Categories
Arts

Tous à poils (the naked truth)

nude_akkuza

Jean-François Copé, president of France’s UMP party, is currently in the news for his attack on a book that he claims is being suggested for the official primary school reading list. Entitled “Tous à poil” (Everybody naked), this book reminds me of another great bestseller among young kids nowadays (Everyone poops). Part of a wider range of books entitled “For the equality between boys and girls: 100 youth albums”, the books’ aim is to break down the stereotype of differences between boys and girls and stresses the normality of nudity.

The baby-sitter is naked, the teacher is naked, the president is naked… Copé showed his indignation and asked whether it was not time for Paris (read the establishment) to stand up and notice what was going on. Unfortunately for the wider debate, the book is not really on the recommended list for primary school teaching. What happened was that Copé got to the book via a link on the page to l’Atelier des Merveilles which is the association promoting the above series.

In 2014, western liberal democracy still has huge difficulties dealing with nudity. In another book review this morning, a chronicler of FEMEN’s exploits in France told the interviewer how it was hard for her to explain to a Ukrainian FEMEN activist that attacking a church with nudity (for the uninitiated, FEMEN tend to protest topless) in la France laique would not have the same effect. THE Ukrainian activist retorted that laiceté had nothing to do with it – if the church was active in social affairs (notably on same-sex marriage) then it should expect that protests turn up on its doorstep too.

Which brings me to the Jiena Inhobb business. From what I gather the play is a raving success. I have been unable to watch it due to problems of distance. Having said that it has been interesting watching the play’s interaction with the public – before the performance started and now that we have the first reviews. Interviewed in MaltaToday early on Simon Bartolo was irked that the “controversy” surrounding the play before it started might have stolen a bit of the limelight.

Once the play began it was only a matter of hours before we could gauge the first reactions. My worry (and probably that of people like Simon Bartolo) was that any possible nudity would eclipse any other message the play might be passing on. As it happens there WAS definitely a short term effect of having tits and dicks on stage but the general message of the play seems to have survived the early onslaught. Yes, I have seen more than one comment from patrons of the show about the ridiculous reactions (and childish giggles) upon first seeing a pair of breasts or a penis on stage but it would seem that the actual subject matter of the play trumped the nudity – as it should be.

We have a situation where we cannot be too sure whether Jiena Inhobb would have passed the censors in the “pre-liberal” era. Somehow (but I stand to be corrected) I do not think that this is the first play in the last decade to have full nudity on stage. It is intriguing that some reports still linger on the nudity issue itself (for a great review, if you have access to it, check out the facebook note by Mario Vella see note below by Mario Vella reproduced with kind permission – who puts the nudity issue very much into its place and concentrates on the more important elements – such as whether or not the play’s message is passé).

Our relationship with nudity – topless sunbathing, strip clubs, nudity on stage, sexual education – is still very conservative and poses quite a stumbling block to our collective maturity. Copé’s outburst is a reminder that conservative elements remain everywhere, not Only in Malta, but we still have a long introspective study to make before we can claim to have been liberated from the shackles of collective prudery. Randomly inspired legislation that only serves to silence some vote-getting lobby will not work on the real issue here. Without a real social discussion on the issue we can never move on.

That, I’m afraid, might be the naked truth.

 

MARIO VELLA’S NOTE/REVIEW.

OPINIONS EXPRESSED BELOW ARE EXCLUSIVELY THOSE OF MARIO VELLA. THIS DOES NOT MEAN THAT MARIO VELLA ENDORSES ANY PART OF THE J’ACCUSE POST.

Kelmtejn fuq ‘Jiena Nhobb, Inti Thobb’ li qieghdha tintwera l-Manoel bhalissa. Ser nipprova nharbex xi haga ghax naf fic-cert li bhall ma jigri ghal ezebizzjonijiet teatrali l-ohra kollha li kelli x-xorti (kultant anke l-isfortuna) li nattendi ghalihom, l-oggettivita ser tisfa mormija fiz-zibel frott dawn l-obbligi socjali li bhala Maltin inhossu fil-konfront ta’ kollegi, hbieb u mhumiex li wiehed inevitabbilment ser jispicca jhabbat wiccu maghhom illum jew ghada. ‘Jiena Nhobb, Inti Thobb’ hija tassew play relevanti ghal gurnata tal-llum u inutli wiehed jipprova jimminaha billi jattribwila aggettivi negattivi bhal ‘passe’ , ‘goffa’ jew sahansitra ‘retrograda’. Xoghol li jirrifletti il-battalji politici/socjali tal-gurnata ma jixraqlux ikun imxekkel minn tali kritika – kif nistenna ser tkun minn certu kwartieri, ghalkemm qatt pubblikament ghax nghiduha kif inhi, il-viljakkerija taghna tizboq kwalunkwe talent li qatt nistghu inhaddnu. Xoghol li pubblikament iqanqal l-ghadab ta’ bosta moralisti li ghadom ihossuhom intitolati li jiimmonopolizzaw u jissabutaggjaw patrimonjii umani (u fuq kollox Kristjani) bhal ‘moghodrija’, ‘imhabba’ u ‘salvazzjoni’ ma jista qatt ikun ‘skontat’. Mil-banda l-ohra wisq nibza li l-agendi perversi ta dawn it-talin li accennajt ghalihom kultant jispiccaw iwelldu ohrajn li flok jibbilancjaw il-mizien ikomplu jrewwhu id-dhahen fl’ghajnejn bir-rizultat li kulhadd jispicca sulu jhares lejn ix-xemx minn go gharbiel.

