16 May 2016

Executing Elephants Part II: The Case of Topsy (Death by Electrocution)



Thirteen years prior to the macabre public execution of poor Mary discussed in part one of this post, was the equally gruesome murder of Topsy at an amusement park in Coney Island, New York by a combination of methods, including electrocution.    

Topsy was a female elephant born in SE Asia around 1875, smuggled into the United States in order to become part of a herd of performing circus animals. Like many others of her kind, however, Topsy didn't enjoy a showbiz lifestyle and rebelled against it, gaining the reputation as a troublesome beast. 

In 1902, after killing an idiot spectator who thought it would be amusing to stub out a cigar on her trunk, she was sold to Luna Park where she again became involved in several well-publicised incidents. Not wishing to tolerate a bolshie elephant, the owners of the park decided to hang Topsy in a pay-to-view, end-of-season public spectacular. This plan was abandoned, however, following objections from the American Society for the Prevention of Cruelty to Animals. 

Nevertheless, a new event was quickly arranged; one for invited guests and members of the press only. It was also agreed to use a more certain - and thus arguably more humane - method of strangulation; Topsy was to have large, heavy ropes tied to a steam-powered winch put round her neck. She was also to be given poisoned carrots to consume and electrocuted for good measure.  

On January 4, 1903, in front of a small audience, poor Topsy was duly killed; the 6,600 volts of electricity providing a sizzling coup de grâce. Among those present was a film crew and the resulting snuff movie was released under the title Electrocuting an Elephant. This was available to view via coin-operated kinetoscopes at the time and can still be watched today on YouTube by those with a ghoulish disposition [click here]. 

Doubtless because of the existence of this film, Topsy the elephant has secured her place within the popular cultural imagination.

Finally, it is interesting and I think significant to note that the name, Topsy, was taken from that of a female slave character in Uncle Tom's Cabin - demonstrating how racism and speciesism, as well as violent misogyny, belong to the same matrix of fear and loathing: niggers, women, and dumb animals are all regarded within the white male psyche as dirty and dangerous; creatures in need of taming with a whip and being shown who's boss.  


Note

Part I of Executing Elephants: The Case of Mary (Death by Hanging), can be read by clicking here
And Part III: The Case of Chunee (Death by Firing Squad), can be read by clicking here


Executing Elephants Part I: The Case of Mary (Death by Hanging)



Having read the recent post written on Tyke, the so-called elephant outlaw [click here] who killed her abusive trainer and rebelled against a life as a circus performer - briefly enjoying a few moments of rampaging freedom before being shot and killed by the police - Zena writes and asks if I'm familiar with any other similar cases involving captive elephants.

Well, it just so happens - even though I make no claims to being an expert in this area - that I am aware of three such cases, the first of which, the case of Mary, I'd like to briefly recount here.

Mary was a much-loved circus elephant, famous for standing on her head, playing musical instruments and pitching baseballs with her trunk. Tragically, after killing a trainer in Tennessee in September 1916, she was put to death by hanging.

The unfortunate - and unqualified - trainer, Red Eldridge, who drifted in and out of employment when not living the happy life of the hobo, was sitting atop Mary as she led the elephant parade through Sullivan County. After apparently stopping to eat a watermelon by the roadside, Mary was given a sharp prod behind her ear with a bull-hook. This proved to be a fatal, final act of cruelty on Elridge's part. Enraged, Mary snatched the puny human off her back, threw him to the ground and stepped on his head - crushing it, ironically, like a watermelon.

Details of what happened next are confused and contradictory; forever lost in a mix of sensationalist newspaper accounts and popular legend. Although it seems that Mary quickly calmed down and didn't make any attempt to run off or hurt any onlookers, locals demanded violent retribution; an eye for an eye and a tusk for a tooth.  
 
Fearing for the future of his circus if he didn't comply with this demand to punish the elephant, Charlie Sparks reluctantly agreed to a public execution. Thus, on a miserable day in Erwin, Mary was taken to a railroad yard and hanged by the neck from an industrial derrick crane in front of two-and-a-half thousand cheering spectators (including most of the town's children).  

The first attempt to execute poor Mary failed when the chain round her neck snapped, causing her to fall and break her hip. Severely wounded, she was hoisted back up with a new chain and killed on the second attempt. Mary was then buried by the tracks, but only after a vet examined the corpse and discovered that she had a severely infected tooth that would have caused her great discomfort precisely in the spot where Eldridge foolishly prodded her.


Note

Part II of Executing Elephants: The Case of Topsy (Death by Electrocution), can be read by clicking here
And Part III: The Case of Chunee (Death by Firing Squad), can be read by clicking here


13 May 2016

Elephant Rebellion (with Reference to the Case of Tyke)

Tyke the elephant packed her trunk and said goodbye to the circus ...
Photo: Honolulu Star (1994)


Perhaps the most (in)famous recent case of so-called elephant rebellion involved a large, 20-year-old African she-elephant called Tyke, who regularly performed with a circus, before one day deciding that enough was enough.

During a show in Honolulu, Hawaii, on August 20, 1994, Tyke killed her trainer, Allen Campbell, and seriously injured a co-worker. She then bolted from the arena and rampaged through the streets of the Kakaako central business district for more than thirty minutes with a trumpety-trump, trump, trump, trump!

Fearing for the safety of the public and of damage to private property - though seemingly unconcerned about Tyke's obvious distress (not to mention the years of abuse and humiliation she'd suffered leading up to the incident) - the authorities immediately issued a shoot to kill policy.

After firing almost a hundred rounds of ammunition at the poor beast, the cops eventually stopped Tyke dead in her tracks; traumatizing many spectators to the event in the process.

The attack on her human captors, her escape, her brief moments running free (if never, alas, running wild), and, finally, her bloody execution, were all captured on video and this shocking footage is central to the excellent if harrowing documentary made by Jumping Dog Productions entitled Tyke: Elephant Outlaw (dir. Susan Lambert and Stefan Moore, 2015).

Anyone moved by the plight of Tilikum in Blackfish (2013) - and you'd have to be heartless and inhuman (in the bad sense of the term) not to be - will rightly be angered and upset by the story of Tyke as well.

Having said that, it's mistaken to think of elephants as gentle giants, or spiritual creatures; even in a natural environment they can display aggressive and destructive behaviour. Hardcore animal rights activists may like to think that man is the only violent and vindictive animal, but that's clearly not the case.

Indeed, one is tempted to suggest that even the most kindly and intelligent elephants can only ever be virtuous in a herd manner or Christian sense; they can display pity and forgiveness, for example, but because they can never forget they're likely to be prone to some form of ressentiment and thus never truly noble.


