‘labour productivity’, at the expense of labour, and to the benefit of capital.

    Our present disorder is comparable to the expansion of the Roman Republic in the first century BCE, when territories to the east and west fell to generals such as Caesar, Pompey and Crassus. These charismatic consuls pillaged unprecedented loot, generating an early form of welfare populism and eventually an oligarchic triumvirate. This gave way to the Roman Empire in 49BCE, under the first Emperor Julius Caesar.

    The First Triumvirate of the Roman Empire: Caesar, Pompey and Crassus.

    Today, we have our own benign despots within Big Data, whose loot would make an emperor blush. Their algorithms convey us from purchase to purchase, intruding ever more into our inner-most thoughts. Most worryingly, the independence of voting intentions are being severely tested by sophisticated (anti-) social media platforms.

    At the outset of a dizzying technological revolution a small number of individuals wield unaccountable power, and as time passes the freedom of the Internet recedes. Just as the Celtic tribes of Gaul cowered before the ingenuity of Roman legions, structures of democratic government – states and transnational bodies – melt before the tortoise formations of the corporations, and their often solipsistic commanders.

    As in another age where the value of men was assigned in battle, a capacity to appeal to a wide public with a new Internet tool, whether useful or not, has brought mind-boggling fortunes to the founders and shareholders of Google, Facebook, Instagram and the rest. There is little to prevent villainous characters developing unassailable political power through vast fortunes. The descent of the Roman Empire into corruption and excess should serve as a warning.

    Moreover, just as Johannes Gutenberg was buried in an unmarked grave while others profited from his invention of the printing press, opportunism rather than ingenuity tends to be rewarded; as with the phenomenon of the real estate speculator Donald Trump, who recalls the fiddling Emperor Nero himself. This acknowledged master of the soundbite is the product of inherited wealth, and the redoubtable political nous of Steve Bannon, who preyed on the insecurities of the American worker.

    Johannes Gutenberg buried in an unmarked grave.

    Yet it took an outlier such as Bannon, back in 2017, to lay down a challenge to our New Age consuls: ‘They’re too powerful. I want to make sure their data is a public trust. The stocks would drop two-thirds in value.[viii] Where were mainstream liberals in this debate we might ask?

    One such liberal centurion, Leo Varadkar, offers no opposition to the current economic order. Indeed, he unashamedly promotes dominant corporations in Ireland, through a low, or non-existent, corporation tax regime, long justified simply from the perspective of national self-interest. We had an ‘Ireland First’ doctrine here long before Trump invented America’s.

    The Irish state has been reduced to the role of croupier at a casino table where the super-rich trouser their winnings without being required to even tip the attendants. So obsequious has the Irish government become that the award of an enormous windfall to the exchequer of the Apple tax bill is resisted: ‘Would sir like to cash his chips in now or later?’

    Fuller Flourishing

    The impending obsolescence of much unskilled work may provide an opportunity for a fuller flourishing of homo sapiens. Liberation from tedious tasks, such as driving and manufacturing, should provide scope for the development of the “generous, noble and tender” sentiments referred to by Adam Smith. This wealth ought to be shared with the Global South too that was ravaged by the imposition of unfair loans during the 1970s and 1980s.

    A powerful remedy to our present difficulties could be for a wealthy country such as Ireland to provide a legal guarantee of a basic standard of living for all citizens. This could offer an opportunity for individual fulfillment in various domains, to the ultimate benefit of society at large. It requires additional funding to educational and cultural facilities, and depends on the state regulating the housing market.

    An often parasitic financial services industry should be regulated and taxed effectively, while life’s essentials: especially a roof over one’s head, nutritious food, and public transport, must all become affordable; if not the cheap air travel to which we have grown accustomed. This may seem a Communist ideal, but greater distribution of wealth can work to the benefit of the small-time entrepreneur and lead to a thriving local market.

