Why I Don't Believe in the Ruins

Buenaventura Durruti (1896-1936)

 

 

Whilst, philosophically, I am opposed to ideas of Wholeness or those structures - be they narratives, cathedrals, or classic rock albums - which would enframe us within the Absolute, as a political thinker I have never believed in the ruins with the same degree of fervour as the Spanish anarchist Buenaventura Durruti who famously declared in an interview:

 

"We are not in the least afraid of ruins. We are going to inherit the earth and we carry a new world here, in our hearts." [1]

 

Such idealism - based on the Christian-moral conviction that one day the powerless shall triumph [2] and the utopian dream of a better future - always seems to end in a good deal of misery and suffering for those it promised to liberate, precisely because it's always easier to smash the old world and remain living among the ruins than it is to build up new habitats.  

 

Thus, whether it's the Khmer Rouge calling for Year Zero in Cambodia in the 1970s, or Keir Starmer's mission-driven Labour government presently promoting Net Zero here in the UK, I do not trust the zealotry that lies behind such thinking and suspect that A believer in the ruins is happy to pull the house down providing he can rule over the rubble ... [3]   

 

 

Notes

 

[1] It now seems certain that the interview with the Dutch-Canadian journalist Pierre van Paassen in which Durruti is reported as having said this - published in the Toronoto Star on 18 August 1936 - never took place and that Van Paassen either imagined it entirely, or drew upon remarks made to other reporters and published in other articles.

       Thus, amusingly, the most famous utterance of Spain's most famous anarchist is a romantic fiction. Nevertheless, as one commentator says, "it has resonated across the decades as a summation of revolutionary anarchist politics, a poetic and highly quotable paraphrasing of Bakunin, which was presumably Van Paassen's source material when formulating his most celebrated passage". 

      See Danny Evans, 'A Pile of Ruins? Pierre van Paassen and the Mythical Durruti' (12 Oct 2022) on theanarchistlibrary.org - click here.  

 

[2] See Matthew 5:5. I am aware that the Greek term πραεῖς [praus] which appears in the New Testament is usually translated as 'meek' in English, but I'm happy to go along with scholars, such as John Nolland, who argue that powerless is a more accurate interpretation. 

 

[3] According to the fact checking site truthorfiction.com, the line that I paraphrase here - 'An evil man will burn his own nation to the ground to rule over the ashes' - is misattributed to the Chinese philosopher and military strategist Sun Tzu. Nevertheless, that hasn't prevented it from being widely shared on social media during the last four years. 

 

     

Deadnaming (With Reference to the Case of Mara in the Book of Ruth)

Don't Deadname (after William Blake) 

Stephen Alexander (2024) [1]

 

 

I. 

 

Perhaps because I have myself used and been known by several aliases, I'm somewhat sympathetic to those (often transgender or non-binary) individuals who object to what is termed deadnaming ...

 

That is to say, the sometimes unintentional, sometimes deliberate act of referring to a person by a name they no longer identify with or wish to be called, even if that name is the one that appears on their birth certificate and other official documentation and is deemed to be not only their legal name, but their real name referring to their true self (an assumed alias is invariably seen as suspicious; an attempt to conceal or deceive). 

 

Although the verb deadnaming is of recent origin - the OED dates it to 2013 - the insistence by others on calling an individual by an old name is not without historical - and indeed biblical - precedent ...

 

 

II. 

 

Readers with knowledge of the Old Testament will be familiar with the Book of Ruth and the story of how Naomi, having been forced by circumstances to leave Bethlehem and live in the land of Moab, has the tragic misfortune of losing her husband and both sons. 

 

Grief-stricken and near destitute, she decides to return to her homeland and is accompanied by her daughter-in-law, Ruth, at the latter's insistence; the Book of Ruth essentially describing the struggles of the two women to survive in a patriarchal society and in the face of much hardship. 

Of most interest to me, however, is the fact that when Naomi returns and is greeted by those who remember her, she tells them: "Do not call me Naomi; call me Mara, for the Almighty has dealt very bitterly with me".

 

Obviously, she refers at one level to the fact that God has left her bereft and in poverty. But her remark also indictes that the bitterness she is experiencing is so profound that it is transitional if not indeed transformational: she no longer feels herself to be the same woman upon her return to Bethlehem as the woman who left ten years earlier. 

 

If this is for the most part a psychological change, we can probably assume that she has also been physically aged by time and sorrow. Thus, it's perfectly understandable, I think, that she would wish to be known by a new name; a name more indicative of the woman she now recognises herself to be; i.e., one born of and shaped by bitterness. 

 

For whereas her old name, Naomi, means sweet-natured and pleasant of disposition, her new self-chosen name of Mara means bitter (although it might be noted that this name in Hebrew also implies strength; for just as hatred can itself become creative, so too can bitterness harden and make stronger).

