2008-12-10T18:17:12.372+00:00Blue Orange is proud to announce the publication of the novel Tim & Dorothy by Richard Rathwell with superb illustrations by Rebecca Draisey (shown here). In the mid-1950s actual wars of the new bi-polar superpower war coupled with Armageddon hangover created a great anxiety.New science, new nations, new politics spawned monsters of consciousness and a phantasmagoria of new political and social reason. In Canada a scheme emerged to test all the children over a wide area with the assessment instruments of the day. They were shortlisted, shortlisted again, filtered and whittled from every child down to only forty. The children then were placed together into a class where they remained for four years. They were taught by PhDs in educational psychology. They were taken to art galleries, archives, laboratories and parliaments. They had their own bus. They researched historic events and visited sites. Radical pedagogical methods were used exclusively. They had regular speeches and presentations to make. They had committee work. There were constant research assignments. Extreme experiments were conducted such as intense mathematics classes, three weeks straight, math only, in a darkened basement from fractions to logarithms. How much could they learn? How fast?The kids were all 10 when the class began and approaching 13 when it was closed. Tim & Dorothy takes place in this time and in this class, and was published on the occasion of its reunion.Below is an excerpt. "More snow and darkness. Tim’s feet said ‘cold, cold’ from inside his runners. His runners were soaked. They were saying ‘wet, wet’. The snow got behind his windbreaker collar and melted on the top of the Perry Como sweater his mother had won at Bingo. The rivulets went down into his undies. The sweater was the best thing he had. It was lime green and Dorothy loved it. He could sing Perry Como and hummed him now. He wished Dorothy was here. He would tell her his plans for searching for Marcus.Tim knew he loved Dorothy and that Dorothy loved Tim. When they had reached eleven they had already done love for one year according to him. In that year, the second year of the Special Class, they began to meet on spring mornings by the run-off pond not far from the canal to walk to school. Tim would leave the bike he had then hidden in the bushes. That was until that one was stolen. Dorothy arrived on foot. She often brought enough sandwiches for both their lunches and an apple for Tim’s breakfast.In spring the polliwogs in the pool had long and translucent strings which dangled and twisted from where their penises should be. Dead fat lumps of polliwogs wrapped in gossamer drifted in the black water around the outlet pipe from where ducks would graze on them. In winter the brown heads of frozen frogs dotted the ice. Now, in late autumn, the pond was completely covered in waxy gold, red and orange leaves inviting a leaping run and a drowning. They would dare each other.In the summer there was no school so Tim sat by the pond waiting for Dorothy on her way to the library. Or if he knew she had gone shopping with her mother he rode a bike, if he had one, one he found somewhere, up into the centre of town. Once he did this with Marcus and the Johns as cover, all planned by Marcus in advance as a mission. He would follow Dorothy and her mother around as she shopped. It was wonderful just to see her in her weekend dress with the lace collar and her white socks with mirror black shoes. When Dorothy was at her family’s summer cottage, or when she went to Europe, he would call on Marcus and they would walk to the park and talk or go to the free museum. Marcus didn’t do sports.Tim had to go away from the direct route from his house to the school to get to the pond to meet Dorothy because he lived down in those houses where the river flooded. Dot lived outside the district in one of those places with big porches. Marcus lived there too but high up on the hill. But his was a rented house not owned forever like Dorothy’s. The government rented it for Professor Bar[...]
2007-04-21T13:46:23.045+00:00BLUEORANGEPUBLISHING IS A VENTURE CAPITAL INVESTMENT ORGANISATION, NOT FOR PROFIT FOR US, INVESTING IN POETRY VENTURES AND IN OTHER WRITING.
2007-03-11T09:34:34.430+00:00I clarify 'topple.'
