The Birdcage Archives

Saturday, 30 June 2018

An Alternative Nobel – What Noble Satire


Hello Gentle Reader

It is often said: “when you hit rock bottom, someone always tosses you a shovel.” In the case of the disrupted and disputed Swedish Academy, it comes in the form of a one hundred and one strong Swedish organization, who calls itself: “The New Academy.” The dishelmed Swedish Academy, who has been forced to postpone this year’s Nobel Prize for Literature, due to internal governance issues and concerns related to: ethics, morality, and integrity; as well as the conduct of a certain member’s significant other and his predator like sexual advances; has forced the embroiled and controversy stricken academy into postponing this year’s Nobel Prize for Literature—the first time in seventy-five years.

The New Academy is built up on an eclectic group of individuals, from a varied professional background which includes but is not limited to: librarians, academics, writers, translators, editors, publishers, journalists and actors; as well as: comedians, interior designers and musicians. Among its members include, Swedish punk rock icon and industrial music legend: Joakim Thåström; as well as actress and screenwriter: Bianca Kronlöf—who also operates as the group’s spokesperson; television host, columnist and writer: Alexandra Pascalidou; as well as casual writer, presenter and interior designer: Lulu Carter. As mentioned: it’s an eclectic group of individuals.

The New Academy, seeks to fill the void left by the Swedish Academy, when it (correctly) decided to postpone this year’s Nobel Prize for Literature. The New Academy, has chosen to award a stand in literary prize in order to solidify the importance of the literature award, but also chooses to set an example in how it selects and chooses its writer for their alternative Nobel.  Bianca Kronlöf has stated the award is democratic in conception, and will reflect the public’s tastes, and will be based on voting and popular appeal.

The New Academy would not be considered revolutionary (at least in my opinion); but rather a good dose of counter measure to distract away from a distraught Swedish Academy, whose remaining members are right now on summer break. This New Academy (for lack of better terms) has quickly formed through social media—especially twitter and Facebook—where numerous cultural figures (which includes the above mentioned professions) shared their ideas, their expertise, and their opinions on the Nobel Prize for Literature and the Swedish Academy, and have decided to create their own academy which will operate under democratic processes and transient conventions. For example, the award is established to allow libraries in Sweden to nominate their chosen authors by July 8th, at which the authors listed will be set to a vote internationally, whereupon the public across the globe will be set to vote on their authors, at which point a shortlist will be compiled, and a winner selected in October, and a awarding ceremony taking place on the tenth of December. When it is all said and done with, this New Academy, will dissolve and start fresh and anew once again. As Bianca Kronlöf points out, they are not an academy appointed or elected for life, but rather ever changing, with ever changing perspectives.

Of course, this ‘alternative award,’ has not been met with praise on every angle. When it was initially conceived back in May, there were a few hurrahs and a few cheers; but there were plenty of backlashes on social media as well. Some advised the original spearhead behind this idea— Alexandra Pascalidou—to create her own United Nations, in order to create and solve issues regarding world peace; others accused her of Olympic megalomania. Yet the idea has gathered more traction, and some more press coverage; though it should not be taken seriously. At best the entire idea should be seen as good humored satire, as the entire idea is riddled with administrative errors, populist ideals, and a sheer disregard for literature in favour of a majority popularity contest.

Now there is no word from any member of the Swedish Academy—currently presiding or resigned—and their thoughts on the entire ordeal. I imagine: Horace Engdahl would simply scoff and call it nonsense and churlishness; Göran Malmqvist might do what he does best and state the entire idea is stupid and pisses him off, as he storms off; and Sture Allén will most likely remain impassive on the outside and strict stone silent on the matter—or disregard it as irrelevant, much like he did with previous sexual assault allegations, back in the nineties. My advice, however, would be: stay silent, say nothing, do not react, do not respond, and do not comment. But then again: I am not a public relations professional, and therefore my advice carries no weight. Yet to continue expressing caution: any time one engages with a satirical forum or force with the airs of superior severe seriousness, you’re bound to make a fool of yourself even further.

For now though Gentle Reader, all one can do is sit back and watch another take the piss at the Swedish Academy’s expense. I would feel sorry for them, but it is difficult to offer sympathies and pity, to individuals who have failed to operate and govern accordingly, and allowed themselves to become embroiled and embittered in a scandal worthy of the term.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

For Further Reading:


The New Academy 

Alternative Nobel Prize for Literautre

Thursday, 21 June 2018

For Isabel: A Mandela


Hello Gentle Reader

Patience and dedication as virtues are in short supply in today’s world. Numerous forms of media vie for attention of the consumer, reader, and viewer. Attention is divided to the point of fragmentation. The commodities of today’s world are: instant gratification and instant relief. In today’s consumerist driven society, consumers want products, services, materials instantaneously. Patience, the once preached and revered virtue, is now a mythological concept, which is no longer featured in today’s high demand and high volume society. Now days waiting in line are not a testament of virtue; it’s an exercise in tolerating inconveniences. Admiration can only be expressed for the sheer will, patience and meditative tenacity possessed by Buddhist monks, when they design, form, construct their beautiful sand paintings, called mandalas. A mandala is a visual feast. The beauty of the mandalas comes from their intricate superficial simplicity, which only hides their complex symmetry and geometry, which creates their striking patterns, which is only accentuated by the bold and striking spectrum of colours included. By geometric pattern and shape and infused with colour becomes one of the most beautiful and transient piece of art, utilized in religious ceremonies and other liturgies. The craftsmanship and detailed oriented design, is rivaled only by the dedication and meditative patience displayed by the monks who diligently and patiently spread, weave, and guide the different colours of the sand in different patterns, to create a geometrically cerebral picture infused with a bold spectrum of colours. The dedication and detailed hard work, however, is quickly brushed away after it’s completed in a ceremony. The beauty of the sand painting and its quick transient erasure, speaks to the materialist metaphor and disengagement the Buddhist theology convicts itself to when discussing the meaninglessness of material goods. Yet, the entire process and finished product is truly an amazing spectacle to observe and admire.

The mandala as a symbol is important to Antonio Tabucchi’s posthumous published novel: “For Isabel: A Mandala.”  In other words: if it isn’t made clear enough by the title; it’s an important element to Tabucchi’s final novel. In this novel, Tabucchi’s narrator is a dead Polish writer by the name of: Tadeus, to come back from the dead (or to travel from the Dog Star— Sirius or Canis Major (Greater Dog))—to review and find answers to the mysterious woman of his youth, Isabel. Moving through different rings, Tadeus, is tasked with meeting with an eclectic group of acquaintances, friends, cohorts, saviours, and connections of Isabel’s life, in order to piece together her identity, her life, as well as the mysterious circumstances in which she disappeared. Tadeus, openly introduces and explains his journey as moving through the mandala, to the individuals in which he meets, and explains his interest in finding out the fate of Isabel, in order to make peace with her, and find peace for himself. The entire novel is not subtle in how it is crafted like a mandala sand painting. Each of the nine chapters, opens with a fragmented title, starting with the numbered circle, character being interviewed, location, and finally the abstract theme or trope of that circle of the mandala; such as: Evocation, Orientation, Absorption, Restoration, Image, Communication, Worldliness, Expansion, and Return. Throughout it all, Tadeus and the reader, journey through Salazar’s Fascist Portugal, in search of Isabel, who came to the attention of the secret police and the paranoid totalitarian government due to her activities with student demonstrations and a explicitly critical view of the government, as well as finally forming connections and allegiances with the Communist Party (the spiritual opposition of fascism). This would make Isabel, oh sweet Isabel, an enemy of Salazar’s Portugal. But her opposition to Salazar and his totalitarian government made her the speaker and orator of the discontent of Portugal. She wrote articles and essays in underground newspapers, she spoke freely, criticized with fire, and protested with conviction. She inspired both awe and worry in the common people, but also her colleagues, school friends, and family. Most importantly, though—perhaps in her own eyes—she had yanked and attracted the ire of the government, who sought to disband and subject the citizenry to obedience not dissidence.