L-affarijiet li ghogbuni f’Jien Nhobb, Inti Thobb’ kienu bosta. Ghogobni ferm l-ensemble karizmatiku tieghu, u nittama ma nkunx qieghed nonqos lil-bqija tal-kast jekk niddistingwi lil- Ray Calleja ghan naturalezza u intelligenza interpretativa tieghu – kwalita li sfortunatament mhix daqstnat komuni fuq il-palk Malti. Ghogobni hafna l-uzu tal-ispazju, ghogbitni l-kitba li fl-ewwel att offriet bilanc dinjituz bejn ‘screwball comedy’ klassika u kummentarju socjali hieles minn tqanzih u tmiegh zejjed bl-imgharfa. Laqtitni wkoll il-facilita li biha d-diretturSean Buhagiar (debuttant f’dan ir-rwol) irnexxielu jalterna bejn id-diversi karattru f’dawn l-ewwel battuti tal-play minghajr ma qatt jitlef ir-riedni tad-diversi possibiltajiet offruti mill-iskript ta Simon Bartolo. Sfortunatament mhux l-istess jista jinghadd ghat tieni att ta dan ix-xoghol teatrali li jiftah b’xena domestika ferm imgebbda.

SPOILERS

Nifhem il-htiega li wiehed jiffoka fuq il-mizerji domestici tal-karattru interpretat minn Roderick Vassallo u nifhem ukoll li din kellha twitti t-triq (inevitabbli?) ghal konfessjoni imqanqla tieghu izjed tard pero xorta hassejt li din ix-xena kienet nieqsa mir-ritmu mehtieg. Nghaddi issa ghal istess konfessjoni li kellha tipprovdi wahda mil-bosta qcacet emozzjonali tal-play. Hawn hassejt li Bartolo tilef kollox ghaliex naqas li jkun kuraggjuz bizzejjed sal-punt li jipprezentalna dan il-karattru ghal dak li hu – Cioe gay li kien qieghed jghix gidba devastanti ghalih u ghal dawk kollha ta madwaru. Hawnhekk il-kittieb hass il-htiega ezagerata li jaghsar l-ahhar qtar ta’ empatija mil-udjenza billi jghabbi lil-martu bit-‘tort’ tal-infedelta u ghaldaqstant jiskongra kompletament lil-dan il-karattru mil-konsegwenzi ta ghemilu. Nuqqas kbir iehor hassejt li sar fil-konfront tal-karattru ta Devon (nittama li gibt ismu tajjeb) li minn predatur sesswali b’potenzjal kbir drammatiku jigi relegat ghal semplici kondiment li jqanqal il-fantaziji sesswali elementari tal-persunaggi tal-play u forsi…sa certu punt…tal-udjenza wkoll. Anke t-tragedja kbira li ssehh f’dawn il-battuti tinhass kemmxejn grotteska u sa certu punt titradixxi dak li b’tant hila kien stabbilit fl-ewwel att. Hawnhekk il-kuntest tal-play jintesa u kull attenzjon ghal ‘kejl’ tisfa abbandunat sabiex jigu sodisfatti htigijiet drammatici kemmxejn artificjali. Idejjaqni hafna dan in-nuqqas ta fidi fl-intuwizzjoni naturali tal-udjenza……izjed u izjed f’xoghol li min-natura innifisha tieghu kellu l-obbligu li jkun provokattiv. Tghiduli x’fidi jista jifdallek fl-udjenzi meta fl-2014 ghadek tisma bosta patruni jfaqqaw id-dahk barra minn loku jew aghar minn hekk jistghagbu bid-dehra ta zobb (ghalkemm wiehed il-gmiel tieghu) fuq il-Palk Nazzjonali Malti? Dahri mal-hajt hekk x’nista nghid hlief li minghajr il-fidi m’hemmx tama?

Nittama li din ir-ricensjoni tittiehed fl-ispirtu ta djalogu li fih inkitbet. Jekk le, wiehed dejjem jista jsib farag fl-imhaded kritici ta xi hadd bhal Dr. Pawlu Xuereb li ilu ‘jirraporta’ it-teatru daqs kemm Ruth Amaira ilha taqra l-ahbarijiet.

QABEL INHALLIKOM NIXTIEQ MIL-GDID NAWGURA IL-GID KOLLU TAD-DINJA LIL-KULL MINN KELLU X’JAQSAM MA DIN IL-PLAY U FUQ KOLLOX INHEGGEG LIL-MIN JINSAB BEJN HALLTEJN JEKK JATTENDIX JEW LE SABIEX JAQBAD U JMUR IL-MANOEL. BIR-RISERVI KOLLHA LI INTHOM INDUBBJAMENT INTITOLATI GHALIHOM XORTA HEMM CANS TAJJEB LI TIEHDU GOST U TKUNU MQANQLA FUQ XI LIVELL JEW IEHOR.

Categories
Mediawatch

Notre classe politique est une pipe

pipe_akkuza.com

I believe that I have referred to this idea at least once before. Magritte’s creation seems prima facie to be an inherent contradiction since he accompanies an image of a pipe with the caption “this is not a pipe”. In actual fact Magritte’s observation was more of the obsessive compulsive kind – “you could not stuff this pipe, it is just a representation, it is not a pipe but an image thereof”.

I like to think that our political class, and particularly the Taghna Lkoll Movement/Government have mastered the art of denying the obvious that is in your head. They will present you with a pipe – as real as can be – and then proceed to deny that it is a pipe at all. Magritte’s prima facie contradiction becomes a reality after all. In this the Taghna Lkoll Movement and its discontents are aided by a particularly malleable media and a voting class that is more than willing to dance to the tune as the piper intended.

It is only with such “politics” that a government can afford to claim not to be putting citizenship up for sale when no matter which way you look at the (revised) proposals we are still facing an outright sale of passports – changing the small print does not change anything of the final underlying reason for the transaction. It is such “politics” that allow a well-oiled media machine to “sell” the idea that citizenship has always been easily obtainable (so why no charge a price?) while at the same time denying that this has anything to do with price. Such “politics” sells you the lie that this is all about attracting “talent” to Malta. Indeed.