11 May 2016

Of Man and Dog - A Guest Post by Catherine Brown

Penguin, 2012

I have recently read In Defence of Dogs by John Bradshaw, biologist and founder-director of the Anthrozoology Institute at the University of Bristol. The font is academically-small and intimidating. The book is good.

I will pass on its arguments as though they are true. For Bradshaw has done a great deal of research into canine behaviour and, though his findings and inferences are controversial, I have no independent reason to doubt them. In any case, whether they are true or not, they have prompted some interesting reflections in me about pooches and people.

I.

Bradshaw describes the generic mutt; for example, the village dog that one finds all over Africa. They all look roughly alike and share a common evolutionary history that made them perfectly fit for purpose. Selective breeding, however, at the hands of man over millennia, has necessarily produced dogs which are rather less fit. Unfortunately for them, dogs no longer get to choose their own sexual partners and the characteristics for which they're selected, such as utility or good looks, often don't have anything to do with ensuring their survival or improving their health.

It's little wonder therefore that veterinary science is now needed to bridge the fitness-gap that's been opened up and that animal trainers and psychologists are required to deal with dogs that are deemed suboptimal companions. Given that we don't breed certain types of dog primarily for fellowship, it's a bit rich when we complain of aggression or anxiety in our animals, as though these traits were not entirely of our own creation.

Fortunately, we humans, by contrast, resemble village dogs. Except in aristocracies, which have their own problems with fitness, we breed more or less at will, in order to be all-round, well-adapted men and women. Ease of long-distance travel has broadened our gene pools still further. Huxley's Brave New World gives us one vision as to what would happen were it otherwise. Dogs give us another. Were we to be bred by a scientific elite or an alien master race, it's perfectly feasible (and amusing to imagine) that we too might become subdivided into human equivalents of Schnauzers, Dobermans, Bichon Frises, Golden Retrievers, Boxers, Borzois and the rest.

So, in short, most dogs in the Western world are now more pedigree than mongrel; even what is called a mongrel is likely to have at least one pedigree parent or grandparent. By contrast we are for the most part comfortably and healthily mongrel. We don’t need annual vaccinations and monthly worming, as our dogs do, and we are all the better off for it.

II.

Dogs are wolves at arrested stages of development. Even the skull of a little Pekingese resembles that of the wolf foetus; it just doesn’t keep growing into the long, narrow skull of the wolf. Unlike wolves, however, dogs continue to play when they are adults, and are dependent on humans throughout their lives. They therefore never become psychologically mature and independent, as wolves do. Because of the consistency of food supply throughout the year, they are fertile all the year round, unlike wolves, which mate in winter in order to give birth in spring. But because the food that humans can spare for dogs is limited, they are smaller than wolves. They are less fussy about sexual partners than are wolves, which pair-bond, whereas dogs are promiscuous.

And so we, people, are more dog than wolf. We are smaller than earliest man because of our more herbivorous diet (we are only now re-approaching the size of early humans). We are fertile all the year round, and, although we pair-bond to a degree, we are more promiscuous than wolves are. We play, with our child toys or our adult toys, at our child games or our adult games, throughout our lives. Of course, this dogginess is unsurprising, given that we bred dogs in our own image.

Yet the wolves from which we created dogs are not today’s wolves. Since we have persecuted wolves almost to extinction, we have negatively selected those which are most distrustful of us to be the survivors. It is likely that dogs descended from wolves living around 20,000 years ago which had a mutation which enabled them to form relationships with more than one species - our own as well as their own. This mutation served them well; their numbers now dwarf those of wolves.

But, especially in the twentieth century, dog psychology has misleadingly tried to understand dogs with reference to a) modern wild wolves, which are a distrustful, persecuted minority, and b) captive wolves, which, not being able to form and dissolve their own packs, are far more agonistic and violently hierarchical than are the internally-peaceful nuclear family packs of the wild. These false reference points, combined with the false assumption that dogs are essentially wolves in dogs’ clothing, has led to the stress on dominance in dog training.

The assumptions are: every dog wants to be top dog; dogs treat humans as members of their pack; every attempt at dog dominance must be thwarted, and so on. In fact, dogs relate very differently to humans as compared to others of their own kind, and tend to be far more dependent on the former, even in households of multiple dogs. At our own best, we are dog-like in our sociability with all other members of our species, not just within our nuclear families. Where we become wolf-like, in our rivalry with and violent hostility towards other packs, is at the level of the nation. Best to keep dogs within our sights.

Finally, one of the things that makes us human (and dog-like) is our ability to interact with, and nurture, multiple species. This is apparent in the story of the evolution of dogs from wolves. The explanation that wolves were initially tolerated as scavengers in villages is not sufficient by way of explanation of the beginnings of domestication - why would wolves prefer human scraps to the far better and more plentiful food that they can hunt for themselves? Nor is the idea that humans consciously took wolves to train them for various useful purposes, such as those for which working dogs are used today, sufficient as an explanation.

The evidence is that hunter-gatherers, past and present, adopt a variety of baby animals to bring up alongside their own young, simply for the joy of the process, a delight in their cuteness, a delight in play, and, in some cases, the status that accrues from having pets. Amongst today’s Penan of Borneo, and the Huaorani of the Amazon rainforst, parrots, toucans, wild ducks, raccoons, small deer, rodents, opossums, and monkeys are all adopted. Indigenous Australians foster dingo puppies, which, when they become unmanageable adults, are simply driven away to reproduce in the wild. It is likely that the same happened with wolf puppies - and that, eventually, a few of the puppies became domesticated as well as tame, so that they consented to reproduce in a human environment, and thus were set on their course to become dogs.

This is one of the most charming things about humans that I know - that we care about the survival of species other than our own, for reasons other than utility. We delight in nurturing, cuteness, and play, will spend our limited resources on these things, and have done so for as long as we have been human.



Catherine Brown is an English literature academic who also blogs, tweets, and writes for the media. Her literary interests centre on novels and plays of the nineteenth and twentieth centuries and the wider cultural histories of England and Russia. Her tweets tend to be about D.H. Lawrence; her blog posts are mostly reviews of books, films, plays, and exhibitions, or reflections on politics and religion. 

Catherine appears here as part of the Torpedo the Ark Gastautoren Programm and I am very grateful for her kind permission to reproduce, revise and edit this text, which originally appeared on her own blog. 


10 May 2016

Gotta Gettaway (Confessions of a Desperate Housewife)

Front cover to SLF single Gotta Gettaway 
(Rough Trade, 1979)


Although Daventry Road is far, far removed from Wisteria Lane - and although I'm certainly no Bree Van de Kamp - it appears that my Essex exile has resulted in my becoming a desperate housewife caught up in an endless cycle of cooking, cleaning and caring.