Through meeting the individuals who had some coherent connection to Isabel, Tadeus, seeks to piece together her fate. Through a friend, who explains Isabel’s antigovernment activities, she confesses a pregnant Isabel, had overstayed her welcome, and the government had grown intolerant to her propagation of revolt and resistance. She was arrested. It is there in her prison cell, (allegedly) pregnant, and alone, Isabel dies. Tadeus, however, cannot accept this account of events. They don’t add up. If her life was so easily finished and final, why is he all of a sudden called back to piece together her life for his own eternal peace and rest? He refuses the accounted narrative, and seeks to find someone else who may find more answers, and so his quest continues. From nanny, to musician, to prison guard, to priest, to poet; Tadeus searches endlessly for the complete piceture and fate of Isabel, and in doing so begins to pass through his mandalas, with greater accomplishment as he begins to orbit on the peripherals of the centre, were surely, Isabel, will be waiting for him; and if not, at least at long last her fate will have been made clear, and he can finally return to his dog star, and continue his final end once again.

If one were to request that I draft a list of my favourite writers, Antonio Tabucchi, would most certainly be on it, alongside so many others (as to this day the list continually grows). Discovering, Antonio Tabucchi, numerous years ago was a wonderful reading experience; but it did take a long time for me to finally allocate the courage in order to read him. Every article, entry, interview, and profile, described an Italian who had become a scholar of Portuguese language and literature, with a particular fascination with the elusive and mystically fragmented Portuguese Fernando Pessoa, and all of his heteronyms. Reading the prefaces, articles, profiles, and digressions on Tabucchi, created a portrait of a cerebral and unique writer; one whose obsession with the obscure and almost schizophrenically mystical Portuguese poet, made him even more curious; but the term: scholar—or Portuguese language scholar—always appeared in his discussions, which immediately led to hesitation (and not due to the language) but rather due to the idea of scholar, meaning dry, stuffy and sophistic. Nothing is more boring to read or endure, then the self-absorbed monologue and intellectual masturbation, of someone droning in a monologue about their niche interest. For the longest time, I held Antonio Tabucchi with reserve and uncertainty. I scouted and stalked; but never pounced. Until finally, I took a chance on his most famous novel:  “Pereira Maintains,” or “Pereira Declares,” (pending on your translation available). The novel is slim and short; fast paced and engaging. The novel is a colourful display of political protest, and awakening. Pereira harbours a fugitive revolutionary, which stirs and disrupts his own political apathy, as he submits censorship as just an aspect of political change in Salazar’s renewed vision of Portuguese society. Yet the young man he harbours revolts, refutes, and expresses disdain to this shift in authority and power, and promotes widespread dissidence and protest. This without a doubt begins to gather the attention of the government who see this radical perspective as dangerous and counterproductive, and begin to harass Pereira, who despite receiving the articles and reportage and reviews, from the young man never publishes them. yet the more they are sent, the more they are received, the more they are read—even by Pereira himself—the begin to resonate and influence the individual change necessary to begin influencing grander change. The novel during its time was often picked up and used as a symbol, icon and image of protest against unpopular governments in Italy. From there Antonio Tabucchi, proved to show himself as a masterful writer, a writer who can tackle complex political and societal issues, with skepticism and critique without adhering to any particular ideology other than one which fixated on humanities and universal ideas of freedom. His novels and short stories could shift between the cerebral and mystical (“Requiem: a Hallucination,” “Indian Nocturne,”) to the political (“Pereira Maintains,” or “Pereira Declares,” “The Missing Head of Damasceno Monteiro,” “The Edge of Horizon,”) to his masterful experimental novels (“It’s Getting Later All The Time,” “Tristano Dies,”) and of course his famous short stories (“Little Misunderstandings of No Importance,” “Time Ages in a Hurry,”) and prose fragments and stories which defy genre and expectation (“The Woman of Porto Pim,” “The Flying Creatures of Fra Angelico,”). Yet the unifying elements of his work, is also his humanistic spirit, his political engagement and recognition of historical importance, his masterful use of language, and his ability to tell narrative in sometimes the most complex and unusual ways—be it letters written to an unknown recipient, who in the end comes full circle, and responds, comforts and confronts her epistolary ghosts; or a morphine infused monologue, from a dying soldier recounting his unreliable life, which grows more hazy as the dosage increases, and memories by their construct in themselves unreliable. Ever masterful and always engaging, Antonio Tabucchi, never truly seems to dissapoting; and he when he does—such as: “The Missing Head of Damasceno Monteiro,”—it can be overlooked and absolved.

“For Isabel: a Mandala,” is slightly different than the rest of Tabucchi’s backlog and oeuvre. Its unique and blends the dream and unrealistic (Tadeus confesses to being dead, and coming from the great dog), but it also holds his preoccupations with Portugal and his political involvement and willingness to criticize ideologies and dictators. It shows his preoccupation with the shifting and fluid idea of identity, and how others perceptions make up in part our own identity. Yet, of his previous novels, “For Isabel: a Mandala,” appears uncharacteristically unpolished. I have my doubts the novel was ready for publication upon the authors untimely death of lung cancer back in two-thousand and twelve; as certain sections appeared like they could have been fleshed out a bit more, there could have been more philosophical conversations, more intrigue, and the ending seems quickly forced and even kitschy for Tabucchi. It is certainly one of his more interesting narratives, but not entirely the most successful. It is, however, masterfully translated by the exquisite hands of Elizabeth Harris; but it shows its imperfections and carries the shadow of its authors untimely demise. Yet, if one is looking for an ontological and cerebral mystery in a hundred and some pages, it’s a good read. Reading, “For Isabel: A Mandala,” is being able to once again meet an old friend, and rekindle and clear the weeds away of a well-established respect and principle of enjoyment as reader and author. I look forward on a personal note to see more works of Antonio Tabucchi’s work published further; and perhaps his out of print works republished to find a new audience again. Antonio Tabucchi truly is and was one of the greatest writers of the past century and early twenty-first; and one of the best Italian writers since Italo Calvino.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

Thursday, 14 June 2018

Nobody Checks the Time When They’re Happy

Hello Gentle Reader

The only Korean writer I have had the pleasure of reading has been, Bae Suah, with her two novels: “A Greater Music,” and “Recitation.” What had initially attracted me to Bae Suah was her reputation as being the dark horse of Korean literature. She has been described as a writer, who has committed violence against the Korean language. This accusation has been leveled against Bae Suah for numerous years, as she does not follow the traditional literary methods of Korean literature. Her style has been called experimental and original, which stems from her autodidactic experimentation with language and writing, making Bae Suah, one of the most avant-garde Korean writers currently at work. This being said, Bae Suah, has expressed discomfort at being described as experimental, as she has stated she is not working to revolutionize or undermine the established literary tropes of language and literature, she is just working it in her own unique way, without any desire to subvert, reject or reform the predominate literary canon. Her two novels: “A Greater Music,” and “Recitation,” show Bae Suah’s interest moving away from geographical locations and fixations, and instead traveling into the most abstract realm, where she tackled themes such as: language, identity, philosophy, and time; with her own unique style, which has slowly eroded the traditional tropes of typical prose and narrative, by eschewing plot, story, narrator, and even at times concrete characters; all the while filling the space with abstract and disconnected ‘voices,’ who recite the loose plot or story, and engage the reader with questions the author wishes to propose and discuss. Though thoroughly enjoyable as well as cerebral, Bae Suah never quite offered something strikingly Korean to her work. She had obviously moved past the peninsula, and into the greater world of testing the limits of language and literature; while also exploring other cultures and languages—she is now also a translator of German into Korean.