 

The point is this: we all, like Mara, have the right to become-other and not to be deadnamed by those who value fixity over fluidity and would forever tie us to the past.   

 

 

Notes

[1] This image is based on Blake's print 'Naomi entreating Ruth and Orpah to return to the land of Moab' (1795), full details of which can be found on the V&A website: click here.  

It is But Death Who Comes at Last

Keith Haring Untitled (For James Ensor) 1 (1989)

Acrylic on canvas (36 x 72 in)

The Keith Haring Foundation

 

Apparently, having penetrated the object of their desire, the average male lasts between four to eight minutes before ejaculating. Many men may like to believe they last longer - and many female partners may wish that were the case - but, according to those who have studied the matter, it simply isn't so.     

 

Of course, some men climax much more rapidly than four minutes; expelling semen and experiencing orgasm soon after initiating sexual activity and with minimal stimulation [2]. This is often characterised as a form of male sexual dysfunction, although there is no universally agreed definition amongst the experts about what constitutes ejaculatio praecox; some say anything under a minute is premature, whilst others don't think there's any real issue if the man can last over fifteen seconds before jizzing [3].

 

On the other hand, there are men who can last much longer than the average time; although for some delayed ejaculation is problematic rather than pleasurable and can also cause discomfort for their partners [4].     

 

Either way, and whatever the ejaculation latency time one averages out at, it's crucial to remember the following wise words of Sir Walter Scott: 

 

And come he slow, or come he fast, 

It is but Death who comes at last. [5]

 

I don't think even Bataille could have put it better ... [6]

 

Notes

 

[1] Shortly before his death in February 1990, Keith Haring produced a number of works with an erotico-thantological theme, including this work depicting a skeleton ejaculating on a flowerbed. It formed the first panel of a diptych (for James Ensor). In the second panel, thanks to the dead man's sperm, the flowers have grown and are in full bloom, much to the delight of the skeleton.

 

[2] The 1948 Kinsey Report suggests that three-quarters of men ejaculate within two minutes of penetration in over half of their sexual encounters.

 

[3] The belief that premature ejaculation should be considered a medical condition (or an indicator of neurosis) rather than a normal variation, has been disputed by some sex researchers, including Alfred Kinsey, who viewed it as a sign of masculine vigour and pointed to the fact that in the natural world male mammals often ejaculate rapidly during coition in order to increase their chances of passing on their genes. 

      It would seem to me that any coital imperative which posits an optimal-time to ejaculate, merely contributes to the pressure on men to perform like machines and furthers the pathologisation of male sexuality in the modern world.    

 

[4] Delayed ejaculation - which is far less common than premature ejaculation - refers to a man's persistent difficulty in coming, despite his wish to do so and even if he is sexually stimulated. Whilst, as we have discussed, most men reach orgasm within a few short minutes of active thrusting during intercourse, a man with delayed ejaculation either does not have orgasms at all or cannot have an orgasm until after a prolonged period of huffing and puffing.

 

[5] Sir Walter Scott, Marmion (1808), canto 2, st. 30, lines 567-568.

      This historical romance in verse consists of six cantos, each with an introductory epistle and extensive notes. It concludes with the Battle of Flodden (1513). Those who are interested can find the work on Project Gutenberg: click here.  

[6] Bataille famously explores the relationship between Eros and Thanatos in his work, demonstrating how the idea of orgasm as la petite mort is not merely metaphorical. As Nick Land notes: 

      "Orgasm provisionally substitutes for death, fending-off the impetus toward terminal oblivion, but only by infiltrating death into the silent core of vitality […] The little death is not merely a simulacrum or sublimation of a big one […] but a corruption that leaves the bilateral architecture of life and death in tatters, a communication and a slippage which violates the immaculate [otherness] of darkness." 

      In other words, when we come, we open ourselves onto this otherness and to the possibility of personal annihilation; losing identity in a spasm and an exchange of shared slime. It is, as Bataille argues, a betrayal of life as something individual and distinct.

      See Nick Land, The Thirst for Annihilation: Georges Bataille and Virulent Nihilism (Routledge, 1992), p. 136. And see also my post of 21 September 2016 on orgasm and the will to merger: click here. 

On Loverboy and the Politics of Queerness

LOVERBOY

 

 

I. 

 

Just a brief note of congratulations to Charles Jeffrey and his Loverboy label for notching up ten years in the world of fashion; a decade of "tartan, trash, animalism, anarchy, paganism and punk" as one appreciative critic wrote in a Guardian piece celebrating Jeffrey's achievement [1]. 

 

If almost inevitably one comes away from 'The Lore of LOVERBOY' exhibition at Somerset House [2] feeling that one's seen much of it before having grown up in the world of Westwood, Galliano, and McQueen, nevertheless one also comes away wishing that one was forty years younger and able to enter into Jeffrey's world unburdened by memory of the above.