Meanwhile the opposition huffs and puffs and is still unable to put Humpty together again after his great fall. Right now the opposition is gearing for the forthcoming MEP elections and is investing quite a little bit of its time in hyping up its list of candidates. The latest to be mentioned is one of the biggest pipes in Maltese “journalism” – the inimitable (thankfully) Norman Vella. Not content with overhyping the legal qualities of some of its line-up, still unsatisfied with the questionable economic credentials of some of its other careerist members of the list, we now have the PN pushing Norman Vella as a journalist. “Ceci n’est pas une pipe, c’est Norman Vella.”

Will the voters have enough? Have they not seen enough posturing and over-hyping from both sides? The great toilet of so-called journalism in Malta will survive many a flush and seems to be geared to provide the electorate with more and more choices for European election day. The parties will strut up the figures of their supposedly pre-selected candidates and will over-sell them to a populace that seems to have given up on any concept of discernment. The candidates will shoot non sequiturs of the highest order – sometimes hyping up an issue as though they have discovered the world. Thus Cyrus Engerer and Stefano Mallia supposedly “agree” that the President of the Republic should be chosen from outside the politicial milieu. A non-politician. “Ceci n’est pas un politicien, c’est votre President de la Republique”.

It’s getting very, very confusing and more and more difficult to cut through the hyperreal crap that the establishment uses to legitimate the ideas that it sells. When we fail to question the obvious and to point out the embarrassing nudity of the Emperor we insist on committing a disservice to ourselves. As the various lobbies continue to struggle for a place to suckle at the teat of this Labour government’s fat pig bonanza, they become willing participants in the lie that we live in daily. It will become harder and tougher to call their bluff. And by “their”  I mean all of them.

Ceci n’est pas un blog post politique.

1. The government will be revising art censorship laws. Malta does not have art censorship laws, it has censors in artists’ head. Ceci n’est pas une phrase censurée.

2. The biggest issue in the controversy on gay adoption is not whether it should be allowed but whether this government had a mandate to introduce it. Ceci n’est pas un enfant terrible.

3. The Bishop’s rant about moral duties of politicians in parliament is a huge tautology. The truth is that any politician is accountable to his own set of morals and values as well as those of his party. Whether they are legislating on spring hunting or gay adoption politicians are supposedly inspired by a code of ethics, morals and values. The trick is in finding out what values our politicians and their parties represent. Ceci n’est pas une blague.

4. 10 months into this legislature and we still have no news about those ridiculous claims by various ministers as to what they earned. Ceci n’est pas un bon souvenir.

5. The oil purchasing scandal rages on. It remains the biggest excuse yet whenever you confront Labour with anything wrong with their government. Ceci n’est pas une bonne excuse.

6. Arriva left the island. The money that went into the government side of transport planning remains money hopelessly spent. The luminaries behind the ideas that tied Arriva’s hands as from its arrival (excuse the pun) have a lot to answer for. The general public remains blind to a series of improvements that Arriva made (quality wise) – except in Gozo of course where Arriva worked like clockwork and actually contributed to an increase in public transport use. Ceci n’est pas un autobus en flammes.

 

 

Categories
Arts

Blasphemy and Censorship

I have often been involved in heated discussions about the nature and existence of censorship in our country. Recent PLPN attempts at appeasing the crowd of baying artists who claim to be oppressed when it comes to our censorship laws were often the trigger for such conversations. I tend to hold the opinion that most censorship is in your head and that this, coupled with the need for basic criminal offences that need not be extended to the sphere of the stage (I understand the rationale behind a blasphemy law but not the nonsensical application thereof to a dramatic performance), is where most of our censorship really is.

My suggestion to “provoke” the law and its jurisprudence very often finds the boringly repetitive argument of “it is easy to be a sofa critic” thrown at me. The truth remains though that a large part of our artistic and intellectual community are virtually advocating for some form of nihil obstat from the state – a permission to be naughty. I tend to draw on the tried and tested “provocations” by Banksy as an example but today I’d like to give another historic parallel. Here is an extract from Niall Ferguson’s “Civilisation”, in the hope that it could continue to “provoke” this discussion.

“The revolutions of 1848 were even more widespread. People took to the streets in Berlin, Dresden, Hanover, Karlsruhe, Kassel, Munich, Stuttgart and Vienna, as well as in Milan, Naples, Turin and Venice. It was a revolution led by intellectuals disenchanted above all with the limits imposed on free expression by the royal regimes restored in 1815. Typically, the composer Richard Wagner and the Russian anarchist Mikhail Bakunin did their bit for the ‘world conflagration’ by plotting to write a blasphemous opera together.

Wagner had, according to his autobiography ‘conceive[d] the plan of a tragedy for the ideal stage of the future, entitled Jesus of Nazareth. Bakunin begged me to spare him any details; and when I sought to win him over to my project a few verbal hints, he wished me luck, but insisted that I must at all costs make Jesus appear as a weak character. As for the music of the piece, he advised me, amid all the variations, to use only one set of phrases, namely: for the tenor, “Off with His head!”; for the soprano, “Hang Him!”; and for the basso continuo, “Fire!, fire”‘. The anecdote nicely captures the overheated spirit of 1848.”

 

Categories
Mediawatch

Intellectual cowardice and the constitution

MaltaToday carries a report about a man who was arraigned in court for having made what turned out to be false claims about ex-PN leadership contender Francis Zammit Dimech. The man had made these claims on Facebook and Zammit Dimech considered them to be sufficiently injurious and false as to take legal action in this regard (an action for defamation). The outcome is a slap on the hand for the man and apologies that were accepted.