Despite the flooded market of Korean literature in translation, the only two writers who appear to have successfully made themselves relatively well known to the English language world are: Bae Suah and Han Kang. Han Kang, of the two is slightly more popular, her works are known for their emotional resonance, and she has won the Man Booker International Prize, which certainly assisted her novels finding a greater and wider readership. Bae Suah, has come to prominence thanks to her being mentioned by the Best Translated Book Award longlist back in two-thousand and sixteen, with her novel “Nowhere to Be Found,” and since then three more of her works have been translated into English. Both Han Kang and Bae Suah, have become the faces of Korean literature in translation (roughly), and they are strikingly different then Ko Un, who for years held a monopoly as the only Korean voice, speaking on the global stage of literature. Now a multitude of voices are speaking. Dalkey Archive Press has published a series of novels and short story collections, in conjunction with The Literature Translation Institute of Korea; while other publishers have also grabbed the grants and financial assistance to begin publishing Korean literature into English—including White Pine Press. The problem with a saturated market is it is often difficult to decide on a book and a author one wishes to take a chance upon and devote their time to and read. The problem now is not a lack of publications, but rather an abundance of saturated media, making it difficult to make a decision. It is remarkable to think both Bae Suah and Han Kang, made were able to separate themselves from the pact, and not be drowned out in the torrent of a publishers craze. From the flood, however, one does have the opportunity to pick through the jetsam and flotsam, and find a real gem amongst the debris, and that is exactly what Eun Heekyung is; she is an overlooked gem in a publisher’s torrent of publications and translations.

As a child Eun Heekyung showed an affinity for reading and writing. She has described her childhood as filled with books, stories, and fairytales. She has often remarked, that when would often be so engrossed in reading, she would miss the bell to leave at the end of the school day, and would only realize school had ended after being surrounded in silence and absence. She is also a dedicated diarist, where she documented and wrote extensively in her journals, and soon begun to fabricate stories once she found out other students and friends were reading her diaries. Yet after graduating from university, she did not immediately begin to write. She instead worked as a teacher, an editor, and a reporter, before finally making the leap to become a writer after entering a writers retreat with a few books and decade’s worth of old journals. In the end, she walked out with one novella, and five short stories. The novella she had written, “A Duet,” would go on to win a literary contest. From there they say the rest is history. Since her initial debut, she has written six short story collections and four novels, and has become one of the most respected and critically acclaimed contemporary authors of Korean fiction. Be it intentional or otherwise, her debut took place during the mid-nineties, when ideologies concrete ideologies were beginning to collapse under their own self-importance and their antiquated inabilities to adapt to an ever changing world—this includes both communism and capitalism. For this, Eun Heekyung’s work is often praised for her sophisticated prose, but also is deeply known for her cynical streak, which skeptically views ideologies, trends, and new ideas being flouted in modern society. This skepticism and cynicism can be portrayed in a clownish caricature, or in other moments a brutal depiction of a monumental failure. Many critics point to her novel: “The Gift of the Bird,” and quote the following passage, to show her fundamental doubt with regards to ideologies:

“Preposterous and petty coincidences dominate our life. Therefore, don’t bother to find the truth. After all, life is a joke.”

This immediate sense of disenfranchisement as well as disregard for set ideals and conventional believes, has become a focal point of attraction for readers to Eun Heekyung, who explores the unfortunate wastes and forgotten aspects of society. However, in her later years she has mellowed out in her outright vicious claims of the absurdity and pointlessness of life or society, and has softened her skepticism—if only a little—in order to create far more subtle, and deeply more complex psychological portraits of contemporary individuals seeking direction, meaning and purpose to their life—some grand scheme to make sense of the confusion—only to turn around and show this pursuit of meaning is in itself pointless. This is exactly what “Nobody Checks the Time When They’re Happy,” is like; as much as it is skeptical, sharp, it also poignant and subtle, and humanely depicts the characters (without sympathy or pity) in their pursuit of trying to understand their place as an individual in their life, while balancing the obligations of society, family, as well as the callings of the heart. Tragedy and unhappiness befalls all those who do not obey these set conventions and orderly rules which have been instituted for a reason; but tragedy also arises when those who conform and meet all obligations while denying their own individualist pursuits. In Eun Heekyung’s world, winning is rarely if ever an option; while failure is an inevitable fate.  The narrator from the short story: “An Obviously Immoral Love,” explains the complicated dynamics of family versus the individual:

“[ . . . ]the members have their teeth sunk into each other’s backs. If they loosen their bite, everyone will scatter and the family will break apart. But if they bite down too hard, they’ll rip each other apart. That’s love.”

Throughout the short story collection, characters and narrators are expected to put their lives on hold for the lives of others. In one a narrator takes care of her mother, who suffers from cancer, while in turn recounts the suffering of her youth, the lies of her father and his death; her complicated relationship with her mother, as well as her own mothers selfishness. Yet she is both bound of societal obligation and perhaps familial devotion to pay her mother the kindness, at her own expense. In another story, a woman’s father wishes to divorce her mother; while the narrator/daughter, becomes the mistress of another man. She becomes contrarian and self-flagellating. On one hand she argues against her mother, defending her father, his decisions, his rights. While on the other, she prosecutes her lover, defaces herself, forces herself to suffer the sins of her father and perhaps herself, by explaining to her lover how she terrible she is, and how terrible he is for taking her on as a mistress—after all how is she any different than his wife? In another story, life’s tragedy is intertwined and coupled with a failed writer, who is still seen as a student demonstrating student, but in reality was a coward; while his wife is forced by her own marital obligation to take care of him, as she stumbles from one drunken stupor to the next, from one suicide attempt to yet another drunk fueled depressive episode, all the while attempting to maintain some sanity and safety for her daughter.

Everything and everyone is unreliable in the world of Eun Heekyung—be it identity or narrative. In her fictional world, depicting a modern Korea, everyone is expected to atone for ones sins, and if not their own then their fathers, their mothers, their husbands or their children’s—and so the cycle would repeat over and over again. Morality is loose, and treated with a cautious even sarcastically skeptical perspective; as if the concept is an ideology created by society to enact against the individual, but is paraded as some cosmic or holy code, yet everyone fails its measurements, and of course forgiveness is in short supply, and many brokers parade a forgery of the substance, for the exact cost.

Eun Heekyung’s stories describe a bleak and mundane world. Her characters and narrators are hapless and helpless, as their lives unfold. They are isolated and alienated from forming lasting and formative relationships, due to the impossibility of real communication and understanding ever being reached between individuals. The narrators and characters are at times baffled and confused by their situations, but are powerless to change their predetermined fates. Success and ideas of happy endings, brings only stability, but never any deeper relief or complex sensation of happiness. They walk through their lives unable to comprehend their situations fully, and instead resign themselves to them. The expectations of youth give way to the realities and compromises of both time and age. Eun Heekyung, presents herself as a unique writer, as she describes the situations and circumstances of the narratives, while not focusing or fixating on plot. She clearly shows the idea that every move and action, has an equal cost in return—even inaction. Her stories truly depict the plight of the modern and unsure world of today, where the individual now more than ever it seems has been pitted against external factors, inhibiting both freedom and meaning—if the ideal or idea of ‘meaning,’ is even relevant anymore. It’s subtle and well crafted selection of short stories. Eun Heekyung lacks the cerebral preoccupations of Bae Suah, but instead offers a unique perspective of modern Korean society—one riddled with numerous obligations and expectations, and no hope left kindling or flickering for any resemblance of what one may deem or call happiness, and if it does exists, its taxing expenses, would make one reconsider just how much they are willing to pay in order to achieve it.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