 

And, to be fair, his aesthetic sensibility isn't simply a pale imitation of anyone else's; Jeffrey's designs do have something unique about them, even if they unfold within a certain tradition and fashion history. And I'm always going to love clothes that make smile like the outfits shown above ...  

 

 

II. 

 

However, if I were to be critical, then perhaps Jeffrey's work is just a little too much at times; too theatrical, too playful, too romantic, too rooted in a hedonistic club scene ...

 

For better or for worse, I belong to a generation that would rather see the word HATE than HOPE sloganised on a jumper and my politics do not exclusively revolve around questions of gender and sexuality.  

 

And as for the increasingly tired and tiresome concept of queerness - one which Jeffrey repeatedly refers us to - I'm almost tempted to echo what one (queer) writer says here: "Queerness does not ensure that we are more compassionate, more loving, or more fair, or that we are kinder, stronger, realer people." [3] 

 

That is to say, queerness doesn't make virtuous or morally superior - nor even more interesting, alas, when it has merely become another identity and commercial selling point. 

                 

 

Notes

 

[1] Ellie Violet Bramley, 'An absolute joy: 10 years of Charles Jeffrey's playful Loverboy', The Guardian (9 June 2024): click here.  

[2] For details of The Lore of LOVERBOY exhibition at Somerset House, click here. Thanks to Ian Trowell for bringing this retrospective to my attention. 

[3] See Queer is Boring, 'Why Queer is Boring: An Introduction' (21 Feb 2014), on medium.com: click here. 

Reflections on Stephen Alexander's 'I Want to Hold Your Hand' - A Guest Post by Sally Guaragna

Stephen Alexander:  

I Want to Hold Your Hand (2024)

 

Stephen Alexander's disturbing self-portrait accompanied by Myra Hindley is a stark reminder of the fact that evil lurks around every corner and that the radiant innocence of childhood offers no protection; as the parents of the young girls murdered in Stockport last month discovered to their horror [1].

 

It also reminds us of the fact that the Swinging Sixties began not only "Between the end of the 'Chatterley' ban / And the release of the Beatles' first LP" [2], but with the Moors murders - just as it ended in an equally brutal and depraved manner with the Tate-LaBianca murders carried out by the Manson Family in the summer of 1969. 

 

The fact that the photo of the artist as a child is for the most part entirely genuine - taken in 1966 at Southend-on-Sea - only adds to its power. The only change made (non-digitally) is the replacement of the head of Alexander's sister with that of a woman dubbed by the press as the most hated woman in Britain. 

 

Alexander explains: 

 

'I cut out the famous police photograph of Hindley taken shortly after her arrest in 1965 and pasted it by hand directly on to the photo of my sister. I wanted it to look like a mask being worn. A mask more terrible even than the one worn by Leatherface in The Texas Chainsaw Massacre (1974), because it depicted the face of a rather glamorous young woman who, with her peroxide blonde bouffant, reminded me of a much-loved aunty in the 1960s whose hand I would happily hold.'    

 

Alexander's is a great image; one that, in my view, deserves to be hung alongside Marcus Harvey's controversial 1995 painting made using casts of an infant's tiny hand to create a giant mosaic of Hindley:   

 

 

Marcus Harvey: Myra (1995) [3]

 

 

Notes

 

[1] On 29 July 2024, a mass stabbing occurred at a dance studio in Southport, Merseyside. Three children were killed, and ten other people - eight of whom were children - were injured, some of them critically. A 17-year-old male was arrested at the scene and charged with murder, attempted murder, and possession of a bladed weapon.

 

[2] Philip Larkin, 'Annus Mirabilis', first published in The London Magazine, Vol. 9, No.10, (January 1970): click here. 

 

[3] Marcus Harvey's 1995 painting Myra caused a lot of fuss when it was displayed at the Sensation exhibition of Young British Artists at the Royal Academy of Art in London from 8 September to 28 December 1997: four members of the RA resigned in protest at its inclusion; windows at Burlington House, where the Academy is based, were smashed; the painting was vandalised twice (by fellow artists); and a children's charity accused the RA of the 'sick exploitation of dead children'. Even Hindley wrote from prison to ask for her portrait to be removed from the exhibition.

 

 

To read another post by Sally Guaragna - reflections on my 'When the Moon Hits Your Eye' photo (5 May 2023) - please click here. 

Pagan Magazine Vs the Pagan Federation

Fig. 1: Pagan: The Magazine of Blood-Knowledge Issue XXVIII (Spring 1989)

Fig 2: Letter from Leonora James, President of the Pagan Federation (1 Nov 1989)

 

I. 

 

A reader writes:

As someone who is researching the history of paganism in the UK during the twentieth-century, I was naturally interested in a remark made in a recent post published on Torpedo the Ark [1] concerning some kind of dispute between yourself and the then President of the Pagan Federation, Leonora James, in the 1980s.