When the law works like a properly oiled machine every citizen gets the service that he deserves. Not only that though, you also have to consider that the correct balance of different freedoms will eventually finds its natural or legal course. Unlike the Paywall Paper and the Indy, MaltaToday does not seem to carry the controversial reports with regards to George Vella’s statements about wanting to rein in the media. Nobody seems to have bothered to transcribe the controversial part of his address so J’accuse has gone and done that for you:

Ejja let us rein in, ejja nikkontrollaw il-media taghna. Mhux inbilli nghidu” ahna le m’ghandna xejn kontra dak u ahna pozittivi” imma imbaghad nafu li l-media taghna (stampata, viziva whatever)  tibqa’ ssawwat tibqa’ ssawwat u tikkritika…hija parti minnha. Ma nistax nghid jiena “le ahna nirrispettaw lil dak li jkun m’ahniex aggressivi” u jkollok il-midja aggressiva u min jifhem fil-midja jghallimni illi taf tkun iktar aggressiv bil-midja milli b’ilsienek u  bil-mod kif inti titkellem imma naraw illi ikun hemm dak l-element ta’… forsi jghiduli “x’ghandek kontra l-media”, il-media allahares ma kenitx, hija r-raba kolonna tad-demokrazija… però il-media responsabbli ukoll u ma nistax jien nuza l-media biex inkeskes biha minn taht biex tohloq l-opinjonijiet minn taht biex naghmel character assassinations minn taht imbaghad nigi nghid “le imma ahna irridu nikkoperaw”. Dawn huma affarijiet illi sfortunatament matul is-snin li ili hawn gew jien rajthom, ghaddejt minnhom u inhoss illi ma gewx ikkontrollati ghal kollox. U irridu noqghodu attenti ghaliex jekk kemmildarba ahna ma jkollniex kontroll fuq dawn l-ghodda illi (gustament ghaliex le) il-partiti illum ihaddmu halli jkunu jistghu iwasslu l-messagg taghhom inkunu qieghdin xorta niffomentaw id-disgwid, niffomentaw il-bad blood u ha nghid wahda halli inkun qed nirrepetiha ghall-miljun darba din : Jekk ahna l-politici ma nirrispettawx lilna infusna, il-poplu ma jirrispettaniex.

It’s a ramble that taken out of context seems to be the fruit of a sudden afterthought in the middle of a speech. Vella’s call to “rein in media” was quickly the subject of newspaper headlines – at least the Independent and the Times. The Independent now carries a clarification by Dr Vella who stated that he was referring to “self-regulation”. There was talk or mention of “breach of privilege” though that seems to have died down too. Some reflections can be made though of what actually was said (and was not said) in those few lines by our Foreign Minister.

1. The forum

George Vella chose to utter these ambiguous words in parliament. True “media taghna” presumably refers to “the media that we own” – which basically could mean the party propaganda machines. Why do so in parliament? Why mention “media” generically in the next statements? The use of phrases such as “character assassinations” is either naively stupid or an attempt at being smart. There is only one type of media that has been constantly pigeonholed as being the main culprit of character assassinations and “attakki fahxija” and that is not one owned or accountable to any of the parties.

2. Practice what you preach

If the problem were limited to the ridiculous state of the party propaganda machines Vella could do nothing better than start cleaning up the act in his own house. Assuming any journalists are left that are not currently in the employ of government then one would expect Vella to be addressing his party’s media lackeys and giving them a new task and set of standards that he so dearly aspires to. After that he could invite the PN to do the same with their own house. A speech in parliament about “media needing to be reined in” that speaks of the “fourth estate” can only be alarming because any excuse is possible to suddenly have parliament assuming the role of regulator and censor.

3. Publish and be damned

Vella’s outburst can be excused because it seems to have been an off the cuff, unprepared set of remarks. Then again this is the foreign minister speaking in parliament. He may have the fault of not being a lawyer and not understanding the import of each and every word that he will utter but that is no excuse at this level. It could only get worse should he really consider to unearth the tool (weapon?) of parliamentary privilege rather than use a press conference to clarify his statements (hopefully in a credible manner). (see Indy report on breach of privilege)

4. Intellectual cowardice

The fear that the parties and their followers have of the power of some sections of the media is incomprehensible. The elephant in the corner in Vella’s speech is another Vella (albeit née Vella). The obsession with the Caruana Galizia’s and Borg Cardona’s of this world has become one gigantic ridiculous mountain. It has led people to confuse free and open discussion, to ignore the basic protections that exist at law should they require them and above all to ignore the fact that blogs and bloggers only have power when people give much value to what they write.

Unlike many of my colleagues I will defend the right of every single blogger to publish and be damned especially if there is an infinitesimal risk that through some rare moment of insight shining from among  a myriad bullshit posts  that blogger could function as another tool in this fourth pillar of democracy.

The gullible willingness of sections of the population who would willingly accede to Vella’s requests to “rein in and control” shocks me a million times more than some ridiculous pink magazine style blog posts about the latest antics of one of our public figures. Even more shocking is the intellectual cowardice of many who would fear speaking out openly against any attempt to introduce regimes that stifle thought and expression with some pithy excuse of protecting the public.

Categories
Arts

Fu*king Censorship

They’re at it again. There’s a sector of our so-called “artistic community” who insist on operating strictly on terms that equate their freedom of expression to some school project approved by teacher and headmaster. Already when the Stitching case first came to light we had many a protest about “the death of expression” and mock funerals. J’accuse had taken a very clear position back then – this was a case of the law’s transient provisions needing a re-application and updating in accordance with the mores of society. What we also found obnoxious was the niggling need of our “artists” to obtain a “nihil obstat” from every authority before staging “provocative” pieces. In my not too humble opinion they missed the point completely. Provocative pieces HAVE to be staged without authority’s acquiescence. Take to the streets if necessary – under pouring rain in the midst of Valletta commuters declaim all the “fucks” you like and picture as many “vaginas and penises” as your might require to provoke.