2007-03-11T09:20:24.567+00:00What methods of assessing donkeys in Albania can teach us all.First of all before we begin let me tell you there are several international charities committed to dealing with abused donkeys and giving them peaceful retirements. I urge you to seek these out and donate.Next, as an aside, the Albanian name for donkey is 'gomar'. In other forms, the diminutive and the plural, it can mean automobile tire or motor mechanic. Albanians, as we all do, do not like to give up their roots easily as time passes and things change. The language works in a way, for example, that the word turkey might become, through a construction like `small talk turkey', a parrot or, equally, a poem.Now I am entering into this discussion not as a dilettante. I did assess donkeys in Albania and I do know how to make love in Albanian. The root is 'duo'.There is a right way and a wrong way to assess anything in Albania. In fact to do anything. If you do it the wrong way you are called a gomar. If you are a gomar in Montana, however, you might be a congressman, and son of a congressman. But not in Albania.Donkeys can be assessed in a way usefully applied to Chinese cats. That is, it doesn't matter whether they are black or white but whether they catch mice. That is cats in China and only in certain classes. Donkeys of course do not catch mice except by accident when eating. I was assessing them as to whether they can climb a mountain carrying a burden. But the principle is the same. It is the same as with poems. They have different colours too, like donkeys, but that doesn't matter much in terms of their purpose.What is the purpose of a cat in Toronto or Vancouver? The same difference.Anyway we gathered a bunch of donkeys in Albania in a mountain valley town called Puke which means something like Puck. That is a playful spirit in many languages. You can name a donkey 'Puck'. Or a loved one, or a town. You can say `te duo Pucki'. But you can't say 'te duo gomari' neither in the day nor night. That is indescribably wrong. Well in Albania maybe not in Montana. This is away in which donkeys are different from poems and people.I paid an Albanian to help assess the donkeys for three reasons. One is that I knew nothing about the art or science involved but wanted to learn at a fair price and two the donkeys would be carrying pipe up through a guerrilla zone and the helper was probably one of them. Guerrillas not donkeys, although every Albanian is a gomar about something to every other one.Finally it was because they were not his donkeys or a relative's.He was from out of town (from up the mountain actually).This worked as the donkeys were not stolen, nor was the pipe. However the water pipeline we built to the town was blown up, but only after it was completed and the donkeys had left. Evidently the guerrillas thought we should pay rent for the mountain. As you do for a donkey.Like a poem, or love, or a cat you do not assess a donkey as to whether it is good or bad, whether it is strong or weak, a strong donkey is not necessarily good for anything. Whether it is merely beautiful or well bred. You do not assess its relatives and birthplace.You do not assess it by hitting it with a stick and calling it names. In fact in Albania this is particularly useless as the worst thing you can call anything is 'gomar.' I know this because I am published in Albanian.You assess it as to whether it is fit for purpose. As a thing in itself for a purpose. Can it get up that mountain with a load of pipe, never mind how it behaves or how it does it because that is up to the donkey person with it. But can it do it?Because that is the beautiful thing, the true thing, the purposeful and consequential thing. The thing in itself about that old donkey, or young one or three footed one. It is that right donkey for purpose. There can be no other except another like it.Assessing a donkey is like reading in some ways. You don't do it by calling the book names. You don't do it by won[...]
2007-03-11T09:09:41.822+00:00This is in the category of 'I thought you would never ask and you didn't' or 'I can't resist ducking even if I'm not punched'. It is a backchannel gone bad about the recent discourse. But so what.I am grateful for everything, most of which was soulful rage at police criticism but some of which was support for my being.Rules of the River is an object made partially of translations. The first poem in it is a mature poem which is ferocious about the limitations of depicting a complex horror and way that horror works on the person's vision. The rules of it. It is a stitching of fragments showing external editing. It is literally done outside of me. It is about an actual incident dealt with by poetry. Translated to poetry. It maps the eye and mind moving to 'take in' that horror.The second poem, the series, is a game the reader is invited to play about poetry. It starts with a very 'young' poem (the basic thing was written when I was nineteen, I translated it a little later to be the work of a quite dark, fragmented woman in a book I wrote called "Borderline: Casebook Translations", then I contained it in a chapbook called "Poems From the Beak" which was to have been written byher. But forget that. It's over. Get on with it.)That poem was chosen for the game ruthlessly. Not because it was goodor bad but because it was a fit subject, authentically happened, and had a kind of feeling good to throw to mutilation and fragmentation and then try to bring it back, to see what it was. Like me. The fragmentation comes from the 'others' like the other languages, images, words, ideas, realities.The first poem is not mature but has a voice of apparent weary and wary experience, like it actually is.That first poem then deals with the frustrating limitations of vision as an exploration of both language and how the eye works with images, and the pain of that. It is too a fragmented poem but this time