    The Financial Crisis from 2008 originated in failings within the banking system, unconnected to what were, in fact, increasing efficiencies simultaneously occurring in the real economy. Rethinking economics in its wake involves questioning theoretical limitations on fiscal stimuli. The value we attribute to money is a product of the human imagination, and governments possess a singular capacity to generate more of it through expenditure, as exponents of Modern Monetary Theory demonstrate.

    Magical money.

    Thus George W. Bush’s administration spent its way out of recession without generating inflation. On the other hand, the austerity measures characterising the response of E.U. member states brought prolonged recession, which disproportionately affected the poorest.

    This was not only unnecessary, but economically counter-productive as those on low incomes tend to spend money on day-to-day goods, generally patronising local businesses. Whatever else one may say in favour of the E.U., the Growth and Stability Pact, enshrined in Treaty, represents an obstacle to any member state’s capacity to adopt a fiscal stimulus in periods of recession, and needs to be done away with.

    Aligning policy to the basic needs of the population should be the role of democratic government, but this is often derailed by special interests. Socio-economic rights could ultimately be enshrined in European treaties so as to avoid a repeat of the disgraceful impoverishment of ordinary Greeks and Irish after the 2008 Crash. But generous government expenditure must avoid the bureaucratisation and careerism often found in the state sector, where many seem to stay in jobs through fear of the alternative.

    Intoxication

    Objections to ideas such as basic income and other socio-economic rights, often stem from a pessimistic assessment that if not spurred by the need to work, most of us will indulge our vices, especially excessive consumption of drugs and alcohol. Yet it is apparent that the oblivion of intoxication is associated with the end of the working week in jobs that do not inspire. It is also clear that feelings of worthlessness generate excessive, and often self-destructive appetites.

    A legal right to economic security would take much of the fear, and even boredom, out of life, while affording the possibility for many of us to follow our dreams, and engage in the kind of blue-sky thinking from which innovations arrive. The pursuit of money as an end in itself, is a lust for power held in common with the warlords of yore. Billionaire moguls are a rare breed requiring containment (who in their right mind would have the motivation to earn more than a billion?), and perhaps even compassion.

    Naturally, many of us enjoy the regularity and community of daily work. There is nothing wrong with that and numerous roles will survive the technological onslaught, preserving the satisfaction many derive from a regular schedule.

    Home-makers, farmers, carers, and teachers of all kinds will always be required. The satisfaction of craftsmanship and independent enterprise should be enhanced, so as to generate greater pride and commitment in a chosen field. Goods produced in an ethical and sustainable manner could be encouraged through education, and targeted subsidisation aimed at a diminished carbon impact and reduced waste.

    Technology professionals are particularly prized in our economy, and their continued usefulness is assured. Many wish to devote their talents towards altruistic goals, however, rather than work for vampire corporations, which exploit people and the Earth. The model of the open source Linux operating system – such as I avail of in this software – shows how a spirit of cooperation endures to make technology a collective resource.

    Open-source Linux operating system.

    Company Law

    We might also contemplate a radical shift in company law. The inherent danger of profit-seeking corporations was once widely recognised. Thus, between 1720 and 1825 it was a criminal offence to start a company in England, during a period of rapid economic expansion.

    In the United States until the nineteenth century there were two competing ideas regarding the purpose of companies: the first involved those with charters restricted to the pursuit of objectives in the public interest, such as canal building; the other regime issued charters of a general character, allowing companies to engage in whatever business proved profitable.[ix]

    The latter category emerged triumphant, divorced from responsibility to fellow citizens; an unaccountable abstraction with separate legal personality established in the landmark 1897 case of Salomon v. Salomon. By altering the nature of the company under law we may continue to harness the thrusting energy of entrepreneurship, but for positive ends.

    Acquisition of wealth is not the be-all and end-all for most of us, especially if basic needs are met: we may still have a real dedication to what we do and the drive to achieve it without the promise of untold riches. Changes in company law requiring any enterprise to have a public interest purpose contained in articles and memoranda of association could prove hugely beneficial to society at large.

    Human creativity is manifest in a wide variety of fields. We may discover different vocations throughout our lives, some economically productive, others seemingly desultory, but perhaps crucial to individual development, and sanity, at particular junctures in life. How many criminals – a huge financial burden on any society – are the product of unhappy careers?