Instead our artists will sit and weep in a corner and when they are not bemoaning the lack of funding for their social projects they will be telling us how all that they have to say and do is being suffocated by that behemoth called CENSORSHIP.

Enough I say. The Stitching appeal was based and framed within the context of the old laws. Why are we surprised that the court was consistent in upholding the ban? Isn’t that why the laws were changed in the end? Have things really remained the same? Is our artistic community suffering the pains of further censorship? Like hell they are.

Go ahead and stage the bloody piece.

 

Howl. Allen Ginsberg.

I saw the best minds of my generation destroyed by 
madness, starving hysterical naked, 
dragging themselves through the negro streets at dawn 
looking for an angry fix, 
angelheaded hipsters burning for the ancient heavenly 
connection to the starry dynamo in the machinery of night, 
who poverty and tatters and hollow-eyed and high sat 
up smoking in the supernatural darkness of 
cold-water flats floating across the tops of cities 
contemplating jazz, 
who bared their brains to Heaven under the El and 
saw Mohammedan angels staggering on tenement roofs illuminated, 
who passed through universities with radiant cool eyes 
hallucinating Arkansas and Blake-light tragedy 
among the scholars of war, 
who were expelled from the academies for crazy & 
publishing obscene odes on the windows of the skull,
who cowered in unshaven rooms in underwear, 
burning their money in wastebaskets and listening 
to the Terror through the wall, 
who got busted in their pubic beards returning through 
Laredo with a belt of marijuana for New York, 
who ate fire in paint hotels or drank turpentine in 
Paradise Alley, death, or purgatoried their 
torsos night after night 
with dreams, with drugs, with waking nightmares,
alcohol and cock and endless balls, 
incomparable blind; streets of shuddering cloud and 
lightning in the mind leaping toward poles of Canada & Paterson,
illuminating all the motionless world of Time between, 
Peyote solidities of halls, backyard green tree cemetery 
dawns, wine drunkenness over the rooftops, 
storefront boroughs of teahead joyride neon 
blinking traffic light, sun and moon and tree 
vibrations in the roaring winter dusks of Brooklyn,
ashcan rantings and kind king light of mind, 
who chained themselves to subways for the endless 
ride from Battery to holy Bronx on benzedrine 
until the noise of wheels and children brought 
them down shuddering mouth-wracked and 
battered bleak of brain all drained of brilliance 
in the drear light of Zoo,
who sank all night in submarine light of Bickford's 
floated out and sat through the stale beer after
noon in desolate Fugazzi's, listening to the crack 
of doom on the hydrogen jukebox, 
who talked continuously seventy hours from park to 
pad to bar to Bellevue to museum to the Brooklyn Bridge, 
lost battalion of platonic conversationalists jumping 
down the stoops off fire escapes off windowsills 
off Empire State out of the moon, 
yacketayakking screaming vomiting whispering facts 
and memories and anecdotes and eyeball kicks 
and shocks of hospitals and jails and wars, 
whole intellects disgorged in total recall for seven days 
and nights with brilliant eyes, meat for the 
Synagogue cast on the pavement, 
who vanished into nowhere Zen New Jersey leaving a 
trail of ambiguous picture postcards of Atlantic City Hall, 
suffering Eastern sweats and Tangerian bone-grind-ings and 
migraines of China under junk-with-drawal in Newark's bleak furnished room, 
who wandered around and around at midnight in the 
railroad yard wondering where to go, and went, 
leaving no broken hearts, 
who lit cigarettes in boxcars boxcars boxcars racketing 
through snow toward lonesome farms in grand-father night, 
who studied Plotinus Poe St. John of the Cross telepathy 
and bop kabbalah because the cosmos instinctively 
vibrated at their feet in Kansas, 
who loned it through the streets of Idaho seeking visionary 
indian angels who were visionary indian angels, 
who thought they were only mad when Baltimore 
gleamed in supernatural ecstasy, 
who jumped in limousines with the Chinaman of Oklahoma on the impulse of winter midnight street
light smalltown rain, 
who lounged hungry and lonesome through Houston 
seeking jazz or sex or soup, and followed the 
brilliant Spaniard to converse about America 
and Eternity, a hopeless task, and so took ship to Africa, 
who disappeared into the volcanoes of Mexico leaving 
behind nothing but the shadow of dungarees 
and the lava and ash of poetry scattered in fireplace Chicago, 
who reappeared on the West Coast investigating the 
F.B.I. in beards and shorts with big pacifist 
eyes sexy in their dark skin passing out incomprehensible leaflets, 
who burned cigarette holes in their arms protesting 
the narcotic tobacco haze of Capitalism, 
who distributed Supercommunist pamphlets in Union 
Square weeping and undressing while the sirens 
of Los Alamos wailed them down, and wailed 
down Wall, and the Staten Island ferry also wailed, 
who broke down crying in white gymnasiums naked 
and trembling before the machinery of other skeletons, 
who bit detectives in the neck and shrieked with delight 
in policecars for committing no crime but their 
own wild cooking pederasty and intoxication, 
who howled on their knees in the subway and were 
dragged off the roof waving genitals and manuscripts, 
who let themselves be fucked in the ass by saintly 
motorcyclists, and screamed with joy, 
who blew and were blown by those human seraphim, 
the sailors, caresses of Atlantic and Caribbean love, 
who balled in the morning in the evenings in rose
gardens and the grass of public parks and 
cemeteries scattering their semen freely to 
whomever come who may, 
who hiccuped endlessly trying to giggle but wound up 
with a sob behind a partition in a Turkish Bath 
when the blond & naked angel came to pierce 
them with a sword, 
who lost their loveboys to the three old shrews of fate 
the one eyed shrew of the heterosexual dollar 