one that isn't resolved except by the pieces of the image it is moving over, or that are is going through it, like a Prism. It just can say what it ends up with as the input shifts.It is trying to get at a woman and a river.Then come the translations. Not completely Babblefish, not much, but however limited and ruled by the way in which the poem tries, with eye and mind to do absolutes by moving through changes, hurt but helped by that as well. It had a personal background in looking at some of the translated poetry in each language and knowing some people. It has references and associations. But each part is on its own, outside of me, from the integrity of choosing the original, to giving it up, so that each one continues the game and reveals things also on its own.The overall object ends up being, I think, like heraclitan waves (how rivers work in physics and philosophy), if you read it out loud, and consists of some poetic curiosities of how the meanings were found. It does invite the reader to make poems outside of themselves in language. And some do.It is also furious in voice, pained, as it keeps going on, the rules keep changing, the absolutes contend. Sometimes redemption. Sometimes not. Sometimes alive grasping, sometimes not. That is a fair play depiction. With optics. At cost.The eye context provided for this game by the artist's work is that in part the artist's work requires the eye to move around too, with the mind and make a narrative, which it can't do. It has to leave the art stand. The artist's pieces reflect on one another in a way like the poems do, and vice versa. My contention is that by doing that, observer is invited, in images and limitations, and works of fragments integrated somehow by the art itself, to try to get at something, perhaps beautiful in a new way outside themselves. Visual art is a translation of the real in optics. And interaction (dare I say dialectic!)Even if it is only the beautiful horror of the rules just about a river and a woman, and a poem, and trying to get it.[...]
2007-03-11T08:56:32.247+00:00Are you afraid of ghosts, Mr. X?Your piece on Mr. Y's Rules of the River was not a review of the poetry contained therein but an attempted character assassination of both Y and one of the editors, who I believe created an excellent publication. Reflecting on this I can only assume that you were trying to smother these two voices, to stop Y at least from coming in from the cold, or to return from the heart of darkness. I wonder what causes this unease, this fear you obviously have for the two. To dedicate so many words to hurting them and to stopping them from being read – which is patently, by the way, counterproductive – in such a personal and vicious manner will only make your readers question your own security, and also what really happened all those years ago. It is certainly not anyone else but you who seem to be stuck there. Is there something in there you are not proud of?I laughed when I read that, in your paranoia, you sensed Mao lurking in the two poems. I laughed when you stated that in one of them Y ‘implies that he’s been conducting espionage for some Maoist NGO in Egypt or Somalia, or wherever.’ As you state yourself, you know little of Y's actions since he was a young man, and obviously have not seen much of the world or seem to care much about it. Incidentally, in Egypt he worked for an organization called Terre Des Hommes, which works to protect the rights of children – I doubt that he was conducting Maoist espionage on them. In all other contexts he was doing similar work, and if you had been googling responsibly you would have come to the same conclusion (although you’d have probably still proceeded with the attack regardless). You may need to expand your horizons, Mr. X, and move on. For the past thirty-five years, unlike yourself, Y has had a career in the real world. He was not in ‘the heart of darkness,’ at least not metaphorically, not in the ‘murk,’ not in the ‘wilderness (where is that exactly, Mr. X? Anywhere outside of your own experience?),’ and he was certainly not ‘institutionalized’ as you imply (one of the most unimaginative and savage attacks your clumsy article contains). There were no Maoists, Mr. X – in your irrational unease at seeing Y's and the editod's names haunt you again you must have gotten you overexcited and maybe a little paranoid.Your rather concise critique, added like a postscript to disguise the slander as a book review, of the poetry itself is just as misplaced, clumsy, and anxious, and typed with just as much bad faith, as your ad hominems which form the bulk of the piece. You criticize the poetry for being ‘obscure and insinuative rather than articulative,’ and for coming ‘with no accompanying contextualizations.’ As your readers will know, this comes with the territory of poetry. Even if you disagree, it is certainly not a valid, God-like criticism of anyone’s work. The poems are not even obscure by anyone’s stretch of the imagination (well, perhaps by yours).As for the contextualizations, you seem to ignore your friend's excellent artwork which would resonate clearly with an objective reader, rather than one who’s pulled out the dagger before opening the book. And for the record, he was shown the layout prior to printing and was very happy with it, and happy with the outcome, and therefore your objection to the workmanship and descriptions of his work are misplaced. It may seem odd to your readers that the artist, who you obviously admire, colluded with Y on this work, which, if I can hazard a guess, you will not be nominating for any awards. Could it be that the artist liked the poetry? Could it be that your readers will to, if shown it? Is that why you are afraid of this haunting? Also, hilariously, you take the title of ‘Rules of the River’ literally, and offer as a critique the fact that the name of the river itself is not stated. The river isn’t t[...]