    The technologies we have developed should allow many of us to indulge our passions, which can ultimately be to the benefit of all.

    For some of us, the orthodox structure of the working day is unsatisfactory, and diligence occurs in pursuit of self-ordained objectives, rather than via external imposition This may seem like the privilege of an avant-garde, who tend to have enjoyed educational privileges, but many are increasingly imperiled by current economic structures, and wish to stand apart from what amounts to a conspiracy promoting the purchase of property.

    We might draw wisdom from the lifestyle of the early modern craftsman, who was not beholden to a dictatorial clock, which has cast its shadow over the working day since the Industrial Revolution. Households would retire for a few hours after dusk, waking some time later for an hour or two, before taking what was referred to as a second sleep until morning.

    During this interlude, people would relax, ponder their dreams, or perhaps make love. Others would engage in activities like sewing, chopping wood, or reading, relying on the light of the moon, or newly invented oil lamps.

    Nor was the working week set in stone, and the seasons would dictate the extent of one’s labour. Naturally, the number of burghers who dragged themselves out of a generalised misery at that time was limited, but those managing to do so could operate in tune with their own bodies and the rhythms of nature, rather than the demands of the omnipotent factory owner who emerged ascendant after the Industrial Revolution.

    The Factory Clock.

    Winners and Losers

    The level of poverty we permit in our superficially developed societies is, simply, unconscionable. Insecurity and fear afflict far more than those living in destitution, and are the silent forces that drive addiction and insanity. We have our winners and losers, but the number in the former category has declined considerably in recent decades, as the technological race stretches out the field.

    Just as the Roman Empire grew out of economic imbalances resulting from conquest, our own societies confront unassailable capital, which feeds a delusion that chosen people can be saved from barbarian hordes.

    The possibilities for homo sapiens are boundless. But we require basic safeguards to flourish. Companies can operate for the benefit of society as a whole, harnessing the dynamism of the entrepreneur, and working cooperatively as the craftsman once did. Let us avoid the fate of the Roman Republic, and prosper together.

    An earlier version of this article appeared in February, 2018.

    Follow Frank Armstrong on Twitter.

    [i] Fintan O’Toole, Varadkar’s vacuous slogan reveals a mean streak,’ Irish Times, December 31st, 2019, https://www.irishtimes.com/opinion/fintan-o-toole-varadkar-s-vacuous-slogan-reveals-mean-streak-1.4127418?mode=sample&auth-failed=1&pw-origin=https%3A%2F%2Fwww.irishtimes.com%2Fopinion%2Ffintan-o-toole-varadkar-s-vacuous-slogan-reveals-mean-streak-1.4127418

    [ii] Elaine Edwards, ‘Irish inequality blamed on ‘unusually high’ levels of low pay and weak protections’, Irish Times, February 19th, 2019, https://www.irishtimes.com/news/social-affairs/irish-inequality-blamed-on-unusually-high-levels-of-low-pay-and-weak-protections-1.3798081

    [iii] David Graeber, Debt – The First 5,000 Years, Melville, London, 2011, p.390

    [iv] Theodore Zeldin, The Hidden Pleasures of Life – A New Way of Remembering the Past and Imagining the Future, Maclehose Press, London, 2015 p.77

    [v] Ted Knutson, ‘Income Inequality Up In Every State Since The 1970s, Says New Report From Liberal Think Tank’, Forbes, July 21st, 2018, https://www.forbes.com/sites/tedknutson/2018/07/21/income-inequality-up-in-every-state-since-the-1970s-says-new-report-from-liberal-think-thank/#3f0e83a023e9

    [vi] Greaber (2011), p.377

    [vii] Zeldin (2015), p.220

    [viii] Gabriel Sherman, ‘“I Have Power”: Is Steve Bannon Running for President?’ Vanity Fair, December 21st, 2017, https://www.vanityfair.com/news/2017/12/bannon-for-president-trump-kushner-ivanka

    [ix] Zeldin (2015), p.232