the one eyed shrew that winks out of the womb 
and the one eyed shrew that does nothing but 
sit on her ass and snip the intellectual golden 
threads of the craftsman's loom, 
who copulated ecstatic and insatiate with a bottle of 
beer a sweetheart a package of cigarettes a candle and fell off the bed, and continued along 
the floor and down the hall and ended fainting 
on the wall with a vision of ultimate cunt and 
come eluding the last gyzym of consciousness, 
who sweetened the snatches of a million girls trembling 
in the sunset, and were red eyed in the morning 
but prepared to sweeten the snatch of the sun
rise, flashing buttocks under barns and naked in the lake, 
who went out whoring through Colorado in myriad 
stolen night-cars, N.C., secret hero of these 
poems, cocksman and Adonis of Denver-joy 
to the memory of his innumerable lays of girls 
in empty lots & diner backyards, moviehouses' 
 rickety rows, on mountaintops in caves or with 
gaunt waitresses in familiar roadside lonely petticoat upliftings & especially secret gas-station 
solipsisms of johns, & hometown alleys too, 
who faded out in vast sordid movies, were shifted in 
dreams, woke on a sudden Manhattan, and 
picked themselves up out of basements hung
over with heartless Tokay and horrors of Third 
Avenue iron dreams & stumbled to unemployment offices, 
who walked all night with their shoes full of blood on 
the snowbank docks waiting for a door in the 
East River to open to a room full of steamheat and opium, 
who created great suicidal dramas on the apartment 
cliff-banks of the Hudson under the wartime 
blue floodlight of the moon & their heads shall 
be crowned with laurel in oblivion, 
who ate the lamb stew of the imagination or digested 
the crab at the muddy bottom of the rivers of Bowery, 
who wept at the romance of the streets with their 
pushcarts full of onions and bad music, 
who sat in boxes breathing in the darkness under the 
bridge, and rose up to build harpsichords in their lofts, 
who coughed on the sixth floor of Harlem crowned 
with flame under the tubercular sky surrounded 
by orange crates of theology, 
who scribbled all night rocking and rolling over lofty 
incantations which in the yellow morning were 
stanzas of gibberish, 
who cooked rotten animals lung heart feet tail borsht 
& tortillas dreaming of the pure vegetable kingdom, 
who plunged themselves under meat trucks looking for an egg, 
who threw their watches off the roof to cast their ballot 
for Eternity outside of Time, & alarm clocks 
fell on their heads every day for the next decade, 
who cut their wrists three times successively unsuccessfully, gave up and were forced to open antique 
stores where they thought they were growing 
old and cried,
who were burned alive in their innocent flannel suits 
on Madison Avenue amid blasts of leaden verse 
& the tanked-up clatter of the iron regiments 
of fashion & the nitroglycerine shrieks of the 
fairies of advertising & the mustard gas of sinister intelligent editors, or were run down by the 
drunken taxicabs of Absolute Reality, 
who jumped off the Brooklyn Bridge this actually happened and walked away unknown and forgotten 
into the ghostly daze of Chinatown soup alley
ways & firetrucks, not even one free beer, 
who sang out of their windows in despair, fell out of 
the subway window, jumped in the filthy Passaic, leaped on negroes, 
cried all over the street, 
danced on broken wineglasses barefoot smashed 
phonograph records of nostalgic European 
1930s German jazz finished the whiskey and 
threw up groaning into the bloody toilet, moans 
in their ears and the blast of colossal steam whistles, 
who barreled down the highways of the past journeying 
to each other's hotrod-Golgotha jail-solitude 
watch or Birmingham jazz incarnation, 
who drove crosscountry seventytwo hours to find out 
if I had a vision or you had a vision or he had 
a vision to find out Eternity, 
who journeyed to Denver, who died in Denver, who 
came back to Denver & waited in vain, who 
watched over Denver & brooded & loned in 
Denver and finally went away to find out the 
Time, & now Denver is lonesome for her heroes,
who fell on their knees in hopeless cathedrals praying 
for each other's salvation and light and breasts, 
until the soul illuminated its hair for a second, 
who crashed through their minds in jail waiting for 
impossible criminals with golden heads and the 
charm of reality in their hearts who sang sweet 
blues to Alcatraz, 
who retired to Mexico to cultivate a habit, or Rocky 
Mount to tender Buddha or Tangiers to boys 
or Southern Pacific to the black locomotive or 
Harvard to Narcissus to Woodlawn to the 
daisychain or grave, 
who demanded sanity trials accusing the radio of hyp
notism & were left with their insanity & their 
hands & a hung jury, 
who threw potato salad at CCNY lecturers on Dadaism 
and subsequently presented themselves on the 
granite steps of the madhouse with shaven heads 
and harlequin speech of suicide, demanding instantaneous lobotomy, 
and who were given instead the concrete void of insulin 
Metrazol electricity hydrotherapy psychotherapy occupational 
therapy pingpong & amnesia, 
who in humorless protest overturned only one symbolic 
pingpong table, resting briefly in catatonia,
returning years later truly bald except for a wig of 
blood, and tears and fingers, to the visible mad
man doom of the wards of the madtowns of the East, 
Pilgrim State's Rockland's and Greystone's foetid 
halls, bickering with the echoes of the soul, 
rocking and rolling in the midnight solitude-bench 
dolmen-realms of love, dream of life a nightmare, 
bodies turned to stone as heavy as the moon, 
with mother finally ******, and the last fantastic book 
flung out of the tenement window, and the last 
door closed at 4. A.M. and the last telephone 
slammed at the wall in reply and the last furnished room 
emptied down to the last piece of mental furniture, 
a yellow paper rose twisted on a wire hanger in the closet, 
and even that imaginary, 
nothing but a hopeful little bit of hallucination