2007-03-01T10:28:33.912+00:00The Secret’s Daughter
2006-12-21T17:02:16.090+00:00I have no strategy or preferences. I am only needy. The main thing is I like readers. Love them, hate them. That's why I do stuff now.
2006-12-25T06:55:15.080+00:00The book is by Jon Halliday and Jung Chang.
2006-11-25T00:02:02.250+00:00There are degrees of some things, sort of ladders or levels of incarnation. This is in my favorite book.Did you ever get blamed for something the cat did? The usual thing is knocking over a Christmas tree or cracking a TV screen. Isn't it?Those happened to me with Zorro, my second and third cats.The first Zorro got jammed in a factory chimney, it was mad for crows, and caused a combined atom bomb, UFO alert in Ottawa South for which I was not blamed.Zorro the third tried to bring down a gazelle leaping in fear during a program on Serengeti.Zorro the second was after a blinking light on the tree.Those are some of my direct experiences of degrees of false accusation.The first one for me was an accusation of atheism, even of being in league with the devil, in order to spoil Christmas. That was me and that was my motive in that particular world.It made sense. The tree had fallen on the booze table and the sparks woke gran who thought it was the Germans again and hit dad who then awoke too saying out loud an ancient curse which may have been what burnt the so-called turkey.The second time, the TV one, resulted in a complicated accusation of communist inspired economic and cultural sabotage calculated by a devious mind towards destruction of the nuclear family.Mom took one look at that cracked TV and said 'either the TV goes or you go. Which do you think I will decide? I can't afford to fix up both'. She was referring to her continued psychologist bills while reaching for the front door security baseball bat.'Don't blame the fucking cat you little communist devil" she said.Another similar, but a higher degree, of false accusation, was experienced by those firemen in Baghdad yesterday.They were answering an emergency call to control a market fire, including a problem of some still burning people, caused by a suicide bomb.They were pulled over on their way while riding in their new aid gifted, rehabilitation of the nation, fire truck by American troops , and after being unable to prove they were not fleeing the fire and had not hi-jacked the truck, were shot. Four of them. Shot dead.The difference in degree so illustrated is Gnostic. I feel some empathy therefore. I lived on earth in Canada. I experienced a metaphor of identity death. They lived in hell and got the real thing.And who created their hell on earth? Don't blame the cat.The law of sense and mind applies to Iraq.The law of sense and mind is that we all really know what the truth is in our souls, the truth of what is really happening and we all know what needs to be done in our hearts.We know this even if we live in the rainbow light at the base of a shit colored prism looking through it searching for the cat that's gone to blame.We know, but won't usually see beyond that to know more that there is between us and what we know a prism made by those minions of Ultreye who rule the present world order.The law of sense has a 'corollary of silly ideas' which is that those who have them will hold on to them forever unless they become accountable for their implementation by forfeiture of their butts.Tony Blair and Baby Bush cannot be tried for war crimes in their own countries. There are degrees of true accusations, and thoughtful legislation has already been passed in their own homelands to put into place those diabolical degrees of blamelessness.But they can be if they go to Canada. They can be if they visit Rwanda for that matter. Check that out if you wish at the same time you can check out the story of the fireman above and the other stories elsewhere of rape burning party wager games, snuff movies and so on, that may even now be emerging through the prism of your news.Here's more. British troops in Afghanistan and Iraq are now signing separate peace agreements with local in[...]