None of these activities are particularly objectionable in themselves, I suppose. And it's true that Lawrence was never happier than when baking bread or attending to the daily chores whilst Frieda lounged in bed smoking cigarettes and thinking of her lovers. 

But the domestic life isn't for everyone: even as a young child I despised carpets and comfortable chairs, potted plants and knick-knacks. I could see they were covered not only in layers of dust, but in falsehood. 

As I grew older, I realised that at the heart of every family home lies none of the humility and sweetness spoken of in the song, but secret hatred and unspoken disgust between the sexes and generations.

And this was why the Stiff Little Fingers single Gotta Gettaway (1979) struck such a powerful chord with me at the time and continues to resonate even now ...  


8 May 2016

Reflections on Exile

Able was I ere I saw Essex


It's been suggested, rather snidely, that my Essex exile is entirely self-imposed; something voluntarily entered into and which I'm thus responsible for.      

Of course, I'm far too fatalistic a thinker to accept this piece of naive psychologizing which rests upon the rational-moral fallacy of a free-willing subject exercising complete control over the course of actions and events.

But, however it came to pass, my Essex exile is an unfolding reality and a profoundly unpleasant one at that.

It's not that I feel banished from a beloved homeland - something that the Greeks regarded as a fate worse than death - so much as shut-out from a way of life which, limited as it was in opportunity and human contact, was nonetheless my own; i.e. a piece of chaos to which I'd given style. 

Thus my Essex exile is more a form of aesthetico-existential deprivation rather than geographical displacement. I do miss London: especially Soho. But mostly I miss the series of small habits, daily routines and rhythms that enabled a reassuring and necessary consistency and continuity of self (or at least the impression of such).

As Deleuze and Guattari note, even nomads happy to wander homelessly in that savage realm of dangerous knowledge outside the gate have to keep enough elements of subjectivity in order to be able to respond to the dominant reality when they wake up in the morning.

And so, as poets from Ovid to Oscar Wilde have discovered, exile isn't much fun or easy to bear if it involves a loss of soul and not merely a loss of familiar streets and favourite haunts.  


7 May 2016

Gokkun: Notes on the Swallowing (and Spitting) of Semen

Artist's impression of a woman drinking semen


Whilst it's certainly the case that semen can contain some nasty surprises - and whilst I'm not insisting anyone should swallow if they'd rather spit - the fact is protein-rich, fat-free male ejaculate contains a harmless (arguably beneficial) mix of elements including amino acids, sugars, minerals, and other nutrients.

So it appears to make good sense - on slightly spurious health grounds at least - to gobble down as much of the stuff as possible whenever you have the opportunity to do so (unless you happen to be one of those unfortunate individuals who suffers from the rare condition known as seminal plasma hypersensitivity).    

Of course, there's always the issue of taste to consider; not everyone is going to like a mouthful of spunk, no matter what the reputed health benefits may be. Some find it bitter, some find it salty, and some - because of the high zinc level - find it slightly metallic on the tongue. Others just find the very thought of it disgusting; Anaïs Nin, for example, rather surprisingly listed penis-sucking as among her pet hates, even though her formula for happiness involved having multiple male lovers.

Obviously, the health and diet of the donor will significantly contribute to the flavour. If you want to sweeten up your semen then drinking lots of fresh pineapple juice is advisable. Other ingredients that are said to improve the palatability include cinnamon, lemon, and green tea. (It's probably best to lay off the red meat and black coffee unless your partner happens to like that distinctively sharp-strong taste.)

Interestingly, a study conducted in 2002 suggested semen may even act as an anti-depressant for heterosexual women - but only if absorbed through the walls of the vagina, so that's not really pertinent to our discussion here. Also, despite their regular contact with and consumption of semen, homosexual men have statistically higher rates of depression. Thus one should probably exercise a degree of skepticism in relation to this question of semen and its beneficial properties.

Whilst ingesting it is not going to kill you, neither will it really work wonders for your physical and psychological well-being. For despite what some people like to believe, seminal fluid really isn't a magical elixir of life.

And those men who take mortal offence when their partner's prefer not to swallow - as if it were an outrageous slight on their precious manhood - are usually just wankers who narcissistically fetishize their own virility and bodily fluids; which is fine, but not when it results in coercion in the bedroom.

Everyone has the right to refuse to engage in sexual acts they are uncomfortable with or find unpleasant: everyone has the right to spit.      


6 May 2016

On the Cancerous Downside of Cunnilingus (with Reference to the Case of Michael Douglas)



I've long admired the work of American actor and producer Michael Douglas; ever since his days alongside the magnificent Karl Malden in The Streets of San Francisco in fact. 

For whatever reason, throughout a period stretching across three decades Douglas displayed a brilliant knack for making critically interesting and commercially successful movies that perfectly captured the cultural, political and sexual concerns of his era. These include The China Syndrome (1979), Fatal Attraction (1987), Wall Street (1987), Basic Instinct (1992), and Joel Schumacher's controversial drama Falling Down (1993).

Sadly, in 2010 it was announced that Douglas had been diagnosed with an advanced form of throat cancer (later revealed to actually be tongue cancer), for which he would undergo chemotherapy. As well attributing the cancer to stress, heavy drinking, and a lifelong cigarette habit, Douglas also indicated in a 2013 interview with The Guardian that he blamed it on his penchant for cunnilingus.

Whether the latter was a contributory factor or not, I don't know. But it's certainly the case that human papilloma virus (HPV) can be spread via oral sex and is known to cause cancer. In fact, it's estimated that around a quarter of all mouth cancers and a third of throat cancers are HPV related.

It's also known that HPV related oropharyngeal cancer is twice as common in men than women and is most common of all in heterosexual men. This indicates that giving head to a woman is not only more complex and uncomfortable than fellating a man, but also a far riskier proposition; the thinner, moist skin of the cunt containing a much higher concentration of the virus than the dry skin of the penis (though it should be noted that HPV can certainly be passed on in semen).               

All of which is unfortunate for devotees of pussy-licking - though health concerns happily never deter illicit lovers ...  


Note: despite the advanced stage of his cancer, I'm pleased to report that the treatment Michael Douglas recieved was effective and he is (as far as I know) presently in good health. 


5 May 2016

Vaginal Seeding: Why C-Section Babies are Dipped in Love Juice

Illustration by Cara Gibson (2015) of vaginal seeding procedure. 
The left panel shows a sterile gauze incubating in the vagina prior to C-section. 
The right panel shows the gauze colonized by vaginal microbes being swabbed on the newborn. 