Thursday, 7 June 2018

Daša Drndić, Dies Aged 71


Hello Gentle Reader

Daša Drndić was a critically acclaimed Croatian writer, whose works were just beginning to set root in other languages, specifically: English. Not surprising considering she was a doctorate and professor in English language/literature and creative writing, and English language and literature were her areas of study throughout most of her education—her bachelor’s degree focused on English language and literature philology; her master’s degree was in communications and theatre, while her doctorate degree returned to English language and literature—alongside being a professor and lecturer on English language/literature and creative writing, Daša Drndić was editor and translator; most importantly she was a writer. As a writer, Daša Drndić, literary perspectives were more homegrown, historical and tragic. Throughout her literary overview she tackled the themes and scenes of horrors from the twentieth century; including the Holocaust, Soviet Union, and the Balkans war. Yet unlike many writers who wrote long and dry academic passages and investigations, documenting the horrors through dates, stats, and facts; Daša Drndić imagined and reimagined these tragedies, and the personal stories lost in the horrors of the time. Her work was often called a sucker punch to the stomach, relentless in depicting and retelling the horrors that have taken place during the past century, yet despite the tragedy often researched, investigated and retold in her work, there are moments of grace, beauty and humanity. Beyond writing fiction and prose, she often wrote radio dramas performed in her native Croatia, as well as writing scripts for radio programs; as well as writing articles and opinion pieces for newspapers. Before her death, Daša Drndić, spoke forlornly and with unease about the rise of fascism and the terrors of the common age, which she has called an age of “aggressive revisionism,”—and offered a warning that there is no such idea of concept as moderate fascism or favorable Nazism; and worries the dark face of fascism is once again on the rise and steadily so.  Daša Drndić died on June 6th, after succumbing to a battle with cancer, which she has fought for the past two years. She was renowned for being a striking, frank, and humanely concerned writer, one who wrote about the darkest points of history, and gave voice and an identity to the victims; and brining the personal to the historical.

Rest in Peace, Daša Drndić

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

The Best Translated Book Award Winners, 2018


Hello Gentle Reader

The past week was busier than previously anticipated; between work, cross training for yet another position, as well as an exam, I had mistakenly and unfortunately forgotten about the Best Translated Book Award, and its new winner. Now, almost a week later, I am here to report the winners of this year’s Best Translated Book Award are: Argentinian writer, Rodrigo Fresán, with his novel “The Invented Part,” for fiction; and the late Greek poet, Eleni Vakalo, with her poetry collection: “Before Lyricism.”

I am not surprised to see Eleni Vakalo’s poetry collection “Before Lyricism,” win the award, after all the collection itself has had a reputation for ages as being untranslatable, difficult, demanding, and a monumental work of poetic genius. Thankfully, the book was translated by the accomplished and skilled scholar, Karen Emmerich. Of all the poets and their collections shortlisted, Eleni Vakalo carried a heavy and intellectually frightening weight, which could not be overlooked or missed—and this may I add, comes from someone who rarely reads poetry.

Admittedly I am surprised that Rodrigo Fresán won the Best Translated Book Award for fiction, with his novel “The Invented Part.” The shortlist struck me as strong and diverse, and certainly thought the best contenders for the award were: Fleur Jaeggy, and her short story collection “I am the Brother of XX,” the late Wolfgang Hilbig, and his stream-of consciousness’s novel of childhood and growing up, “The Old Rendering Plant,” the French superstar, Marie NDiaye and her novel “My Heart Hemmed In,” as well as the long sprawling novel “Compass,” which tackles numerous subjects and themes, while dancing around orientalism, by the French author Mathias Énard. I however, gave no real consideration to Rodrigo Fresán or his novel “The Invented Part,” which is a strikingly postmodernist tale, fit with a writer who wishes to die a cosmic death (due to his lack of approval of contemporary literary culture and the world at large) seeks to turn himself into a ‘meta-writer,’ where he will be able to rewrite reality. The novel was also praised for its humour (the premise alone is bitterly comic), its vibrant characters, its pop culture postmodern references, and its dance between madness and genius; it is no wonder Rodrigo Fresán has been called a ‘pop culture Borges.’

There you are Gentle Reader (though late) this year’s Best Trnslated Book Award Winners! Congratulations to both writers and their respective and admirable translators!

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

Tuesday, 29 May 2018

Discussing the Munk Debate on Political Correctness


[ Sub-Title: A Perspective, a Thought, and an Opinion ]



Hello Gentle Reader



[ About The Debate ]

On Friday, May 25th, Canada and the online world (who were aware) tuned in to see a debate presented by the Munk School of Global Affairs, about political correctness. The debate had two teams of debaters: (pro) Michelle Goldberg and Michael Eric Dyson; (con) Stephen Fry and Jordan Peterson. For those who have not seen it, you can find it on ‘youtube,’—but forewarning: it’s over two hours long, and I would be hesitant to call it a debate. If one were to be open and even honest (as two of the debaters were in the end) this was not so much a debate in the idealistic definition let alone a practical definition. Rather, the debate which you may choose to view or not view, was rather a heated exchange between two men primarily, which involved: personal insults, condescension, pontification, arrogant condemnation, and as usual with debates a personal exchange of views which veer off the topic of the actual idea or issue, which many had desired to see being discussed, but instead spiraled down into racial batting on one end, and on the other, pompous self-absorbed proclamations of the others inability to see beyond their nose. It’s not the most exciting thing to watch; in fact it’s more a quick digression which is perhaps more reflective of the usual Christmas Day dinner table political debate, which ends in hurt feelings, resentment, and a rather uncomfortable and awkward remaining evening. In other words: consider yourself adequately forewarned. 

[ What is Political Correctness? ]

Sadly, political correctness as a topic was only superficially discussed during this debate. When it actually was discussed (with some sense of civility and decorum) it was presented by: Michelle Goldberg and Stephen Fry. Everything else was a personal battle of insults and digressive comments aimed and fired by Michael Eric Dyson, and in retaliation by Jordan Peterson. So in the end what is political correctness? Some have it called it a millennial perspective that promotes censorship, limits freedom of speech, and seeks to essentially collar and gag (and not in the kinky way) the modern, rational, and free individual from thinking, speaking, acting and expressing themselves as they see fit. Others, however, view political correctness as an engaging tool and term (now with open promotion with social media) to help push for progress, push for change, and create substantial social adjustments for human rights. The actual definition of political correctness is as follows:

“Political Correctness – [Noun] the avoidance, often considered as taken to extremes, of forms of expression or action that are perceived to exclude, marginalize, or insult groups of people who are socially disadvantaged or discriminated against.”

Or if that definition is offensive, the Cambridge Dictionary offers the following definition(s):

“Politically Correct – [Adjective] Someone who is politically correct believes that language and actions that could be offensive to others, especially those relating to sex and race, should be avoided.

[Or]

“A politically correct word or expression is used instead of another one to avoid being offensive.”