      

You allege that she threatened to report you to the police on the basis of some artwork sent to her, but provide no further details of this incident, nor any proof with which to back up this claim. If you could provide a little more information and any documentary evidence relating to this case that you may still have in your possession, I'd be most grateful.    

 

 

As I'm always happy to assist those doing research, here then are a few more details as requested, along with materials submitted in evidence ...

 

 

II. 

 

Issue XXVIII of Pagan Magazine was entitled 'Expressions' and was dated Spring 1989. 

 

It mostly consisted of a selection of poems written over the winter months and illustrated with some of my favourite works by several German Expressionists, including Ernst Ludwig Kirchner and Otto Mueller. 

 

Later that year, I decided to try and get some support from the Pagan Federation (PF) for what I was doing - not just the magazine, but also a line of Pagan T-shirts - and wrote to the then President, Leonora James, a high priestess in the Gardnerian tradition of modern pagan witchcraft. 

 

The PF had been founded in 1971 and aimed to protect the rights and raise the profile of all those who described themselves as pagan and to provide information on pagan beliefs and activities to the wider community and media. Vivianne Crowley, founder of the Wicca Study Group in 1988, was appointed Secretary of the PF in that same year.   

 

Just to be clear: I wasn't a member of the PF and didn't seek membership. I was simply looking for recognition and, perhaps, some financial assistance (though I had no idea of whether they provided such). 

 

Unfortunately, after a long wait to hear back from the PF, I received the following letter dated 1 November 1989:

 

 

Dear Stephen Alexander,

I am returning your paedophile mag unopened herewith. If it is a serious attempt at Pagan erotica, we suggest you leave Paganism and join the Church of England, where choirboys seem to be all the rage, according to the many documented criminal convictions in the last year. If it is an attempt by artists to interest Pagans in paedophilia, buzz off, we're not interested. If its lurid cover picture is intended to link Paganism with paedophilia in the public's mind, rest assured, we shall take any future issues straight to the police for investigation - of you. 

The neo-Nazi overtones of the picture's legend are unlikely to arouse much interest among Pagans of the Norse tradition. Asatru is concerned with building a free and honourable lifestyle for people of all ages, not with living out regressive fantasies about children. 

May the Gods guide you through your misconceptions, and don't bother us with this kind of rubbish again. 

 

Sincerely, 

 

Leonora James

President, Pagan Federation

III.    

 

I have to admit, I still find this frankly bizarre and ludicrous letter as astonishing today as I did when I first read it. My reply read as follows:

 

 

Dear Ms James,

                        

Your letter referring to Pagan Magazine (Issue XXVIII), leaves me absolutely astounded. You accuse me of paedophilia, eroticism, and neo-Nazism and base all three accusations purely on the cover alone! 

      

Of course, I strongly deny at least two of the above charges: Pagan Magazine is not a paedophile publication and nor does it have any neo-Nazi overtones, undertones, or sympathies. And if it sometimes features erotic art, it is hardly pornographic in character (nor a 'serious attempt' to be such).

      

I'm not quite sure what troubles me most about your letter: your ignorance and philistine stupidity; or your hysterical obsession with child-sex. The image you describe as 'lurid' is in fact a well-known work by the German Expressionist Ernst Ludwig Kirchner. 

      

As for the phrase blood-knowledge in the magazine's subtitle, please note this is taken from D. H. Lawrence and refers to a way of knowing that is intuitive and instinctive; i.e. pre-mental and non-headbound. It has nothing to do with the racial politics of the Third Reich. 

      

Returning to the erotic aspect of Pagan Magazine, if this worries you so much then I suggest you rename your church of the closed mind and unopened text the Puritan Federation! It's shocking that someone like you is a representative of the pagan community, as your letter clearly demonstrates you are unworthy of such a role. 

 

'May the gods guide you through your misconceptions ...'

 

Stephen Alexander Von Hell

PS: please note how, at no time, did I threaten to send a policeman after you ...!

 

PPS: I will one day expose your foolishness. 

 

 

Thirty-five years later and it seems that my second postscripted remark has finally come to pass  ... 

 

Image used on the Contents Page of  

Pagan Magazine XXVIII (1989)

 

Notes

 

[1] The post referred to - 'Pagan Magazine: Remembered and Reimagined' - was published on 1 August 2024 and can be accessed by clicking here. Another recent post in what might be thought of as the Pagan series can be read by clicking here.

  

 

Reflections on a Pagan T-Shirt

 

 Left: Novgorod Devil Mask Shirt  (Pagan Products 1983) 

Right: three medieval leather masks found in Novgorod

 

I. 