In the UK today approximately 1 in 4 births are by Caesarian section. This figure is lower than the US and Australia where around a third of babies are delivered via surgical incisions in the abdomen and uterus, but it has significantly increased during the last couple of decades. In 1990, for example, still only around 10% of births were C-sections and these were mostly carried out on medical grounds to protect the well-being of mother and child.  

Doubtless there are many reasons for this development; pregnant women in the West are often now much heavier and much older, for example, and this may necessitate the real or perceived need for a Caesarian.

But we must also mention the narcissistic arrogance of those women too posh to push who regard giving birth 'naturally' as messy, painful, inconvenient and archaic. For such women, a Caesarian is not so much an emergency procedure as it is a combination of human right, professional expediency, and a sign that one can afford to be bang on trend when it comes to the latest fashion in obstetrics.

Of course, it's not simply the mothers-to-be to blame; as with the boom in cosmetic surgery the medical profession is doubtless complicit in the insidious rise in the number of C-sections performed and the normalization of such. It's worth noting that in the US a hospital can charge many thousands of dollars more for a non-vaginal delivery.

And then there's the Hollywood factor: I read recently in a popular fashion and gossip magazine, that it's not only the biggest names in film, TV, and popular music who are electing to have their babies this way: Even C-list celebrities are crazy for C-sections.

Whatever, the reason, the sad fact is that children born in this manner seem to be more prone to a range of medical conditions including asthma, obesity and, later in life, diabetes. The reason for this brings me back to a topic currently of much interest: vaginal fluid.

It seems that babies born via the birth canal receive a sticky coating of lubrication containing a vital cocktail of immune-boosting microbes. Babies delivered surgically, however, miss out on this and as a result suffer a bacterial deficit which, some scientists now speculate, may be a key factor in the health problems more frequently found in those born by Caesarian.

I find it interesting and amusing that the same salty elixir that is deadly to sperm due to its acidity and which commonly carries the cancer-causing HP virus that nearly did for Michael Douglas, is so beneficial for babies that even C-section newborns are now being swabbed with their mother's cunt juice.


4 May 2016

Pussy Juice (Isis Unveiled)

Isis Unveiled - Print by Linda Hill (2014)


One of the most pleasing aspects of Lawrence's rewriting of the Resurrection myth is that the man who died at last surrenders to the temptations of the flesh and finally discovers the unique joy of deeply penetrating the interfolded warmth of a living body.

By going unto the woman of Isis, he overcomes his fear of physical touch and exchanges the stale smell of the tomb for the exquisite scent of her cunt, which, Lawrence writes, is like the essence of roses. The man who died thus learns that there are many ways of entering into holy communion and serving God without having to deny the world or martyr oneself. 

In other words, between the limbs of a pagan priestess the man who died abandons his virgin idealism; she washes away his youthful fanaticism, his self-disgust and his pain, not with tears, but with the secretions of her vagina.

Being a fertile young woman, sexually aroused by a stranger she mistook for Osiris (i.e. the god for whom she had long searched in order that he may fecundate her womb), we can assume her cunt to be naturally well lubricated at the time of coition.

But it's interesting to note, is it not, that the actual lining of the vagina contains no glands and it's plasma seepage from the vaginal wall due to vascular engorgement that is thought to be the chief source of moisture. This is topped up by mucus from glands located near the vaginal opening and cervical secretions at the time of ovulation (the fact that the priestess is impregnated by the man who died provides us with evidence of where she was on her menstrual cycle).  

The resultant fluid, or pussy juice as some like to call it, varies in consistency, texture, colour, odour and taste depending on a variety of factors. These include the level of arousal, time of the month, health and diet. Although some lovers like to think of it as sweet honeydew, vaginal lubrication is actually quite acidic in composition, normally somewhere between 3.8 and 4.5 on the pH scale, in (deadly) contrast to the neutrality of semen which is typically between 7.2 and 8.0.  

Thus, ironically, although a kind of paradise offering those who enter a form of bliss that is immanent to desire, the cunt is a fairly inhospitable environment; not only actively hostile to sperm, but a place where insects and deities lose their way.


See: D. H. Lawrence, 'The Escaped Cock' in The Virgin and the Gipsy and Other Stories, ed. Michael Herbert, Bethan Jones and Lindeth Vasey (Cambridge University Press, 2014). 


2 May 2016

Of Mites and Men (Notes on the World of Dust)



Apart from having to listen all day (and often all night) long to my mother's babbling stream of consciousness - an inane interior monologue involuntarily made public thanks to her dementia - one of the more depressing aspects of my Essex exile is living in a home in which dust is a permanent and triumphant feature.

Like many people, I used to subscribe to the comforting myth that dust is essentially made up of dead skin cells; i.e. human in origin and harmlessly inert. But, thanks to Mr Sheen, I now know that this isn't the full story. In fact, the composition of dust is far more complex, far more vital, and potentially far more menacing.

For house dust not only contains human detritus, but also insect remains, plant pollen, animal hairs and various fibres, materials and pollutants found in the local environment all of which create a perfect feeding and breeding ground for microscopic, translucent-bodied arachnids known as dust mites.

These cosmopolitan little creatures are the major inhabitants of dust and they flourish in the dark, warm spaces provided by mattresses, bedding (particularly pillows), upholstered furniture, carpets, etc. Unfortunately, their faeces is known to contain an enzyme harmful to people, particularly those with asthma who are commonly allergic to such. Dust mites are also thought to be a cause of eczema.

As if the thought of these mites creeping about shitting everywhere weren't bad enough, scientists who have studied the subject also estimate there are more than 70,000 types of fungi and over 125,000 kinds of bacteria contained in the dust we vainly try to keep at bay and which we inhale with every breath.

One day, perhaps, it might be possible to artificially control and manipulate the dust; to fill our homes with microbes that actively improve human health. Until then, the best we can do is either wipe and vacuum with renewed vigour, or hope that Quentin Crisp was telling the truth when he observed that after four or five years the build up of dust plateaus.


Notes 

Photo of Quentin Crisp (NYC, 1999) by Piers Allardyce

Readers interested in dusty ecosystems and bacterial diversity might like to explore the online public science project established by the Rob Dunn Lab entitled Wild Life of Our Homes.


1 May 2016

On Revolutionary Fun (A Message for May Day)



If you make a revolution, writes Lawrence, don't act with ascetic militancy in the name of some grand ideal, or in order to seize control of the economy; make it simply for the pleasure of gobbing in the eye of those who would assert authority and the anarchic joy of upsetting the old order.

As a manifesto, this will doubtless strike many terrorists of theory interested in preserving the pure order of politics and the serious business of revolution, as puerile and irresponsible; the sort of romantic tosh that only a poet can get away with.