Given the three definitions of what political correctness is, the main goal of the idea or the concept or the ideology is: is it is the use of language or action that is edited or refined or an action which has been halted or refrained, due to the fact it may cause offense to a minority group, or a group who feels or perceives itself as being marginalized, in comparison to the majority. What or who is the majority? Apparently the majority Gentle Reader, is: white heterosexual men. If you are not a white heterosexual man, you are not discriminated against, you are not harassed or persecuted—in fact you are: privileged or princely or honoured or given advantages, based on gender, race, and sexual preference. Fate or the luck of the draw or genetics perhaps, has decided to shine on that individual and has graced them with these three most essential skills for being successful in today’s modern and progressive world. The privileged white gentile heterosexual man will be first in line for all: jobs, homes, cars, and other luxuries, based on these qualifications. Everyone else? They have to scrape, work, persevere and prove they are just as deserving for these necessities and luxuries, because they are not a: white, heterosexual man. They are not by admission: privileged. Seeing, however, the white heterosexual man is privileged and placed on given a social advantage, he must be cognizant and aware of how he: behaves, acts, speaks, and expresses himself, out of fear he will offend the much larger minority. The request itself sounds like: self-censorship, which I take issue with. Being offended is an aspect of life. Everyone will be offended, everyone will be discriminated against (even the white heterosexual man), everyone will experience inequalities, or an unfairly dealt hand. Some, however, will be fortunate enough to deal with them on a minimal scale, while others; will be forced to endure them on a more reoccurring basis. Political correctness, however, in its conception (roughly) has sought to mitigate or lessen the reoccurring and continual assault of discrimination against, those who experience on a more frequent basis. Political correctness, as it stands, has attempted to relieve and reconfigure social and societal conventions—linguistically and physically ||OR|| psychologically and sociologically—to lessen and create a more fair, understanding, and comfortable environment for all individuals who exist and co-exist within that environment. One can go a step farther and state: the ideal goal of political correctness is to remove all social barriers and blockades, surrounding discriminatory practices (external or internal), where all members of a society have the right to pursue equal opportunity be it economic or educational or health care related (et cetera). In essence if one wishes to look at the idea of political correctness through these lenses: it’s essential seeking to enact principles and ideals of socialism or perhaps more moderately social democratic institutions and on the extreme side communism. But, it does not seem like the political correctness is interested in enacting a more socially engage or equal playing field with regards to economics or education or health care; but rather it is more interested in turning society into this inoffensive ‘safe space,’ for all people to live, free of being offended by language or behaviors that have been redefined or propagated or proliferated as inconclusive or inadequate or combative of this ‘safe space.’ The goal is: the limit/mitigate and ultimately end offensive language, behaviours, conducts and perspectives, through renovated social norms, will create a society or environment where no one is offended or subjected to offensive behaviours. As a pragmatist and a realist: this is neither plausible nor possible. Emotional reactions and responses (‘feelings,’) are not empirical, they are not definitive or logical or straightforward. Somehow, someway, somewhere: someone will be offended. That is life.

Every day when someone watches the news, reads the news, or scrolls through some form of social media or wherever else they get the news (the stalls in the public bathroom are not reliable), they will inevitably see a world in duress and chaos, one that continually risks on a moment’s notice to falling to pieces. In recent memory we have had terrorist attacks, school shootings, sexual assault allegations and accusations, government’s failings, a royal wedding, global disasters, political upheaval, civil war—the list is endless, and quite frankly it is offensive(!)—thankfully though one has options and abilities: they can (a) change the channel or (b) turn the television off or (c) stop reading or (d) go to a different website. There is a wonderful individual and biological component about being a sentient human being, who has consciousness, who can exercise their own agency and autonomy by removing themselves from the equation which only equals their offensive manner. I mean I am a bit disappointed today, with the state of how the news is delivered. It’s a steady diet of hell. Where are those feel good stories?, such as: puppy saves a kitty from burning house fire; or Timothy successfully climbs out of a well. Now day’s it’s: puppy saves a kitty from burning house fire, only to eat the kitty; or Timothy successfully climbs out of a well, only to be pushed back into well by his evil tweeting twin Trump. There is no sun; just the piss and pour of dour rain. Thankfully though, I as a rational and logical human being often decide by choice, not to fixate on these events or allow them to consume a great deal of my attention. However, they do—by osmosis or collective societal social anxiety—become part of one’s own mental state in some manner or another. You see a hundred videos or snippets of police officers assaulting people, and you become concerned and even frightened by the idea of a police officer approaching you, even when all they want to do is ask you directions; or you’re worried about entering and shopping at Wal-Mart due to some vigilante loss prevention officer will chase you down into the parking lot and begin unlawfully assaulting you and attempting to falsely imprison you. If anything a media saturated world has created to a degree, this strange pantomime existential crisis of perpetual fear. So fearful in fact, that entering and shopping at a Wal-Mart makes me wish I had a therapist. Wal-Mart satire aside, this is not entirely the fault of political correctness. In some ways, however, it is.

It is not possible or probable or profitable or plausible to build an offensive free world. For generations people have worked on behalf of others—be it: children, religious groups, families, and now minorities—to provide a safe or offensively mitigated environment or entertainment free of offensive language, behaviour, or actions. Before HBO and Netflix, you couldn’t say a multitude of words on television (the big one being FUCK), in the eighties, the FCC wanted censor or ban or whatever, music which they saw as offensive or inappropriate to the youth of the time. A compromise was reached (and is more a badge of honour) placed on CD’s was: “Parental Advisory. Explicit Material.” This was done in the name of youth and families, and to save the good old nuclear family unit from the corrupting influence of heavy metal music and rap music. Before this it was rock’n’roll and the Beatles, before that it was Elvis Presley, and before that it was Jazz; and once again the list goes on and on. The end goal: to create (or save) someone from the corrupting influence of another, by applying essential censorship. This can go back to the beginnings of science and the church, fighting over absolute universally defined and accepted truths—such as whether or not the earth was the centre of the universe (or flat) or if the earth rotated around the sun.

Political correctness, however, always attempts to reaffirm and ironically, comfort and quell these criticisms by stating, they are not interested in censoring people or writers or musicians or artists or intellectuals or scholars or scientists—they merely wish to have the world progress beyond its current state of postmodern fragmentation, and create a world based on equality on a social level, which is free from derogatory (offensive) language, actions, behaviours, thoughts, perspectives, and opinions. What I still hear is: censorship. Political correctness, ideally has confessed or eluded to advertently or otherwise, admitted it seeks to have individuals in society self-censor themselves in order to avoid and evade causing offense to another person—specifically a member of a minority group or collective. One of the greatest principles I stand by as an individual, who apparently is privileged and lives a rather decent life (not easy, however) that one of the most important values which came from the Enlightenment Era, which spurred and has developed modern day democracy—with tweaks here and there—is the statement by Voltaire:

“I don't agree with what you say but I will defend to the death your right to say it.”

As frightening as that sounds, it means despite my vehement disgust against racism, sexism, heterosexism, misogyny, misandry, ageism et cetera—people have the right to say it. They have the right to open their mouth and insert foot. Though I publicly denounce and will state it openly on the street that I disagree with their comments, I also inherently recognize that the individual has the right to state their contorted opinion or perception, however, unintelligible it is. I also reserve the right to walk away from that person and not engage them. I also reserve the right Gentle Reader, not let myself become offended. Always consider the source and how microcosmic and myopic it is, when compared to the macro surroundings. I believe people have the right to speak freely and the right to be offended freely, but we do not reserve the right limit ones freedom to speak when we choose or have become offended.