 

If, as Deleuze and Guattari argue, the white face is crucial to Christianity [a], then equally true is the fact that pagans have a thing for masks; be they anthropomorphic or zoomorphic in design, and worn for ritual or ceremonial reasons. 

 

By disguising and losing the face, they are able to (momentarily and magically) recover the head as it originally belonged to the body; i.e., the head that isn't facially codified, but subject rather to a "multidimensional polyvocal corporeal code" [170].

 

A mask not only "ensures  the head's belonging to the body" [176], it also enables the wearer to become-imperceptible; to set out on the road to the "asignifying and asubjective" [171] by inviting an animal-spirit or demon to take possession of "the body's interior" [176].

 

In sum: pagan mask-wearers have "the most beautiful and most spiritual" [176] of heads and the importance of masks cannot be overstated.  

 

II.

 

Clearly, back in the summer of 1983 when I hand-painted the first of the Pagan T-shirts, featuring a design based on leather masks from Novgorod (Russia) believed to date to the 12th or 13th century, I hadn't read Deleuze and Guattari and very much doubt I would have understood wtf they were talking about when they discussed faciality and the liberating of probe-heads, etc.

 

Nevertheless, I like to think that I had already intuited something of the fact that primitive peoples and pagan cultures operate on a prefacial level which has "all the polyvocality of a semiotic in which the head is a part of the body, a body that is already deterritorialized [...] and plugged into becomings-spiritual/animal" [190].       

 

Mostly, however, my decision to paint several shirts with mask images was based on my reading of the (metamorphic) role that masks played in ancient and medieval times and the fact that they continue to strike terror into the hearts of many people (which is why Leatherface has become such a powerful figure within the cultural imagination [b] and why McLaren and Westwood chose to use a mask similar to one worn by the Cambridge Rapist on an early line of shirts sold at Sex) [c].       

 

Finally, here's a picture of a young punk-pagan wearing the Novgorod Devil Mask Shirt back in the day ...

 

 

 

 

 

Notes

 

[a] See Deleuze and Guattari, A Thousand Plateaus, trans. Brian Massumi (The Athlone Press, 1988), pp. 167-191. All page references given in this post are to this text. 

 

[b] As far as I remember, just as I hadn't read Deleuze and Guattari in 1983, nor had I seen The Texas Chainsaw Massacre (dir. Tobe Hooper, 1974), which was banned from general cinematic release in the UK until 1999 (although available on uncertified video in 1981). It's unlikely, therefore, that the figure of Leatherface played any part in my thinking at this time.

 

[c] The masked figure of the British serial rapist Peter Cook, known as the Cambridge Rapist, long fascinated McLaren. He and Westwood not only exploited Cook's notoriety on shirt designs sold at 430 Kings Road, but his image also appears on one of the posters in the 'God Save ...' series designed by Jamie Reid for The Great Rock 'n' Roll Swindle (Julien Temple, 1980). However, whilst certainly aware of this when working on my own mask T-shirt, I wasn't consciously trying to imitate their design. 

         

 

Readers interested in an earlier post on the truth of masks (3 Feb 2018) can click here ...

 

Readers interested in an even earlier post on the politics of the face (13 Sept 2013) can click here ...

And for those interested in a more recent post on the Cambridge Rapist motif (13 July 2022), click here.

  

Pagan Magazine: Remembered and Reimagined

A mock-up cover illustrating how Pagan Magazine might look 

in 2024 based on a recent post on Torpedo the Ark

 

Last year marked the 40th anniversary of Pagan: The Magazine of Blood-Knowledge (1983-1992). 

 

And, whilst I have discussed the origins of this obscure publication previously on Torpedo the Ark and provided a full index of issues - click here - I think this might be an opportune moment to offer a few further remarks in response to a suggestion that Pagan be digitised and made available online and in answer to the following questions asked by this same person:

1. Can you explain why you chose the title Pagan for the magazine?

 

As far as I recall, this was inspired by D. H. Lawrence; not just his religious and occult writings, but the fact that he and his close friends belonged to a literary society as adolescents referred to by some as 'the Pagans' [1]. 

 

This small group would discuss all kinds of ideas and read authors including Marx, Nietzsche, and Darwin and I wanted the magazine to reflect the same degree of intellectual curiosity. My readings of Nietzsche in the mid-1980s only reinforced my view that this was the perfect name for the magazine and although I never used the following section from The Will to Power, it very much reflects the kind of thing that fired my imagination at the time:

 

"We few or many who again dare to live in a dismoralised world, we pagans in faith: we are probably also the first to grasp what a pagan faith is: - to have to imagine higher creatures than man, but beyond good and evil; to have to consider all being higher as also being immoral. We believe in Olympus - and not in the 'Crucified'." [2]

 

I still think it's a nice title, although that's partly due to the fact that I'm strongly inclined towards auto-descriptive words beginning with the letter P: punk, pirate, poet, pagan, etc. However, I would almost certainly change the subtitle - if it ever was the subtitle and not merely a strapline - as the irrationalist concept of blood-knowledge is one I have come to find problematic [3]. I think now I would be tempted to go with Pagan: the Magazine of Dark Enlightenment.