Nevertheless, it rather nicely anticipates the poststructuralist thinking that flourished prior to, during, and after the festive upheaval of May '68 and, indeed, encapsulates the insouciant nihilism of punk as conceived by a Situationist-inspired Malcolm McLaren in the mid-late Seventies.    

What unites Lawrence with Deleuze and ties Anti-Oedipus to Never Mind the Bollocks, is a perverse refusal to conform to the accepted way of doing things as prescribed by tradition (be it a literary, philosophical, or artistic tradition); they challenge and change the terms of the debate and shift the zone of combat, discrediting old idols in the process.

But above all, these figures and these works show us that we do not have to be sad or self-serious in order to be radical. Thus, paraphrasing Lawrence if I may: If you want to torpedo the ark, don't do it in ghastly seriousness, don't do it in deadly earnest - do it for fun.


See: D. H. Lawrence, 'A Sane Revolution', in The Complete Poems, ed. Vivian de Sola Pinto and F. Warren Roberts, (Penguin Books, 1977). 


30 Apr 2016

Some Wear Leather, Some Wear Lace

Some Wear Leather, Some Wear Lace (front cover photo)


The rapid evolution of popular music and youth culture in the wake of punk continues to fascinate many commentators, including some who weren't even born in the wildly exciting and experimental period between 1979 and 1984.

Despite their non-being during this era, Andi Harriman and Marloes Bontje have lovingly assembled a visual and written record of the time when some wore leather, some wore lace, but all of us - with a greater or lesser degree of success - wore eyeliner and adopted a somewhat gothic sensibility (transforming from punks to pagans and swapping safety pins for magical amulets).

Why things mutated in the manner they did - why kids who started off pogoing at the 100 Club ended  up posing at the Batcave - is a question that the above authors don't really address in a book which, although rich in photos, is disappointingly light on theory. But it's not one I pretend to know the answer to either.

I've heard it suggested, however, that the nihilistic energy and almost childlike joy in destruction of punk was not only impossible to sustain, but quickly became emotionally unsatisfying for those sensitive and creative individuals interested in developing a more sophisticated and glamourous aesthetic that would allow them to express feelings other than anger, boredom and hatred.

I suspect there's something in this argument.  At any rate, better Siouxsie and the Banshees than Sham 69 ...        


See: Some Wear Leather, Some Wear Lace: The Worldwide Compendium of Postpunk and Goth in the 1980s (Intellect, 2014), by Andi Harriman and Marloes Bontje. 

Note: those who are interested in knowing more about the above authors and their work should visit the Postpunk Project by clicking here


28 Apr 2016

Never Mind the Bollocks (On Nietzsche, D. H. Lawrence and the Sex Pistols)

Punk Nietzsche by Gary Neill (2010) on Tumblr


Someone writes and asks why it is that so many posts on Torpedo the Ark invariably refer back to either Nietzsche or D. H. Lawrence. What is it about these two figures that first attracted you and why is it they continue to fascinate?

In order to answer this, it's important to clarify that I'm someone whose intellectual background is neither in German philosophy nor English literature. Rather, it's in art, music, fashion, and radical French politics as filtered through the imagination of Malcolm McLaren. And thus what initially attracted me to Nietzsche and Lawrence was the same that attracted me to McLaren's punk revolution; the attitude, the style, the humour, the extreme nature of their call to arms. 

For like the Sex Pistols, Nietzsche and Lawrence demand an intense level of commitment from their devotees, whilst also encouraging a great level of individual freedom; they don't want you to follow them faithfully, but to lose them and find yourself.

Further, they allow outsiders to feel heroic members of a counter-cultural elite; part of a subversive secret society and part of an adventure - if not, indeed, a crusade that pits you against everyone and everything (certainly against all authorities and all orthodoxies).

Ultimately, if you're a Sex Pistol, then everything else is bollocks and of no vital concern. Likewise, if you're a lover of Nietzsche or Lawrence, then all other philosophers and novelists suddenly pale into insignificance.

That's not to argue, obviously, that there are no other great thinkers or artists with genius. But there's certainly very few who belong like Nietzsche and Lawrence to that order of genius which, in the words of Henry Miller, beats out the boundaries of human experience and widens the frontiers of life.    


26 Apr 2016

Why I Don't Much Care for the London Marathon

Logo of the 2016 London Marathon (with official corporate sponsor) 


A friend, Annette, sends me a text from the London Marathon. "How wonderful", she says, "to see 40,000 people - all shapes and sizes, all creeds and colours - running in perfect harmony and raising money for good causes." 

She's German. And a vegan. So her idealism and admiration for körperkultur doesn't surprise me. But I was a bit disappointed that she should know me so badly, after so many years, that she thought I'd share her enthusiasm for this ersatz sporting event. Because I don't.

In fact, I find its mix of fun-running, charity, narcissistic athleticism, media hype, and commercial sponsorship all wrapped up in Lycra and covered in sweat, deeply offensive. It's an example of what Lawrence terms sport in the head and, like him, I loathe those individuals who parade the self-conscious mechanism of their bodies whilst reeking with smugness and self-regard.       

Baudrillard is no fan either of idiots endlessly pounding the pavements. He rightly characterizes jogging, for example, as a type of ascetic idealism born of consumerism and the Californian cult of the self; a form of socially approved masturbation, the pleasure of which has nothing to do ultimately with either sport or sex.

I can't imagine what Pheidippides - who ran with real joy and purpose and not simply to comply with an obligatory performance principle - would have made of what passes for heroism today ...


24 Apr 2016

The Moon at the End of My Street



According to Lawrence, who insists on an essential and dynamic correspondence between man and the heavenly bodies, the moon is a strange, white, soft-seeming world; a great cosmic nerve centre from which we quiver forever. 

Now, as readers of this blog may know, I'm philosophically hostile to such naive vitalism and what Quentin Meillassoux terms correlationism. However, la luna continues to attract my interest and affection and I agree with Lawrence that it's a far lovelier thing than merely a dead lump of rock in the night sky. 

And so it is that - just the other evening - I took the above photo of the moon at the end of my street, which, coincidentally, happens to be the title of a new collection of poems by Isabel del Rio, who, kindly, has given me permission to reproduce the following lines from a verse entitled 'If you and I did not have the moon':

    
If we did not have the Moon,
we would not know what to call
the night, perhaps only
darkness, we would describe it
only by its colour, black,
by its lack of purpose, pointless.