[ An Issue With Social Justice Warriors ]

Perhaps nothing is more nerve grating right now then the social media driven, social justice warrior. Yes those young, millennials, who have been indoctrinated by either friends, he internet, or school, or god knows what else—now feel the need it is their divine or otherwise inherent right, to fight over every issue they see as a social injustice. This includes but is not limited to: racism, sexism, heterosexism, islamophobia, Antisemitism (though on conditions), decimation of mental health and so on. I have profiled the social justice warrior as the following:

These are the strangest creatures to have come into social being of recent memory. Their smug self-importance is only rivaled by their self-serving sanctimonious conduct. These individuals view the world in a perpetual state of progressive purgatory. Armed with smartphones, twitter feeds, Facebook, Instagram, forums, websites, vlogs and blogs, as well as self-righteous fiery swords of fury; they seek out with vigilante vigor, the evil villains and perpetrators of people who willingly transgress against the ideas, concepts and ideals of political correctness. These villains refuse to acknowledge progress, they are agents of regress. They wish to either maintain the current status quo or worst push society back. These people—as the social justice warrior would claim—are supporters of slavery, serfdom, no equal opportunity, racism, and religious persecution; to list a few of the laundry list of charges. So what does the social just warrior do? They confront—or shame—and call out this person, their personal viewpoints, perspectives, opinions, and thoughts, and demean, attempt to humiliate, and strike down with this offender with their smug sanctimonious self-righteous haughty and arrogant manner, where they seek to forcefully harass the individual of the opposing viewpoint to make the appropriate adjustments in personal revelation, by publicly decrying and harassing them, before removing the saintly bleeding heart, and expressing their offense and their sensitive morality. All the while this is tweeted, recorded, vlogged, blogged, instagramed, and the rest of the social justice warrior community responds with equal rioting outrage, expects and implores the rest of society to be bamboozled and baffled and then outraged alongside them.

When I see a social justice warrior (and I do see them) I am always think of a chicken who believes it is somehow tapped into some universal divine thought, and believes it has awakened from its postmodern programming, and has seen some grander veracity beyond the tip of its beak, and begins to pontificate and cluck, usurping and upsetting the other chickens who in turn become some disorganized rabble riot of chickens clucking, but view themselves as a collective group of revolutionary who must spread the gospel of progress and political correctness. Prescribed advice: do not take them seriously and do not engage.

Perhaps the greatest failure on political correctness is the gospel according to the social justice warrior. Being offended and overtly sensitive does not equate morality. Shutting down and disrupting public discussions, speakers, and lectures, because you view them as regressive or offensive or socially inflammatory or unacceptable, is not taking the moral high ground nor is it act of intellectualism or having enlightened manners. To put it frankly: it is censorship, and a lack of self-control and self-awareness, to be able to take hold of your own autonomy and agency and respect another individual’s perspectives, opinions, and thoughts by allowing them to speak. If liberalism was once the idea of freedom, moving the world away from serfdom, feudalism, slavery, and other great advancements since the Enlightenment era; then the social justice warriors gospel and actions have been a complete breakdown and digression, where they wish to silence and restrain contrary opinions and thoughts of others, without having a debate (and no chanting repeatedly and filming yourself screaming and interrupting an opponent is not a debate). All the social justice warrior has sufficiently done has misapplied political correctness in any moderate or progressive terms, and contorted it into some juvenile propaganda based ideology based on language, and created a busybody—and ironically some would say: created a hostile (or unsafe) environment—where they reserve the entitled thought that they can openly accuse and convict others of being: insufficiently liberal or insufficiently progressive or fascist or a misogynist or a racist or a heterosexist or a transphobic individual; the list is endless. As a individual who identifies as a moderate liberal and more specifically a centrist on the political spectrum; I resent, refute, and disregard this entitled thought process that they believe they have the right to preside, judge, and convict me because I choose to disagree with their extreme perspective, because I stand on true liberal grounds, true liberal philosophies, and even true liberal ideologies, where I believe one can have freedoms—such as the essential one of speech—without consignment and without concessions. Partial freedom is not freedom. Rather partial ‘freedom,’ is merely the illusionary idea of freedom, presented in an authoritarian society. Social justice warriors are not interested in preserving freedoms, they are not interested in promoting rights, they are not interested in protecting people; they are solely concerned with defending feelings, and have decided and aggressively fight to continue to propagate this notion about defending feelings in this world, because somehow feelings all of a sudden matter—as long as they are the right feelings. Let me tell you something: the person walking down the street, the person sitting next to you on the bus or the train or the plane or in a cab, or at a hockey game or in a theatre or at a library cares or regards your feelings as having any worth—and frankly nor do I; and by the same logic no one regards my feelings as having any worth either.

One of the biggest issues social justice warriors have with regards to contrary thoughts and opinions is they lack the ability to listen. They lack the ability to listen, process, understand, and in return communicate their disagreement in a polite, civil, and graceful manner---but accuse everyone else of perpetrating and exhibiting these faults. How can you disagree with someone when you refuse to listen? How can you disagree with someone when you censor them? When you shut down their ability to host or have a public discussion or give a lecture? If you so strongly disagree with them, why is it impossible to be civil and hold yourself with the social grace, and debate them? Why must it always revert to accusations and harassment? Why must it take the form of poor chants, and disruptive behaviors? That is not debating in intellectual spirit, that is not communicating, that is not having a discussion or a conversation, that is being inflammatory and petulant, and quite frankly you may find yourself lacking the appropriate maturity to engage on any level of intellectual candor and communication due to your own stunted maturity to realize that there is a grander world out there beyond yourself, where other people are going to disagree with you—that is a fact of life—and if you cannot handle that, due to your lack of maturity or overt sensitivity, you are going to have a very difficult life. As someone once told me: when life gives you lemons you can either make lemonade or suck on it—but you do not reserve the ability or the entitled perspective to accuse someone else at being fault for being tossed lemons, opportunity exists, you just need to make it work.

It should be noted: that people have the right to proclaim strange, outlandish, provocative, and even cruel perspectives, thoughts and opinions. This should be left alone, whether or not you agree with it. As Fran Lebowitz stated, if she was in college and a Nazi was to present or lecture there, she wouldn’t go to the lecture; but she would not seek to stop it from happening, because it is important to let stupid people speak, so others can see how stupid they are, and of course prey and engage on the good nature of rational thinking of other people who believe it, to realize their thoughts and opinions and perspectives, are a bit out of touch with the world. Silence and censorship only creates reactions; and those reactions are sometimes more frightening and disturbing then we originally thought possible. For that I say: thank-you social justice warriors for creating a renewed, renovated, revitalized and reactionary far right, who find themselves spewing racism, sexism, heterosexism, and many other regressive comments, in order to refute, contest, and negate your ideals of censorship and your adamant desire to protect feelings in this world.

The rise of the reactionary right has only come from political correctness and its Sturmabteilung social justice warriors. It is one of the reasons it led to Donald Trump to use populism to get elected as he was able to tweet, orate, and say the nastiest, vicious, and hidden sentiments of the people who found themselves silenced and censored by the oppressive cloud of political correctness and social justice warriors. This is why see racism becoming more rampant; or sexual abuse or assault or sexism more prevalent; or why we see homosexuals once again being persecuted and demeaned by their nature. All because one sect of the political spectrum has decided to take it upon itself, to force feed acceptance and tolerance on to others, under the threat of punitive action, which has led to a militarized force which now propagates contrary and controversial statements that carry regressive components, while flying the banners of freedoms of individuality of absolute rights and discretions—the very same principles centuries before liberals had fought for. How frightening and even peculiar it is to see this slightly odd change of stances. But it comes down to the fact that political correctness, has attempted to institute social conventions which seek to ensure individuals, groups, and people edit, censor, and redefine their language, actions, opinions, thoughts and perceptions to ensure they do not cause offense to another individual or more specifically: myself [referring to a political correctness proponent or social justice warrior]. It has subsequently limited the exchange of ideas and ideals, and now it has forced a reactionary right to pick up that mantel, and twist that message into its own vitriolic statement(s) and ideals, only to combat the social justice warriors, and ironically, defend (on a superficial scale may I add) fundamental and monumental rights and definitions of freedoms which exist and belong in a democratic society.

A bit of wisdom for the social justice warriors as well: you must be open to all opinions, thoughts and perspectives, however contrary they are to your own; because having a diverse pool of knowledge or material at your disposal to work with, to understand, to empathize with, and to consider when forming an opinion, and becoming political literate, which means: being able to consider, review, ponder, and eventually concede or refute to the other side on certain issues. All because if you do not have disagreements, reasonable debate, and rational conversations: you are a one-sided fool.