 

 

2. Can you remember the circumstances surrounding the production of the early issues?

 

Not very well. I was twenty at the time and studying for a degree in Leeds. That period is very much like a dream now and I don't remember much about it.  

 

Fortunately, however, I kept a diary and, apparently, it was on Thursday 7 April, 1983, that I suddenly had the idea of putting together a magazine that would reflect my new philosophy - a post-punk primitivism partly inspired by D. H. Lawrence and a second-hand copy of the Larousse Encyclopedia of World Mythology.

 

I designed a front cover - which, to be honest, is a complete dog's dinner - and began writing the text that evening. The first issue wasn't completed, however, until the middle of the following month, when I was in London at Charisma Records. 

 

It was there that I made a hundred photocopies of the ten-side issue on 16 May. Don't ask what happened to them, but I know that one was sent to Malcolm McLaren's office at 25 Denmark Street and it might be noted that the woman's face featured on the cover with a thick black band of makeup across her eyes was inspired by the dancers in the 'Buffalo Gals' video (a look McLaren borrowed from Ridley Scott's Bladerunner (1982)). 

 

The image of Priapus which also featured on the cover was intended to be a kind of logo, but, sadly, it didn't appear on any future issues and I think Pan became the presiding deity for the most part.   

 

The superior second issue, with original artwork by Gillian Hall - my on-off (mostly off) partner at the time - came out in July and was quickly followed by issue three, which was a poetry issue with a picture of Jordan (Pamela Rooke) on the cover. The magazine didn't really come into its own until the period 1986-89, which is when the vast bulk of issues were produced (on A3 paper). 

 

 

3. Were you part of the pagan/esoteric/occult scene in the 1980s?

 

No, not at all. 

 

My interests were very much to do with art, politics, and popular culture, rather than magic or witchcraft. I read books about the latter and had a T-shirt with a picture of Aleister Crowley on, but that was about it. 

Having said that, there were issues of Pagan on subjects including alchemy, astrology, and tarot, so it would be a little disingenuous to say I had no interest in (or knowledge of) these things. Further, I was a regular reader of Pagan News, edited by Phil Hine, who has since become an internationally respected author on chaos magic and related topics and we occasionally cross paths in London. 

 

However, my attempt to garner support for the magazine from Leonora James, the Gardnerian High Priestess who was then serving as President of the Pagan Federation, ended badly after she decided that images I had used by German Expressionist painters had paedophile undertones. She warned me that if I were to send her any future copies of Pagan Magazine she would immediately report me to the police!

 

After that, I had no further contact with people on the pagan scene until I met Christina Harrington, in 2004, and became involved with things happening at her magical little bookshop, Treadwell's [4].     

 

 

4. Finally, do you still identify as a pagan and do you see Torpedo the Ark as a continuation of the project you began with Pagan Magazine forty years ago?   

 

I don't really identify as anything to be honest and, whilst there are certainly posts on TTA that might be interpreted as pagan in character, the blog is ultimately a very different kettle of fish and has a radically different philosophy and perspective. I found it fun doing the mockup cover for an imaginary issue of Pagan Magazine published in 2024, but don't think my heart would really be in it if asked to produce an entire new issue. Some things are very much of their time and Pagan belongs in the 1980s like a fish belongs in water. 

 

But again, having said that, I obviously still read Lawrence and Nietzsche and I have presented two papers at Treadwell's recently - one on the magical allure of objects and the other on occultism in the age of transparency [5] - so, who knows, perhaps for the 50th anniversary I might be tempted to reboot the magazine. But I doubt it.      

 

 

Artwork for Pagan Magazine, Issue 2 (1983), 

by Gillian Hall

 

 

Notes

 

[1] See John Worthen, D. H. Lawrence: The Early Years 1885-1912, (Cambridge University Press, 1991), p. 170.  

[2] Nietzsche, The Will to Power, trans. Walter Kaufmann and R. J. Hollingdale, ed. Walter Kaufmann (Vintage Books, 1968), section 1034 (1888), p. 533.

 

[3] I have twice discussed Lawrence's concept of blood-knowledge on Torpedo the Ark: click here and here. 

 

[4] See the post dated 4 December 2012 entitled 'The Treadwell's Papers' - click here. 

 

[5] Details of both these events can be found on the TTA Events page: click here.

 

 

In Praise of the Goat

 

'A procreant male goat of selfish will and libidinous desire, 

with curving horns of bronze ...'

 

I. 