Other lunar-inspired verses in Ms del Rio's new book include 'wondering moon', 'this Moon is but a quaver on the sky', and 'Moon Haiku Number 1':


Like you, the Moon is
not in the universe, but
is the universe


Obviously, as a poet, there are moments when Ms del Rio falls into the same anthropocentric idealism and affectation as Lawrence. It's not so much that either author wilfully privileges the human over other objects, but each seems unable to help thinking the latter unless they conform to the mind of a knowing subject and in this way become products of human cognition and aesthetic fancy.

Still, it's been said that I often do the same, despite my best efforts to adhere to a strict form of speculative realism and object-oriented ontology (i.e. to know that the moon and stars exist independently of Man and are not ontologically exhausted by their relation to us), so who am I to criticise ... 


Note: Isabel del Rio is a writer and linguist, born in Madrid and living in London. She writes in English and Spanish and has published fiction and poetry. Her new book is published by Friends of Alice Publishing (2016).  




23 Apr 2016

(No) Sympathy for the Rich

Christian Michel


In wake of the recent publication of the so-called Panama Papers, the French libertarian writer Christian Michel advises that we resist the urge to howl with predictable moral outrage and instead express our gratitude towards those who are wealthy enough to be able to afford to significantly reduce their tax bills.

In other words, we should sympathise with the super-rich, not curse them. Michel writes:

"It's hard to be rich. I pity the billionaires who, with a bit of hard work and an immense amount of luck, have managed to offer us products and services we want to buy. The public brings billions to their coffers. Then the public unfairly blames them for amassing those billions.

Of course the rich don't pay more taxes than they are required to; they are just like you and I. Who writes a check to the NHS for a treatment that comes free? Or pays TfL full fare when one is entitled to a discount? We don’t believe in paying government bodies more than called for and it so happens, when it comes to taxes, that legal opportunities exist to minimise the burden.

Thus this is not a moral issue. When some politician admonishes corporate executives on their greed and immorality they threaten all our freedom. A government function is to produce legislation. What the legislation allows is no longer the remit of government.

Commentators may choose to debate the perfectly legal behaviour of individuals, but government officials should not do so. That’s a condition of our security. If zoning laws state that you may build a house up to ten meters high, the council’s mission is to check the highest tile is not higher than 10 meters. That’s all. It is not their business to discuss your taste in decoration, or whom you choose to share your home with.

Likewise, if the rich choose to make use of perfectly legal tax havens, that's their business and their right to do so. Some people may resent it, but the law affords protection to all - even the rich.

Cheating, of course, is a different matter. There exist so many ways to mitigate taxes legally that you wonder if it is laziness or simply stupidity that makes some cross the line that separates tax avoidance from tax evasion. (Of course, it may be the source of the funds that's the decisive issue here, but that's another question.)

Ultimately, everyone - rich or poor - wants to protect their own interests and maximise their own advantages and we should not only acknowledge this fact, but encourage it and celebrate it as fundamental to the workings of a mature, liberal society."

Now, although I'd not describe myself either as a liberal, or a libertarian, I'd pretty much agree - perhaps to Christian's surprise and the disappointment of others - with what's said here. It's not that selfishness and greed is good, but rank hypocrisy and politicised moral ressentiment is worse and arguably more dangerous in the long run.

Having said that, it would really stick in my craw having to express sympathy, gratitude, or admiration for the 1%. That's simply not going to happen. In fact, like Joe Strummer, I don't wanna hear about what the rich are doing and I don't wanna go to where, where the rich are going. For great wealth - like great poverty - deforms and makes ugly at last. And wanting to be rich is a sign of low vitality.  


Notes

Christian Michel is a London-based, political theorist and activist; un homme de lettres et un homme de la ville. He teaches courses on economics and is regularly asked to speak at international events as a leading figure within the libertarian movement. Christian also organizes a twice-monthly salon at his West London home known as the 6/20 Club and facilitates the Café Philo at the Institut français on Saturday mornings. His text, which has been slightly edited, is used with kind permission. 

Joe Strummer was the lead singer of British punk band The Clash. The lines quoted are from a song written by Strummer entitled 'Garageland' which appeared on their eponymous debut album (CBS, 1977). Click here if you want to hear it.   


20 Apr 2016

Non est Consummatum



She's done it again.
My mother: Lady Lazarus.
Back from the hospital, back from the brink.

A sort of slow-walking miracle,
With skin as dry as a Nazi lampshade.
Still smiling with a full set of teeth.

If dying is an art like everything else,
Then it's one like cooking she does exceptionally badly,
Suspended in a grey twilight of forgetfulness.


Note: I have obviously sampled Sylvia Plath's magnificent poem 'Lady Lazarus', first published (posthumously) in Ariel (Faber and Faber, 1965). Although this has been done without permission, I hope it shows my affection and admiration for Plath whose writing so often provides inspiration and, indeed, solace in times of crisis.      


18 Apr 2016

April is the Cruelest Month



Despite the horror of the night before, in the morning the birds still sang, the flowers still opened and the sun continued to shine regardless ... And it is this surging indifference of the world to suffering, particularly noticeable in the spring, that strikes some minds as cruel.

But, for me, it allows petty personal concerns to be placed within a wider (non-human) perspective; enabling one to see as beautiful what is necessary in things. I draw much comfort knowing there is an eternal return of the natural world the same as ever and thronging with greenness.

In fact, sitting at the hospital, I wonder how those individuals who fail to encompass their own lives within what Lawrence terms the blue of the Greater Day manage to find the courage that is needed to survive and flourish in the face of a mortal existence that brings with it an enormous quantum of pain and sorrow.

If they can't transform the undifferentiated black-nothingness of death into a line of flight and fiery resurrection, then it's no wonder they become possessed by that spirit of revenge which animates so many who slander life as it is and long for spiritual immortality and heavenly reward.

Ultimately, it's not Eliot's moral idealism but Nietzsche's perfected nihilism that makes innocent and sets free; which shows us joy in a handful of shit ...

            

In Memory of Jock Scot

Jock Scot (Photo credit: Times Newspapers, 2014)


Once upon a time in a Soho that has now almost vanished, there was a small record company called Charisma. It was home to a few old hippies, such as Genesis, and to a peculiar array of highly individual recording artists. 

This queer little label, established by a big fat geezer called Tony Stratton-Smith, not only employed the kind of eccentric characters unlikely to find work elsewhere, but, nestled away above the Marquee Club, it provided a kind of meeting place for all manner of misfits and troublemakers to hang about; including the punk, poet, and bon vivant Jock Scot who, sadly, died a few days ago, aged 63.

Although our paths crossed only very briefly in the mid-1980s and, unfortunately, I have no great anecdotes to share, I always remembered Jock with a pinch of fondness and so was genuinely sorry to hear of his passing. 

Soon, they'll be no one left alive ... 