ah, Carl, while you are not safe I am not safe, and 
now you're really in the total animal soup of time
and who therefore ran through the icy streets obsessed 
with a sudden flash of the alchemy of the use 
of the ellipse the catalog the meter & the vibrating plane,
who dreamt and made incarnate gaps in Time & Space 
through images juxtaposed, and trapped the 
archangel of the soul between 2 visual images 
and joined the elemental verbs and set the noun 
and dash of consciousness together jumping 
with sensation of Pater Omnipotens Aeterna Deus 
to recreate the syntax and measure of poor human 
prose and stand before you speechless and intelligent 
and shaking with shame, 
rejected yet confessing out the soul to conform to the rhythm 
of thought in his naked and endless head, 
the madman bum and angel beat in Time, unknown, 
yet putting down here what might be left to say 
in time come after death, 
and rose reincarnate in the ghostly clothes of jazz in 
the goldhorn shadow of the band and blew the 
suffering of America's naked mind for love into 
an eli eli lamma lamma sabacthani saxophone 
cry that shivered the cities down to the last radio 
with the absolute heart of the poem of life butchered 
out of their own bodies good to eat a thousand years.
What sphinx of cement and aluminum bashed open 
their skulls and ate up their brains and imagination? 
Moloch! Solitude! Filth! Ugliness! Ashcans and unob
tainable dollars! Children screaming under the 
stairways! Boys sobbing in armies! Old men 
weeping in the parks! 
Moloch! Moloch! Nightmare of Moloch! Moloch the 
loveless! Mental Moloch! Moloch the heavy 
judger of men! 
Moloch the incomprehensible prison! Moloch the 
crossbone soulless jailhouse and Congress of 
sorrows! Moloch whose buildings are judgment! 
Moloch the vast stone of war! Moloch the stunned governments! 
Moloch whose mind is pure machinery! Moloch whose 
blood is running money! Moloch whose fingers 
are ten armies! Moloch whose breast is a cannibal dynamo! 
Moloch whose ear is a smoking tomb! 
Moloch whose eyes are a thousand blind windows! 
Moloch whose skyscrapers stand in the long 
streets like endless Jehovahs! Moloch whose factories 
dream and croak in the fog! Moloch whose 
smokestacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch 
whose soul is electricity and banks! Moloch 
whose poverty is the specter of genius! Moloch 
whose fate is a cloud of sexless hydrogen! 
Moloch whose name is the Mind! 
Moloch in whom I sit lonely! Moloch in whom I dream 
Angels! Crazy in Moloch! Cocksucker in 
Moloch! Lacklove and manless in Moloch! 
Moloch who entered my soul early! Moloch in whom 
I am a consciousness without a body! Moloch 
who frightened me out of my natural ecstasy! 
Moloch whom I abandon! Wake up in Moloch! 
Light streaming out of the sky! 
Moloch! Moloch! Robot apartments! invisible suburbs! 
skeleton treasuries! blind capitals! demonic 
industries! spectral nations! invincible mad 
houses! granite cocks! monstrous bombs! 
They broke their backs lifting Moloch to Heaven! Pave-
ments, trees, radios, tons! lifting the city to 
Heaven which exists and is everywhere about us! 
Visions! omens! hallucinations! miracles! ecstasies! 
gone down the American river! 
Dreams! adorations! illuminations! religions! the whole 
boatload of sensitive bullshit!
Breakthroughs! over the river! flips and crucifixions! 
gone down the flood! Highs! Epiphanies! Despairs! 
Ten years' animal screams and suicides! 
Minds! New loves! Mad generation! down on 
the rocks of Time!
Real holy laughter in the river! They saw it all! the 
wild eyes! the holy yells! They bade farewell! 
They jumped off the roof! to solitude! waving! 
carrying flowers! Down to the river! into the street!
Carl Solomon! I'm with you in Rockland 
where you're madder than I am 
I'm with you in Rockland 
where you must feel very strange 
I'm with you in Rockland 
where you imitate the shade of my mother 
I'm with you in Rockland 
where you've murdered your twelve secretaries 
I'm with you in Rockland 
where you laugh at this invisible humor 
I'm with you in Rockland 
where we are great writers on the same dreadful typewriter 
I'm with you in Rockland 
where your condition has become serious and 
is reported on the radio 
I'm with you in Rockland 
where the faculties of the skull no longer admit 
the worms of the senses 
I'm with you in Rockland 
where you drink the tea of the breasts of the 
spinsters of Utica 
I'm with you in Rockland 
where you pun on the bodies of your nurses the 
harpies of the Bronx 
I'm with you in Rockland 
where you scream in a straightjacket that you're 
losing the game of the actual pingpong of the abyss 
I'm with you in Rockland 
where you bang on the catatonic piano the soul 
is innocent and immortal it should never die 
ungodly in an armed madhouse 
I'm with you in Rockland 
where fifty more shocks will never return your 
soul to its body again from its pilgrimage to a 
cross in the void 
I'm with you in Rockland 
where you accuse your doctors of insanity and 
plot the Hebrew socialist revolution against the 
fascist national Golgotha 
I'm with you in Rockland 
where you will split the heavens of Long Island 
and resurrect your living human Jesus from the 
superhuman tomb 
I'm with you in Rockland 
where there are twenty-five-thousand mad com-
rades all together singing the final stanzas of 
the Internationale 
I'm with you in Rockland 
where we hug and kiss the United States under 
our bedsheets the United States that coughs all 
night and won't let us sleep 
I'm with you in Rockland 
where we wake up electrified out of the coma 
by our own souls' airplanes roaring over the 
roof they've come to drop angelic bombs the 
hospital illuminates itself imaginary walls collapse 
O skinny legions run outside O starry
spangled shock of mercy the eternal war is 
here O victory forget your underwear we're free 
I'm with you in Rockland 
in my dreams you walk dripping from a sea-
journey on the highway across America in tears 
to the door of my cottage in the Western night