2006-10-17T21:34:09.156+00:00Costume PartiesIn the cosmology I adhere to Halloween is the beginning of three significant days. On Halloween the souls of all the dead who were sinners, and not saints that’s the next day,, are released by a guy who I’ll explain below, to scurry all over the earth to search for their graves. If they call on you, you must feed them.The next significant day is Christmas. That is when the souls and separate memories of dead family return home invisibly, or partially visibly, in various sizes, and moods. They don’t come back the way you remember them. They come back home literally. That is partially what was going on in Bethlehem.In my area, a quite parochial one, you laid stones from where the dead were buried to your door. They are supposed to rest on the stones as they come slowly painfully to your house. But some say it is because there memories of the way are so different.The dead participate in the holiday feasts, the ones held to give a positive characterisation to what is really going on, and even tell jokes or alternatively break up relationships , cause fights and settle scores by introducing deadly gossip.. You must feed them.Those who rise and see no stones can go anywhere. Those who were murdered and buried, perhaps secretly, may lay their own stones to their killer’s door. Rejected lovers can do a similar thing with splintered bone.If you can’t lay stones, say your dead are in another country you put out a candle and hope for the best.The final day is Valentines Day. That is when the souls go back to their other place. Between Christmas and Valentines Day they all have been doing as they wish. Some observe wars; some go back to school, some hold hands with others and whip up winds. Some cause diseases.Anyway that is the cosmology.A lot of the very important memory objects I have are associated with Halloween. It is when things happen. I have been in an intense struggle with my memory lately. One reason is that I have reached a point where I am remembering more than I am forgetting. This is very uncomfortable. It is uncomfortable because the other thing is that like most people I believe my memory more than any so-called truth presented by academic quacks or loo narratives. Like most people I regard myself entirely spiritually, no matter how I see others and how hard I pretend not to. Everyone secretly believes they live an entirely spiritual life and they justify their actions in that context. Their memory is a record of that in images. In that respect it is a form of poetry. It can be a kind of writing too where the inner integrity is to record the actuality of the images and their relationships, and not mess that up with an imposed external narrative structure or sets of associations.So at this time of year I regularly revise my obituary in anticipation of Halloween. It is a kind of retrospective New Year’s resolution. I recommend this exercise to everyone. The one I chose last year was Beshkati in style. It said: 'He struggled all his live with immortality and lost gloriously. He struggled with infallibility and lost consistently. Let him be forgotten and rest in peace.” I’ll say that when they come knocking with their infernal jokes wearing their funny guises.2.In this context it is appropriate to enter once again into the eternal question ‘who is dat guy anywho?I will start with the Tar Baby. For those of you who don’t know the Tar Baby it don’t matter. The only necessary context is that I am talking about a fundamental B’rer Rabbit apocrypha.B’rer rabbit is an avatar of dat guy. He represents the other, and in some instances precisely the other, to dominant narratives. But it is deeper than that.B’rer rabbit pleads with his enemies every time they catch [...]
2006-11-15T03:25:13.303+00:00Texts About Aspergers
2006-10-02T15:37:04.283+00:00If you are reading this, please read the archives -- it is all novel.
2007-02-01T06:11:50.433+00:00Sneaking Rimbaud back again too you guys?
2006-09-14T04:19:11.313+00:00...the development of style and the measure of originality paradoxically came from the transcendence of self by killing the ego in all its forms--symbolic, real, complementary and oppositional. It came from both the destruction of the false narrative of self, which was inevitably cliche, and by the confrontation of the dead other, the frozen memory of the word deflated and dropping into oblivion. By the architecture of that. By the projections of self sitting and mocking, like birds on a wire. To transcend and destroy self and to flee from the dead memory of the world, one had to see the fear and kill it. This was difficult when your tools were only imagination and action based on that. What happened first you knew is that confronting fear brought memory to life and originality. It connected with the deadly other. The ego quivered. It desired passionately the shelter of cliche and stereotype diving into them like an ostrich into the ground. In its fear and morbid desire it could no longer laugh, love or anything as the energy for this came from outside, from the senses, from the coordination with the mind from the other's electrifying of the imagination. But it desired that love.
2006-08-13T09:29:49.766+00:001 To begin at the final point, anyone who says that they represent a group with any identity at all is a fraud.