17 Apr 2016

Something About Mary

Image: Tony Sapiano / Rex 


For those of a certain generation, the name Mary Millington continues to resonate. And so I was interested to read that she - or, more accurately, one of the soft-porn comedies in which she featured - was recently commemorated with a blue plaque by English Heritage. 

Come Play With Me (1977) ran continuously for almost four years at the Moulin Cinema in Soho after its release, making it the UK's longest running film - ever!

What this astonishing fact reveals is that neither sex nor cinema is taken very seriously by the British. It's certainly difficult to imagine the French or the Americans, for example, making a blue movie that guest starred Bob Todd, Henry McGee and Irene Handl.

The former have Sylvia Kristel and the latter have Linda Lovelace. But we, for better or for worse, have Mary Millington and Suzy Mandel performing alongside Alfie Bass and Ronald Fraser in a work that is rooted more in the often grotesque and vulgar traditions of the music hall than the pornographic imagination.

Critics who fail to appreciate this and know nothing of the lost world of sleaze, showbiz and criminality that was post-War Soho - the world in which writer and director Harrison Marks made his living and was so very much at home - will never understand the queer, anarchic, almost punk character of this film.          

Thus it was entirely appropriate that Mary Millington - "fully cantilevered and gorgeous" - made her final cinematic appearance in The Great Rock 'n' Roll Swindle (1980); a sprawling mess of a film, safety-pinned together, which is as idiosyncratic, as vaudevillian, and at times as cringeworthy as Come Play With Me.


Afterword 

Mary Millington died, depressed and heavily in debt, of a drug overdose, aged 33, in August 1979, leaving behind her several suicide notes in which she accused the police and the tax man of hounding her. A feature-length documentary chronicling her colourful if tragic life, written and directed by her biographer Simon Sheridan, premiered in London earlier this month. 


2 Apr 2016

Vajankle

 The vajankle designed and sold by Sinthetics


The vajankle - as the name suggests - is a sex toy designed for podophiles; a synthetic foot that comes complete with an inbuilt vagina. And a French pedicure. Whilst I'm sure it was developed with good intentions (i.e. to give pleasure), I think it fails for two reasons. 

Firstly, due to its almost-but-not-quite natural appearance it triggers an uncanny valley response (i.e. a feeling of revulsion). Thus the vajankle is aesthetically disturbing; it makes one think of heavy-footed zombies stumbling about or corpses lying in a morgue, rather than bare-footed beauties with dainty feet and lively little toes. 

Doubtless there are necrophiles aroused by the former and by fantasies of mutilation, but most foot fetishists love the vitality and playfulness of pretty feet as they dangle on the end of lovely legs; they wish to kiss and caress the objects of their desire, not chop them off.

Secondly, the vajankle completely misses the point of a fetish for a genuine devotee; it isn't merely a substitute for something else or a type of foreplay before the real event - i.e. genital penetration. Podophiles love feet and have no interest in sexual intercourse as traditionally conceived; they're not looking to ejaculate within a vagina, be it real or otherwise. 

In other words, they subscribe to an entirely different economy of bodies and their pleasures than those who automatically insert their penises where they've been instructed to put them. Foot fetishists, like paraphiliacs in general, want to find new uses for old organs; transforming sex into an exploratory ordeal in which, as Ballard puts it, the body becomes a ripening anthology of perverse possibilities

Placing a fake pussy into a rubber foot is, therefore, a banal and laughably naive gesture; both unimaginative and reactionary. There's nothing depraved or deviant about it. It's an attempt to bring the fetishist back into line by reinforcing the view that nothing is more gratifying or exciting than the membrane of a vagina (an orifice designated as the only legitimate and natural place of orgasm). 

Ultimately, what makes perverts philosophically interesting is the fact that whilst they may want to masturbate at every given opportunity, they also want to build bodies without organs and to have done with the judgement of God ...   


1 Apr 2016

Thoughts on the Phrase 'Black is Beautiful'

Photo: Rachel Marquez
Model: Janica @ Best Models
rachelmarquez.com


Whiteness, of course, isn't a colour, it's a normative cultural value; an ideal we are all obliged to accept and aspire to whatever our race or ethnicity. The paler the face the better the person; not only more attractive, but more noble, more spiritual. Darkness of skin betrays darkness of soul; something base and bestial.

Such thinking, of course, which has a long and ugly history, deserves to be challenged; I absolutely support those who subscribe to a political aesthetic that promotes black pride and defiantly declares in the face of white racism that black is beautiful.

However, things become problematic when those who subscribe to such and refuse to cosmetically alter their appearance start to assert their own moral superiority, sneering at those who don't sport afros and accusing them of racial treachery.

To turn a slogan conceived as a form of self-affirmation into a weapon with which to censure others is not only a form of militant asceticism and bullying, but often also betrays sexist hypocrisy on behalf of black males who, on the one hand, voice disapproval of the millions of women who do use skin lightening products and straighten their hair, whilst, on the other hand, dating light-skinned models or marrying white women.

Sometimes, when a woman of colour bleaches her skin, she's not denying her blackness due to self-hatred and internalised racism - she's not betraying her roots - rather, she's simply making a considered choice about how she wants to look and acting with a degree of realism in the world as it is rather than as it could be, should be, and hopefully one day will be.

In a miscegenated future I would like to think no one will feel pressured to wear whiteface and pass as something or someone they're not; but neither will it be any more reprehensible or controversial for a black woman to lighten up cosmetically or surgically modify her body than it is presently for a white woman to work on her tan and have lip injections.

In a world after Michael I hope that all skin tones and facial features are seen as beautiful - be they natural or artificial (human or inhuman) - and a free spectrum of colours replaces the rigid black and white binary designed (like all such binaries) to keep us in a fixed identity.


29 Mar 2016

Loving the Octopus

Image taken from PZ Myers' blog Pharyngula 


The strangely beautiful and beautifully strange octopus has many attractive features and erotic properties; the silky softness of its flesh, the muscular elasticity of its body, the slimy, probing tentacles that insinuate their way into every orifice (more an exotic combination of tongue and finger rather than a phallic analogue, as the biologist PZ Myers rightly points out).

But they also have a razor sharp beak in the midst of all their soft beauty and for those men in whom the fear of castration - in either a literal or a figurative sense - is a primary concern, this abruptly brings thoughts of loving the octopus to a close.

The fiction of D. H. Lawrence, however, provides us with some interesting case material by which we might further discuss this topic ...