 

Goats, as Joy Hinson reminds us, are adaptable and resilient animals who have a relationship with man that is as ancient and intimate as that of the dog, although somewhat more ambivalent, due to the fact that goats are often associated with immorality; the lamb-like nature of Christ contrasted with the caprine characteristics assigned to devilish deities from Pan to Baphomet.  

 

Hinson writes: 

 

"Goats have a symbolic significance: in early pagan cultures they represented lust and debauchery; in satanic cults they often represent Satan himself; while in Christian culture they symbolise sinners, those who have fallen from grace." [1] 

Most likely this is due to the lascivious nature of the male goat who, during mating season, will become increasingly hungry, aggressive, and sexually active thanks to raised levels of testosterone. 

 

He will also urinate on his own forelegs and face in order to enflame the females of his species. Sebaceous scent glands at the base of the horns further add to the male goat's malodorous allure and some does will refuse to lift her pretty tail and mate with a buck whose scent is insufficiently rank.  

 

 

II. 

 

D. H. Lawrence is someone who understands the nature of the goat better than most and in his poetry collection Birds, Beasts and Flowers (1923) he reflects on the nature of both the he-goat [2] and she-goat [3]. 

 

In the first of these, Lawrence writes of a male goat during rutting season who "charges slow among the herd" of females, sniffing at their rear ends and hoping to get lucky, or sometimes turning "to fight, to challenge, to suddenly butt" a rival goat with his horned-head:

 

  And then you see the God that he is, in a cloud of black hair 

  And storm-lightning-slitted eye. 

 

This aggressive violence and rage belongs to him as much as his insatiable libidinousness, but it's the will to "Orgasm after orgasm after orgasm" for which he is best-known to us; that, and what Lawrence calls his egotism:

 

  The goat is an egoist, aware of himself, devilish aware of himself, 

  And full of malice prepense, and overweening, determined to stand on the highest peak

  Like the devil, and look on the world as his own.

 

As for the she-goat, "with her goaty mouth", having curled back her tail and "exposed the pink place of her nakedness", she stands smiling like Mona Lisa:

 

  And when the billy goat mounts her 

  She is brittle as brimstone. 

  While his slitted eyes squint back to the roots of his ears.

 

It's as if he never quite manages to touch the quick of her; as if she somehow exists in a world that is just beyond him. 

 

And besides, for all the he-goat's ardour and sexual vigour, the act of copulation is quickly done and dusted [4].    

 

 

Notes

 

[1] Joy Hinson, Goat (Reaktion Books, 2014), p.11.  

[2] D. H. Lawrence, 'He-Goat', Birds, Beasts and Flowers (Martin Secker, 1923), pp. 160-164. Click here to read in the Project Gutenberg eBook edition. 

     

[3] D. H. Lawrence, 'She-Goat', Birds, Beasts and Flowers (Martin Secker, 1923), pp. 166-168. Click here to read in the Project Gutenberg eBook edition.

    

[4] On average, a male goat will ejaculate after just half-a-dozen thrusting movements once intromission has occurred and copulation will therefore last no more than a few seconds. 

      On the other hand, pre-copulatory stages of the sexual act (i.e. foreplay) can last for up to ten minutes and involve male goats chasing females in heat, sniffing (then licking) their ano-genital region, and watersports. Some he-goats also like to perform acts of auto-fellation prior to mounting a doe.

      Readers who are interested to know more might like to see Corneliu Gaspar, Luminița-Iuliana Ailincai and Adina-Ximena Dodan, 'Observations of Sexual Behaviours in Goats (Capra Hircus) Raised on Non-Professional Farms', in Journal of Applied Life Sciences and Enironment, Vol. 55, Issue 3, (2022), pp. 301-310. Published online 2 March, 2023: click here.

 

 

For Nael Ali, whose article 'The Goats of War Metal' in SIG News, Issue 3, (1 Sept 2024), pp. 8-9, motivated me to write this post.   

Notes on SIG News Issue 3: From Bomber Jackets to the Joy of Punxploitation

It's all working well for him and it's all going smoothly for McQueen

 

NB: this post is a continuation from part one: click here. 

 

 

V. 

The MA-1 - or bomber jacket, as it is better known - was a popular fashion staple in the 1980s; particularly with skinheads, who loved both its utility and hypermasculinity (as did certain gay clones). 

 

However, as Ian Trowell reminds us, what imbued this garment with such great "subcultural crossover potential" [1] was the fact it evaded fixed meaning. This also helps explain its strange longevity.

 

That and the fact that what's good enough for Steve McQueen, is, as a rule, good enough for anyone (although, for the record, I never owned a bomber jacket and wouldn't have dreamed of wearing such). 

 

 

VI.

 

Mike Wyeld and Antony Price are both concerned with subcultural politics. 

 

The former asks whether punk or acid house, for example, has resulted in any long lasting political change. I think we all know the answer to this, even Wyeld, although he wants to keep the dream alive so can't quite bring himself to openly admit it hasn't.