2006-08-06T10:51:30.210+00:00Summary of Bashkati Definitions
2006-08-04T21:47:09.160+00:00Excerpts from Birthday Interview with Richard RathwellBOP: On what did you base your book 'Red the Nile, Blue the Hills'?RR: The original idea is taken from some translations I did myself from Rimbaud’s Ethiopian poems. There was also his journal of his trip to Java which a copy of is in my family. Like all of my novels it is a road trip mainly of images. In a previous novel I took the images from false primitivist painting. In this one it is from images done by artists whose religion restricts them from representation. It is also a true story.BOP: Many have said the poems in your Book ‘Poems from the Beak’ are bossy and didactic. Some say they are ‘know it all’. Did you do that on purpose?RR: I would prefer that to being called Aspergers prematurely. In fact the poems are adapted from poems written in the youth of one of the characters in my novel ‘Borderline: Casebook Translations'. The book depicts several identities psychologically as they are seen by each other. It is a prequel to a Fleuve Roman. The Beak is a central character. She and the others all have casebooks published elsewhere. I contacted and visited all the characters recently, fifty years after the events to see what they were doing now. The Beak was the only one I couldn’t find. I don’t know where she is. Some of her poems won awards but she is largely forgotten. Yes she did know it all.BOP: Another thing that is said, frankly, is that you write as though you hate readers.RR: I have loved all the readers I have initially written for. Really. I have made many of them characters. I try to do authentic witness. To do this I write in such a way as to avoid as much usual structure and reference as I can, I don’t mean stereotypes and clichés but everything that comes with you. I write slowly when it was hot. I just want to stay on the trip and see what appears there without leaving it for some dreaming. It is hard to do honestly and keep at it no matter how simple and uncharged it is or askew with syntax. It isn’t fun. Like when I realised I had seen a twenty foot high dog in the desert and then forgotten it because I was in the midst of an argument on Literature, or what I actually did when friends were murdered. Now I am writing by going through communities and reflecting them. So the discourse is developmental. It isn’t entertainment. It isn’t just processing by form. It is to get something. It requires participation a bit .BOP: Is your writing political? Some of it seems to be a defence of gangster states. This has been read in the collection ‘Death’s Doors.’, and in some of the poetry in “One Poem Forward, Two Poems Back"RR: No. What has been read as political is really an ironical celebration of death and banality meant to bugger it up for something nicer. The other necessary thing is that it does entirely compose an epic, a kind of Fleuve Roman in which the distances between the soul, spirit and body are getting greater. The boundaries are getting more detached. That means the connections are more intense. So it sounds as though the world is at stake. It isn’t. You’ll see this in ‘Re: The Dead Arts 'coming out soon.BOP: Did you mean just now to disrespect Aspergers persons? That is reprehensible!RR: My record on the question of Aspergers Syndrome is clear. I have written positively on what it would be like if Aspergers ruled the world. I have also written a factumentary called “Tim and Dorothy” which highlights an actual incidence where this was planned. The proceeds f[...]
2006-08-01T06:39:37.896+00:00I propose the crushed Qana basement to be added to the album of images that endure to mark shifts of human narrative. It should be depicted with the one of the shot little brother in Soweto and the burned naked girl on that Vietnam road. But not quite Qana no. It isn't the right image exactly for there is no movement of children like in those others. The basement is collapsed and dark. The children are crushed and silent.So pan the remembering eye rather to the storming of the Beirut UN building, to the attacking of its bullet proof glass with children's bicycle racks.There died the illusions purchased with the blood of millions in the last century, the illusions which suggested a world where human rights were the core of governance and the illusions that solidarity would bind all communities, all peoples in peace. These illusions are dissolved into new images of smug and certain commentators, the equivalencies that say one dead child here is worth twenty dead ones there, the policy that makes war on lemon trees and old women with equal ferocity.It is a measure of the recent degradation of the world imagination imposed universally, mainly by the United States government that all human rights (dreams) and all (fantasies of the) rules of law are now conditional. There will be no United Nations. Only one and the tribes. In fact communities are now replaced by realities of monstrous religious and ideological sectarianism organised as armed, irrational, death seeking, tribal polities. Self defence is the only way. I hate that.And another measure of increased degradation is that a new guiltless con of destiny enjoyed with the narcotic of being a chosen elite has been resold to the American people, and to others, not as a soft golden future fable but as an ever-present grandstand cheer, a cheer illuminated by white phosphorous bombshells while babies burn on the Astroturf as the stadium sinks into the magma. The world's children must accept the game.I swear it is easier for many to die now in a pack than to live as a human.Let us make no mistake: imaginative changes both precede and follow real ones. And these changes are made in hell. The United States in this present avatar is in a terminal decline of mind and soul. A decline which matches its economic hysteria as its dying appetites eat themselves. The tipping point has tipped. This is a vision from no brain but from the repititious stomach fable of its right to eternal consumption.It has deliberately degraded the world away from sense.Qana shows that. There is no sense there. The present US wrote the script for Qana. It animated the Zionist polity it created against the Shiiite one it inspires in a rage of petulant infantilism. The US is the author of never-ending zoo games, sadism through the bars. It is now losing these games to the animals.How did these children bring it upon themselves? The people in Beirut attacked the UN building as the idea of world peace and justice which had betrayed them, betrayed them as the Qana building collapsed onto their families. They were attacking failed reason. A dead narrative. They were attacking the senile servant who had drowned the children in the bath on instruction of the burgler. They were attacking the illusion of any solution but apocalypse.They were revealing in their fury a world of peace only for victors, hope only for a final judgement, charity only to collect the needy for slaughter, rights to kill neighbour children, law for thieves.They were attacking a new [...]