Always highly anxious about perceived threats to his manhood - particularly the threat posed by women - Oliver Mellors tells Connie of his past sexual experiences, including with his wife, Bertha, whom he not only found difficult to pleasure, but who would mutilate his penis with her beak-like genitalia:

"'She sort of got harder and harder to bring off, and she'd sort of tear at me down there, as if it were a beak tearing at me. By God, you think a woman's soft down there ... But I tell you the old rampers have beaks between their legs, and they tear at you with it till you're sick.'"

This male fear of emasculation and the beak-like vulva (or what we might term octopussy), is also central to Lawrence's short story 'None of That!' - a rather ugly rape fantasy that (amongst other things) badly misreads Nietzsche.

Ethel Cane is a rich, white American woman with a powerful will and a pageboy haircut, who subscribes to a philosophy based upon the idea of an imaginative transcendence of physical reality and material events:

"'She said the imagination could master everything; so long, of course, as one was not shot in the head, or had an eye put out. Talking of the Mexican atrocities, and of the famous case of the raped nuns, she said it was all nonsense that a woman was broken because she had been raped. She could rise above it.'"      

Of course, Lawrence soon has Ethel disabused of this belief by staging her violent gang rape at the instigation of a nasty-sounding, fat little bull-fighter called Cuesta, with whom she's fascinated and over whom she is determined to exert her influence and thereby prove she is stronger than he.

Cuesta, however, isn't at all interested in her - apart from her money. In fact, he despises poor Ethel: "'She is an octopus, all arms and eyes ... and a lump of jelly'". He explicitly compares her cunt to a cephalopod's rostrum and asks: "'What man would put his finger into that beak? She is all soft with cruelty towards a man's member.'"
   
It's disappointing that someone who risks his life in the bull-ring should be so cowardly when confronted by an independent woman and her deep-sea sex. If he'd been more of a man, then Cuesta would have accepted her challenge and confronted his own castration complex. Instead, he can subject her only to violence at the hands of others and find contentment with beakless native girls; docile, unimaginative, and non-threatening.        


Notes

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1983). Lines quoted are on p. 202. 

D. H. Lawrence, 'None of That!', in The Woman Who Rode Away and Other Stories, ed. Dieter Mehl and Christa Jansohn, (Cambridge University Press, 1995). Lines quoted pp. 220 and 227. 


26 Mar 2016

Ethnopluralism

Thomas Huxley's map of racial categories from 
On the Geographical Distribution of the Chief Modifications of Mankind 
(London, 1870)


One of the central ideas of the so-called New Right is that of ethnopluralism - this as a radical alternative to multiculturalism and as a means of ensuring human biodiversity. Obviously, it entails an essentialist and völkisch-organic understanding of race and culture and obviously it soon leads on to calls for separatism and ethnoregionalism

Proponents, however, are quick to insist that ethnopluralism will result in a world of different but equal peoples living in peaceful coexistence. They vociferously deny they are racists and argue that the attempt to enforce a universal model of mankind has and will continue to result in violence as singularities that cannot be assimilated into a global world order assert their right to otherness and defend their unique identities. 

Of course, whilst ethnopluralism may have recently become a fashionable idea within certain circles, it's nothing very new. We can find it, for example, expressed in the poetry of D. H. Lawrence. In 'Future States', Lawrence imagines a time when our ideal civilization is over and the will to universalism has ceased:

"the great movement of centralising into oneness will stop 
and there will be a vivid recoil into separateness
many vivid small states, like a kaleidoscope, all colours
and all the differences given expression." 

Whilst in the following poem, 'Future War', he writes that where there is an infinite variety of people, there is no desire for conflict: "Oneness makes war, and the obsession of oneness."

I happen to think that last line is true. But it doesn't legitimize the piss-poor scribblings of Markus Willinger, nor necessarily validate the more sophisticated musings of those intellectuals on the New Right.   


See: D. H. Lawrence, The Poems, Vol. I, ed. Christopher Pollnitz, (Cambridge University Press, 2013), pp. 526-27. 


Brussels

Carl Court / Getty Images (2016)


As Raheem Kassam, Editor-in-Chief of Breitbart London, rightly says in the wake of the Islamist attack on Brussels earlier this week, the by now predictable and formulaic public response is not only wholly inadequate, it's also somewhat shameful and humiliating:

"Teddy bears, tears, candles, cartoons, murals, mosaics, flowers, flags, projections, hashtags, balloons, wreaths, lights, vigils, scarves ..." and Lennonesque fantasies of a world living in harmonious unity, reveal us for the saps we've become.

Tweeting sympathy with the victims and their families, or displaying solidarity by simply updating your Facebook page, isn't really enough. Kassam is right to argue for a more comprehensive and more mature response in the face of that which threatens not only European security, but Western culture itself.

I only hope that he's wrong to think that this may require the taking of direct action by a citizens militia; that our governments will, belatedly, realise what needs to be done and have the courage to do it; implementing not only a change of policy, but a revaluation of values. 


Note: those interested in reading Raheem Kassam's article of 23 March, 2016 in full can do so by clicking here.


25 Mar 2016

On Sexual Apathy and the Case of Richard Hannay in The 39 Steps

Pamela looks at Hannay as she removes her stockings - 
but he only has eyes for his sandwich.


Commentators often note the frigidity of Hitchcock blondes, but it's the seeming sexual indifference of Richard Hannay, played by Robert Donat, that surprises and interests most in the famous bedroom scene from Hitchcock's The 39 Steps (1935).

True, he invites Pamela, played by Madeleine Carroll, to take off her skirt - an invitation she declines (I shall keep it on thank you!) - but he shows very little desire when she does decide to remove her wet stockings. His offer of assistance is more polite than pervy.

And even when his hand (fastened to hers) brushes against her legs, it does so in an involuntary and strangely limp manner that renders one of cinema's most erotically charged and kinkiest scenes strangely chaste at the same time. Ultimately, Hannay seems far more interested in his sandwich - Thank God for a bite to eat - and getting a good night's rest than in Pamela's bare limbs and feet.

Now, this could be because he's really very tired and hungry, having been on the run from foreign agents trying to kill him and policemen looking to arrest him for a murder he didn't commit for several long days.

But even at the opening of the film when a mysterious beauty asks him to take her home with him, Hannay makes no attempt at seduction. Rather, he cooks her fish in a manly manner, as A. L. Kennedy puts it (non-euphemistically), and then beds down on the couch; again, more concerned with sleep than in exploiting the opportunity for a sexual liaison.

Is this chivalry, or is it a sign of something else? I don't know.

I'm going to assume however - since I hate to pathologise - that Hannay is a true gentleman and not suffering from any form of sexual dysfunction; albeit a gentleman who appears to enjoy the company of women more than bedding them and who, one suspects, if obliged to eventually make love to them looks forward most of all to lighting up a post-coital cigarette.