 

Price, on the other hand, is adamant that rave continues to offer a form of "collective resistance to the oppressive pervasiveness of capitalist realism" [2]. 

 

Unfortunately, Jean Baudrillard has indicated how and why the very idea of resistance in a transpolitical era characterised by the techno-social immersion of the individual rather than their alienation, has become problematic and even a little passé. Speaking in an interview with François L'Yvonnet, Baudrillard says: 

 

"I'm a bit resistant to the idea of resistance, since it belongs to the world of critical, rebellious, subversive thought, and that is all rather outdated. If you have a conception of integral reality, of a reality that's absorbed all negativity, the idea of resisting it, of disputing its validity, of setting one value against another and countering one system with another, seems pious and illusory." [3]

 

Of course, that isn't to say that there cannot exist singular spaces which, at a particular moment, constitute themselves as alternative worlds with their own set of rules. And that's pretty much how Price describes nightclubs:

 

"At their best, nightclubs are places for experimentation, for inclusiveness and exclusiveness, a place to try out different personas, to challenge sexual identity and orientation through both individual and collective freedoms, a space to move outside of the confines of society." [4] 

The problem is, anyone who has actually been to a nightclub recognises that this is mostly bullshit. And even if nightclubs were (at their best) heterotopic wonderlands of transgression and otherness, they still wouldn't offer the kind of head-on socio-political resistance that Price imagines and advocates. 

 

 

VII.

According to Madeline Lucarelli, the practice of witchcraft has been transformed via the establishment of online communities. No longer concerned with the casting of spells and the harnessing of supernatural forces, witchcraft is now all about personal growth and spiritual freedom [5].  

 

Alas, if Lucarelli is to be believed, witchcraft has therefore become a depressingly tame affair; no sex, no scourging, no satanic ritual ... The Dionysian frenzy of the orgy and the blasphemous humour of the black mass appears to have given way to a New Age theology that upholds many of the same woke values that any good liberal might recognise. 

 

Wicca, I'm sorry to say, is now a humanism. And the witch, far from being a figure who inspires terror or offers resistance to hegemonic society, is now merely a Twilight-reading Barbie Goth hardly deserving of the name.

 

 

VIII.

 

Finally [6], we come to Russ Bestley's article on the joy of punxploitation and his deep fascination with Plastic Bertrand's international hit single 'Ça plane pour moi' (1977).

 

Whilst Bestley struggles to say what, exactly, first attracted him to this song, I think I understand (and to an extent share) his love of those songs which have all the energy of punk but which are not weighed down by the spirit of gravity; songs which privilege the joy and laughter of pop over the austere monarchy of rock [7].

Bestley recognises that fun is a vital element of popular culture, even if it is often valued negatively by those commentators whose language succumbs all too easily to moralising imperatives; i.e., the kind of people who are embarrassed by the crude and shallow entertainments enjoyed by the working-class and who will never accept the fact that 'Friggin' in the Riggin'' was a bigger selling-single than 'Holidays in the Sun'.

 

I agree with Bestley that 'Ça plane pour moi' amusingly manages to "embody so much of what 'punk' set out to achieve" [8]. So click the link above, roll around with your cat on the bed, and enjoy!

 

 

Notes

 

[1] Ian Trowell, 'Bomber Crew: Storying the Eighties Through the MA-1', SIG News 3 (1 September, 2024), p. 12.  

[2] Antony Price, 'Rave On', SIG News 3 (1 September, 2024), p. 30.

 

[3] Jean Baudrillard, Fragments, trans. Chris Turner (Routledge, 2004), p. 71.

 

[4] Antony Price, 'Rave On', SIG News 3 (1 September, 2024), p. 30.

 

[5] See Madeline Lucarelli, 'The Body, Broom and Sins of the Witch', SIG News 3 (1 September, 2024), p. 22.

 

[6] It should be noted that there are numerous other articles in SIG News 3 that I have not discussed. These include Rachel Brett's piece on fashion's relationship with the colour black (a dark history I have myself written on here); Isabella Chiara Vicco's piece on Jerry Rubin and his metamorphosis from yippie to yuppie; and Shijiao Kou's musicological analysis of 'Hong Kong Garden' (the debut single by Siouxsie and the Banshees). Oh, and there's also my piece on the revolt into red-trousered style.   

[7] The phrase 'spirit of gravity' is borrowed from Nietzsche (Thus Spoke Zarathustra) and the phrase 'austere monarchy' is borrowed from Foucault (The History of Sexuality 1). I have written on rockism contra poptimism and in defence of fun elsewhere on Torpedo the Ark: click here and here.

[8] Russ Bestley, 'Ça Plane Pour Moi': The Joy of Punxploitation', SIG News 3 (1 September, 2024), p. 27.