[ Political Correctness & Social Movements: Do Not Supersede Established Institutions ]

In an opinion piece for the Globe and Mail, titled: “Am I a bad feminist?,” Margaret Atwood reflects, considers, and refutes the notion and the criticism presented to her by apparent new age or contemporary feminists or neofeminists, that she is a ‘bad feminist.’ The statement (or question) will most certainly raise eyebrows. If it is one thing Margaret Atwood, has always been referred to as (besides a poet, novelist, academic, intellectual, public speaker et cetera) is that she is a feminist. She has been criticized for it and satirized for it; which Atwood points out in her opinion piece, where she mentions a cartoon done up of her early on, dressed up as a dominatrix (whip boots and all), or in another cartoon standing on a pyramid of the decapitated heads of men. This time, however, it is not men who are scared or lambasting Margaret Atwood, it is women, who have stated that Atwood is a perpetrator of a War against Women; that she condones misogyny, and enables rape and sexual assault. All because Margaret Atwood viewed injustice and unjustifiable treatment of a former professor at UBC, who stood accused of sexually assaulting or coercing his female students into sexual engagements. Margaret Atwood makes it clear from the start of her article:

“My fundamental position is that women are human beings, with the full range of saintly and demonic behaviours this entails, including criminal ones. They're not angels, incapable of wrongdoing. If they were, we wouldn't need a legal system.

Nor do I believe that women are children, incapable of agency or of making moral decisions. If they were, we're back to the 19th century, and women should not own property, have credit cards, have access to higher education, control their own reproduction or vote. There are powerful groups in North America pushing this agenda, but they are not usually considered feminists.

Furthermore, I believe that in order to have civil and human rights for women there have to be civil and human rights, period, including the right to fundamental justice, just as for women to have the vote, there has to be a vote. Do Good Feminists believe that only women should have such rights? Surely not. That would be to flip the coin on the old state of affairs in which only men had such rights.”

But to hold this position it seems in today’s world is inappropriate, unacceptable, and not politically correct, it is not true feminism now. Equal rights now must certainly mean one must remove rights from another group; in this instance: privileged white men; as their moral ineptitude, lack of ethical thought process, and sheer inability to control their loins and leanings, means they no longer deserve their freedoms and basic concepts of rights. Margaret Atwood takes issue with this. Equal rights for women, does not mean less rights for me. It means equal rights for both women and (as terrible as it must sounds) men. It means equal opportunity and equal social advantages. But the accusers of Margaret Atwood believe no one—or rather: no man—is allowed to experience or have the advantage of these rights at their disposal. In this case no man has the right to experience fundamental justice, including: the right of innocence until proven guilty.

The institutions of the courts, legal philosophy, legal precedence, jurisprudence, legal theories, and the very construct and concepts of the law—are above politics. These institutions that represent morality, ethics, and justice, are pinnacles of democratic societies; and thankfully (though at glacial paces—for good reason though), they do review and adjust to the changing social and societal environment in which they operate. This, however, does not mean that their principles, statutes, theories, philosophes and pillars of jurisprudence are pushed to the wayside either. Innocent until proven guilty, is a fundamental, monumental and spectacular pillar of the judicial system in Canada; and it is not discriminatory on any count. Evidence must be presented and reviewed before a court, before any verdict or conviction (be it innocent or guilty) is to be issued.

Social movements—such as the MeToo movement or political correctness—do not have the ability or the right or the entitled sense of self-worth, to supersede these institutions. They do not inherit or establish themselves as the newest legal fad, where they are able to preside over their own idea of justice, and administer it to anyone else. Their complaints, their accusations, their allegations, their concerns, their fears, must go through the appropriate channels, and this will include a formal investigation, as well as a formal review by the judicial system, which will examine the evidence presented, and cross-examine. The judicial system does not only prosecute, it defends—and social justice warriors take issue with the idea of fundamental ideas and concepts of defense during judicial proceedings. Before the MeToo movement took off as its brand of social media movement; in Canada there was a court case, where a CBC broadcaster, Jian Ghomeshi, stood accused of sexually assaulting women and aggressively portraying himself in a sexually inappropriate manner to women. His legal counsel was led by a defense attorney by the name of Marie Henein, who by doing her job as his defense attorney was tasked with examining the evidence and cross-examining the plaintiffs, with scalpel precession, to refute their claims. During this trial, Marie Henein became a centre of a social media controversy; she was accused of betraying her gender, and promoting sexual assault, misogyny, sexism and the degradation of women. Marie Henein was unjustly slandered, condemned, and yes, face unwarranted persecution reminiscent of a witch hunt; on the grounds that because she is a woman, she cannot or should not have defended her client, and she should have eschewed her professional principles, in order to comply with a still yet fetal social movement; but was still harassed, verbally assaulted, slandered, and defaced by social justice warriors, because she was a woman who was doing her job, but it was the complete contrary to their perspective of what justice looked like. Everyone in Canada (thankfully) is entitled for a fair trial; they are also entitled to have their narrative and story told in the court of law, which is free from external social and political interloping predilections; and of course they are presumed innocent until proven guilty by a court of law or a jury of their peers.

It is frightening, disgusting, and abhorrent to think, let alone witness, the sheer breakdown in rational thought, where people believe and promote that these cornerstones and principle pillars of a society, are wrong; because they believe it is based on the notion that justice, or equality, or fairness is based on gender, or sexual preference, or race, or creed, or source of income—this idea, this twisted and frightening ideology, is ludicrous. In fact its self-absorption to the point of: head up ones ass. How dare anyone think justice is conditional? How dare anyone think justice is to be selective? How dare anyone think legal principles and judicial philosophies should be based on gender or sexual preference, race, source of income, or creed? How can anyone think and believe that? Justice we are told is blind. Justice we are told is equal. Justice we are told is governed by its own strict conventions and statutes. Justice we are told is fair. Sadly in today’s world, social justice warriors and political correct proponents believe justice is only served in the trust terms of the idea, when it is in their favour. I do not accept or tolerate this view—and no it is not an opinion, it is a contorted and disturbing view. Justice goes two swings, like a clocks pendulum. Much like the pendulum is weighted one way or the other; so is justice and that is done by the trial and by proving innocence or proving guilt—beyond a reasonable doubt. If this simple principle is tossed out the window, then surely society will fall because it is no longer willing to accept the basic concepts and ideas of a true democratic governing society, when it cannot support or abide by its own pillar of judicial process. No social movement—be it MeToo or political correctness or feminism—has the right to supersede the established societal institutions such as the judicial branch of government and the courts. If you view them as unfair or unjust, you have the ability and the right to civil petition and work towards change via the established avenues and channels, however bureaucratic they are. Neither a tweet nor a troll should be allocated either the authority or the power to influence legislation or judicial proceedings; simply because it is popular on social media.

[ To Conclude ]

To be honest, the Munk debate about whether or not political correctness provided social progress, never really took place. The issue was barely discussed. In fact it almost seemed, like everything but the issue was discussed. I now have released my statements and my views and my thoughts on the idea, concept and ideal of political correctness and veered off into other areas. I will say, this has been an interesting and divisive subject. My research, articles I’ve read, there has been no real middle ground on the subject. Though I despise Rush Limbaugh, Anne Coulter, Bill O’Riely, Erza Pound, Jordan Peterson, Milo Yiannopoulos, Jason Kenney, and Doug Ford—I understand that it is important for them to speak. It is important for them to be able to express their views; even if I think they need professional help of a psychiatric kind. I also understand it is important to allow: Herta Müller, Janice Stein, Margaret Atwood, Fran Lebowtiz, Bill Maher, Stephen Fry, and Beverley Mclachlin, to speak and admire them for what they say. I don’t believe in making demands. I don’t believe in censorship. I most certainly do not believe that societal principles, rights, freedoms, and equality are conditional or based on consignments and concessions. It’s a frightening world Gentle Reader, one that has been pushed to polarizing dichotomous views, by what I would say is a minority on both ends. Where do moderate people exist? It’s hard to say. But I think they’ve done what we’ve always done: used our autonomy and agency and ability of a rational mind, to not engage on these issues or matters. Let them scream at each other, until their blue in face or knocked out on the ground. But keep an eye on them, as both sides: the politically correct social justice warriors and the reactionary right, are causes for concern.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary


To watch the Munk Debate:

Political correctness: a force for good? A Munk Debate

To Read Margaret Atwood's Opinion:

Am I a bad feminist?

