Off to Newcastle for a few days tomorrow morning. (Or Newcastle Gateshead, as we now have to call it).
So, while I’m away, Season’s Greetings from the Virtual Stoa. (Appropriate nativity image from The Brick Testament, of course.)
The BBC World Service has announced that the World’s Favourite Song is… “A Nation Once Again” by the Wolfe Tones…
A Nation Once Again
When boyhood’s fire was in my blood,
I read of ancient freemen,
For Greece and Rome who bravely stood,
Three Hundred men and Three men.
And then I prayed I yet might see
Our fetters rent in twain,
And Ireland, long a province, be
A Nation once again.
And, from that time, through wildest woe,
That hope has shone, a far light;
Nor could love’s brightest summer glow
Outshine that solemn starlight:
It seemed to watch above my head
In forum, field and fane;
Its angel voice sang round my bed,
‘A Nation once again.’
It whispered, too, that ‘freedom’s ark
And service high and holy,
Would be profaned by feelings dark,
And passions vain or lowly;
For freedom comes from God’s right hand,
And needs a godly train;
And righteous men must make our land
A Nation once again.’
So, as I grew from boy to man,
I bent me to that bidding–
My spirit of each selfish plan
And cruel passion ridding;
For, thus I hoped some day to aid–
Oh! can such hope be vain?
When my dear country shall be made
A Nation once again.
A splendid choice by the peoples of the world, and a fine, fine song.
Chris adds [23.12.2002]: An Irish friend tells me that it has long been known that the Republicans and the Devil have all the best tunes and that this comes as no surprise to the Unionists, for whom they have long been synonymous…
Junius has a recent post about PC boardgames, which reminds me that I still haven’t ever seen Class Struggle, the boardgame manufactured by Marxist political philosopher Bertell Ollman in the 1970s as a socialist-themed alternative to Monopoly. His memoir of those years, Class Struggle is the Name of the Game, would be a minor classic of its genre, except that it doesn’t really belong to any particular genre.
Junius responds [19.12.2002]: Played it!
There’s been a small amount of coverage in the US and UK media over the last few days of the press release put out by the North Korean News Agency condemning the new James Bond film (or “burlesque”) for being insufficiently polite about the great achievements of North Korean socialism, or somesuch.
It is a shame, however, that the Western media only pays attention to the official news from North Korea when James Bond films are involved. Already in December there have been any number of good stories which deserved a wider international airing, including Revolutionary sites visited by many people, Pyongyang Catfish farm commissioned, Slogan of Kirgyz party organ changed, or US urged to drop its brigandish logic (a variation on a theme, one suspects).
Most interestingly of all, “Chicken Farms Rebuilt on Modern Basis” was published on both 7 December and 12 December. And then every few days or so there is a story with the same headline, “Anecdote about Kim Jong Il” (try here, here and here).
I’ve always assumed that the reason why the site is hosted in Japan owes to the fact that the internet doesn’t yet reach North Korea – but I’d be happy to be corrected.
This is outrageous.
|Anne Norton, Blood-rites of the Post-Structuralists: Word, Flesh and Revolution, Routledge, 2002. This is almost certainly going to be terrific stuff. From the publisher’s blurb (which is the best I can do for now: the copy I’ve ordered hasn’t yet arrived): “In Bloodrites of the Post-Structuralists …[Norton] starts by reminding us of the real interplay between words (laws, scriptures, myths, and history) and the world of flesh (of bloodties and bloodshed, skin color and sexuality). The seemingly precious and all too literary constructs of the poststructuralists really do act on the body politic. The book is written on three historical sites:the revolutions in England and France, the struggle against colonialism, and the modern liberal order. In this telling, we see liberal constitutions born in Terror and regicide, we see a word, a text, a document, write “slave” on the darkness of the body, we see the guillotine release the power in the blood, and we hear the words that declare a people free. Norton re-reads and re-writes foundational myths from Abraham and Isaac on the mountain top in the Bible to legends of the American Revolution. This lyrical and mesmerizing book serves, in its way, as a catalog of oppressions, and a history of the justifications oppressors have made for injustices…”|
Martin wrote [18/12/2002]: I hope and trust that your description of ‘Bloodrites of the Post-Structuralists’ as “almost certainly terrific stuff” is an exercise in ironic playfulness. When I hear of a “wide-ranging study of word and body” and of “the interplay between words and the world of flesh” I reach for my gun or, at the very least, my bullshit detector. Perhaps this is a book which Dr Sandbrook should review for the Turtle?
Chris replies [18.12.2002]: Bollocks, no. I’m serious. [And various email has been exchanged on the subject with Cde Martin on this and other subjects since. I’ll spare readers the full correspondence.]
One of the excellent things about working on seventeenth-century authors, is that they said such excellent things. Here, for example, is Pascal, who knew a thing or two about absolute, terrifying silences:
He alone [ = God] is our true good. From the time we have forsaken him, it is a curious thing that nothing in nature has been capable of taking his place: stars, sky, earth, elements, plants, cabbages, leeks, animals, insects, calves, snakes, fever, plague, war famine, vice, adultery, incest. From the time he lost his true good, man can see it everywhere, even in his own destruction, though it is so contrary to God, reason, and nature, all at once.ï¿½
I finally got around yesterday to buying The Band by, um, The Band, a record which I’ve been very fond of for a long time, and was interested to read these online notes on its best track, “Up on Cripple Creek“, which do a very nice job of unpacking many of the oddities of the lyric.