2006-07-30T12:34:16.026+00:00preliminary reading: http://www.timesonline.co.uk/article/0,,2099-2271185.htmlDear Sirs,AA Gill on Albania (Sunday times July 23) begins by criticizing an inadequate stereotype and goes on to develop it further. He is to be commended on this. I am sure he has enhanced the ease of application of cheap simplicities and superficialities to immigration policy and to policing, something the country surely needs for purposes of its security quotas. In this respect Gill has made a contribution to literature. He has also helped enhance the condition where it is as easy to fill cells as it is for him to fill his column inches. And with the same amount of thought required.What our country needs is more myopia, hyperbole and stereotype in regards to foreign places and people. It needs simpler scapegoats. Easier ones. It needs more banal symbols and analysis.I should have liked Gill to describe more the evolution of the gangster state in the rubbish nation he has envisioned. Did this evolution happen the same way as Glasgow's? Did it come from dragon's teeth? From the devil's breath? From inferior DNA?There is a poor country in the present somewhere struggling to rebuild from several disasters also called Albania. It is beautiful. Its people are clever and industrious. It can hold all the contrary generalizations to mister Gill's vision and more. It is also poignant, funny and interesting. But it isn't so easy to describe those things, except thoughtfully in several dimensions, no matter how true they are.Doctors from that country treat your children. Air traffic controllers from there guide your planes. Herbs from there sit on on your roasts. You bought their shirts in a famous shop last week. That is not even to mention Illyrians and Butrint, or an increasing compliance to EU standards, or penetrations of Chinese and Indian markets the UK might be envious of. Be afraid. Be very afraid. They could marry someone's sister in a nice way.From The Editor, The Sunday Times MagazineThank you for your correspondence in reply to AA Gill's article on his visit to Albania, which appeared in The Sunday Times Magazine on 23 July. Yours was not the only response and we will be publishing a representative sample of readers' letters in the newspaper this Sunday. In the meantime let me put the article in context.The author AA Gill is widely recognised for his brand of provocative journalism and irreverent humour which he applies to a wide range of subjects; as a critic and as a commentator. He writes fearlessly impressionistic articles and although most readers recognise and are entertained by his perspective it can and does cause occasional offence to some who may not be familiar with his tone.I can assure you that Albanians are not alone. Recently he wrote scathingly about the English: "I don't like the English; the lumpen and louty, coarse, unsubtle, beady-eyed, beefy-bummed herd. I find England and the English embarrassing." We published that too.It wasn't the worst - he went on to describe the English in much more disparaging terms and you can imagine some people were not amused. But most were. Our readers understand in the British, a trait for critical and self-deprecating humour and enjoy it enormously. It is a part of the British identity that Gill himself summed up as "Most people share a joke, the English aim them. The English constantly use their humour as an indiscriminate bludgeon. The English teeter on the edge of not being able to take anythi[...]
2006-07-13T20:47:58.926+00:00While me, I only believe that language is a field that has entrances from every world. I desire to find in that field ways my mind can go on journies out of the place encased.