 

Categories
Internet Rights Politics Values

Fighting the law and winning – Censorship

University Rector Juanito Camilleri has  indicated that he would not have reported an undergraduate to police for publishing an explicit story in a student newspaper had the law been clearer, though he sees no reason to apologise. Now that’s interesting. Here is the rector:

“Whether it is a fictional story or not is beside the point as far as I am concerned. I was not acting from a moral standpoint, nor as a literary critic… I acted with prudence and referred the matter to the police for their consideration because it was not at all clear whether the text, the way it was presented without disclaimer, and the way it was being distributed, even to minors, was in breach of the law or not.”

It’s hard to get this straight. The rector was, by his own admission, acting on legal advice – as he should in such cases. It should be safe to assume that the legal advisor was a little more clear about the import of the law than that and yet he or she still advised a referral to the police. In this particular case (hereafter referred to as the Realtà Case) we had a case that dragged two persons (author and editor) and that involved a police prosecution as well as an AG appeal. At stake, according to many was our “freedom of expression”.

“People say graffiti is ugly, irresponsible and childish… but that’s only if it’s done properly.”  – Banksy

If it ain’t broke…

What really was at stake was a definition of our laws on obscenity in accordance to the mores of the day. In simpler terms – we have a law intended to protect citizens (especially those who are unable to protect themselves) from obscenity and pornography. The basic assumption in our law is that you can publish and be damned. What you cannot do is publish something that can be deemed to be obscene (I’ll stick to one out of the two). IF there is a suspicion of obscenity you still have exceptional circumstances that would protect the publication from attack: one of these is generally (and vaguely -as Anti-Acta campaigners would have it) is art.

There lies the crux of the matter. In order for this law to work you need to define a piece of work as “art”. Away from the philosophical world of “what is art?” you still need a qualification in order to have a law that works and, ironically, that is not intrusive. The issue with this kind of law is that it is time-sensitive. It needs to be tested time and time again as mores and attitude changes. Let’s exaggerate for the sake of example. Imagine one exception to obscenity is if it was a piece of “music”. I love to use the example of Igor Stravinsky’s Rites of Spring. At it’s premier, the piece of “music” was violently criticised as being anything but.  Here’s good old Wikipedia describing the goings on in Paris that night in May 1913:

The première involved one of the most famous classical music riots in history. The intensely rhythmic score and primitive scenario and choreography shocked the audience that was accustomed to the elegant conventions of classical ballet. The evening’s program began with another Stravinsky piece entitled “Les Sylphides.” This was followed by, “The Rite of Spring”. The complex music and violent dance steps depicting fertility rites first drew catcalls and whistles from the crowd. At the start, some members of the audience began to boo loudly. There were loud arguments in the audience between supporters and opponents of the work. These were soon followed by shouts and fistfights in the aisles. The unrest in the audience eventually degenerated into a riot. The Paris police arrived by intermission, but they restored only limited order. Chaos reigned for the remainder of the performance.

To add to the intrigue various historians allege that Stravinsky actually invented the stories of the riots to spice up the reception to his new music but that is not my point. Discussions on art and its nature can be highly controversial and many would agree that the place to discuss this would not be the straightjacket chamber of a law court. The point is though that the rules of society that allow us to coexist need take into consideration the right of an artist to express himself conjointly with the right of weaker members of society not to be harmed. Having an exception to obscenity laws which is based on a legal definition of art carries baggage with it.

So yes, Alex Vella Gera and Mark Camilleri were inconvenienced by the immediate need to “update” the definition of art. The law is not unclear though. It is a necessary law that need not be tampered with. All you need to do is imagine the law prohibiting obscenity without qualifying exceptional circumstances such as art. Can you imagine that? I hear you now yelling “self-censorship” as though it is only now that we discovered such a maravilious concept. Self-censorship is obviously one of the basic implied precepts of most of our freedoms at law. Not just in our law but in basic Human Rights texts. Fighting the law to obtain “better” definitions of what can or cannot be published or produced is counter-productive. It is a naive invitation to the dabblers in law to create faulty legislation by attempting to define the undefineable.

“Policemen and security guards wear hats with a peak that comes down low over their eyes. Apparently this is for psychological reasons. Eyebrows are very expressive and you appear a lot more authoritative if you keep them covered up. The advantage of this is that it makes a lot harder for cops to see anything more than six foot off the ground. Which is why painting rooftops and bridges is so easy.”  – banksy

A certificate to rebel?

I am angrier at the local art community than at Juanito Camilleri. They seem to have been waiting for an official certificate for them to be able to write or paint about vaginas, sexual lust and urges. Not all of them mind you. Alex Vella Gera has gone on record more than once that he would have preferred avoiding this mess. Others like Immanuel Mifsud have been quietly publishing thought provoking explicit stories without so much as a whimper. The impression from the “Front Kontra c-Censura” front is that of others who almost abet the nanny state concept. Artists don’t wait for their expression to be legal before expressing it. They express. The logic of it all – even within our supposedly archaic constrained legal order – is that if it’s art then it’s good.

That’s not how some of our artists seem to think. They are caught up in this anti-ism of Big Brother, Censorship Laws, etc and suddenly become all preoccupied about what is legal and what is not. Their primary concern is not art but legal art – and they themselves have wrought an ugly mental cage from which it is hard to get free. What do they want? Do they want a public list of dos and donts? The rules of the land are there to protect the weak. Art should be pushing the boundaries, provoking thought and ideas not waiting for the nihil obstat from society. Sure there’s a few risks involved especially if you get misunderstood but as the Realtà case showed… it’s common sense that magically and historically prevails. More often than not.

 

“Think outside the box, collapse the box, and take a fucking sharp knife to it.” – Banksy