Sunday, 27 May 2018

The Golden Booker Prize, Shortlist


Hello Gentle Reader

This year’s Golden Booker Prize, has released its short list. Five different novels and their respective authors, from five decades have been brought forward for the public to vote on, which one, they deem to the worthy winner of the Golden Booker Prize.

The following are the shortlisted authors and novels for the Golden Booker Prize (presented in no particular order):

V.S. Naipaul – “In a Free State,”
Hilary Mantel – “Wolf Hall,”
Michael Ondaatje – “The English Patient,”
Penelope Lively – “Moon Tiger,”
George Saunders – “Lincoln in the Bardo,”

The Golden Booker Prize has been called a publicity stunt by many; an attempt to renew the Booker Prize in to greater relevance, as well as to take attention away from the smoldering resentment bubbling up about the decision to including American authors into the prizes eligibility. Yet, the Golden Booker Prize has unfortunately created a unique issue on its own. Only five novels and authors could be selected, from the five decades, which means the process of selecting a diverse, reflective and representing shortlist amongst the previous winners would be difficult. For example of the five writers chosen there is no winner from India or Ireland; on the flip side only three authors have won the Booker Prize twice, only one however has made this shortlist: Hilary Mantel (neither Nobel Laureate J.M. Coetzee or Peter Carey were included). Yet, the excluded author getting the most pondering glance is: Salamin Rushdie, and his novel “Midnight’s Children,” which has previously won the “Best of the Booker,” Award. Perhaps though the most curious writer included on the list is last year’s winner: George Saunders, and his novelistic debut: “Lincoln in the Bardos.” Perhaps freshness has a more crisp and agreeable quality, then old and outdated.

Now it is up to the public to cast their vote on who they think is the most deserving writer and novel for the Golden Booker Prize; while they may (or may not) wait in muted enthusiasm for this year’s Booker Prize to release its longlisted candidates.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

The Nobel Prize for Literature: A Questionable Future


 Hello Gentle Reader

Throughout April and earlier this month, the Swedish Academy, the institution who announces and awards the Nobel Prize for Literature, has been plagued by a scandal which has obliterated the cultural institutions façade of being pristine and princely, only to reveal an institution suffering a poor lack of formal objective governance, petty and petulant perspectives, and an almost frightening dirty political game of power. The scandal has also brought into question members of the Swedish Academy’s ethics and moral pedigrees and principles (specifically: Sture Allén, Göran Malmqvist, Horace Engdahl and Katarina Frostenson). Now, as you already know, the scandal has centered on the alleged sexual assaults committed by Katarina Frostenson’s husband, Jean-Claude Arnault. The allegations themselves, however, were merely the initial wedge and fracture which eventually revealed a larger scandal concerning ethics and moral integrity.

Katarina Frostenson cannot be held liable or at fault for the allegations concerning her husband. However, she can be held responsible for numerous other dubious arrangements she had made while a member of the Swedish Academy. The first being: she knowingly accepted (and perhaps lobbied) financial assistance from the Swedish Academy, for a prestigious and exclusive cultural club, she co-owned with her husband in Sweden, called the Forum. The second being: she has been accused (or perhaps knowingly proven) to have prematurely released the names of future Nobel Laureates to her husband, beginning in 1996 and ending in 2016; which breaks the cardinal rule of the Swedish Academy’s statute of silence. Yet, there is no official consensus on whether or not these leaks had proven to be monetarily lucrative.

Early in April, the Swedish Academy voted on whether or not to exclude Katarina Frostenson from the Swedish Academy, by considering the above transgressions she had committed against the Swedish Academy as an institution. The votes swayed to stay in her favour, and soon after the scandal became a public storm, showing how incapable the Swedish Academy was able to operate and govern itself. Three members publicly stepped down (Peter Englund, Klas Östergren, Kjell Espmark) in protest. Sara Danius (then Permanent Secretary) went on damage control; but the wedge only grew wider, and others within the academy took the opportunity to voice their disproval of both the protesting members and Sara Danius herself (Horace Engdahl and Göran Malmqvist). The crisis only thickened before royal intervention, and the Swedish Academy met and found a compromise: Katarina Frostenson will step down on the condition Sara Danius relinquishes her position as Permanent Secretary. Sara Danius did relinquish her position and then voluntarily stepped down, while Katarina Frostenson stepped down as the conditions of the compromise were met. Following Sara Danius’s departure, a few weeks later Sara Strisdberg also stepped down.

Since then and in between, the King of Sweden (and royal patron of the Swedish Academy) Carl XVI Gustaf, has rewritten the election statutes of the Swedish Academy, meaning now where members served for life, they can opt out to voluntarily resign or being removed and replaced if they are inactive over two years. Sweden itself has erupted in support of Sara Danius, who has become something of an icon; all the while Horace Engdahl and Göran Malmqvist have opened their mouths and inserted their foots—on countless of occasions.

Finally, it was announced the Swedish Academy would postpone this year’s Nobel Prize for Literature, considering the crisis which has deeply divided and struck the Swedish Academy to its core, and will allow them to re-elect new members and regain the public’s trust in itself as a culturally prominent and worthy institution. Yet questions remain: what extent has this crisis and scandal done to the Nobel Prize for Literature itself?

[ For Previous Blog Posts, thoughts and perspectives on the issue please see the following links ]













The question: what extent has this crisis and scandal done to the Nobel Prize for Literature itself? And: What is the Future of the Nobel Prize for Literature? And: What is the Future of the Swedish Academy? Are now being asked publicly, and answers are perhaps being eluded too; as it is now apparent: the storm may have passed, but the flood waters are still rising.

In an open letter delivered to the pro tempore Permanent Secretary: Anders Olsson; Sara Danius, Peter Englund, and Kjell Espmark, stated they will return to the Swedish Academy to assist in electing new members to the Swedish Academy (as they currently lack the 12 members to hold a quorum), on the condition Horace Engdahl resigns. Horace Engdahl of course refuses to resign, and has stated the other three can return as they see fit, and at any time; without making grand or delusional statements. Further more another member of the Swedish Academy, Kristina Lugn, stated she would resign if Horace Engdahl, resigned. 

The Nobel Foundation (the absolute administer and guardian of all the Nobel Prizes) has already expressed its grave concern over the current atmosphere of the Swedish Academy’s inability to appropriately govern and control itself. Now, the director of the foundation, Lars Heikensten, has taken a more public and serious bent with regards to the current situation and crisis. Lars Heikensten, has stated there very well might not be a Nobel Prize for Literature in two-thousand and nineteen either, depending on the crisis currently facing the Swedish Academy, as well as pending on the academy’s ability to reclaim and acquire the public’s trust in it as a cultural institution. Lars Heikensten, had also eluded on two other matters. First: in polite and veiled terms, Mr. Heikensten, had eluded to the idea that it may be in the best interest of the Swedish Academy that all members resign in order to restore faith in the institution. Second: Lars Heikensten, eluded to the notion and thought, that the Nobel Foundation, will find a more reputable institution to award the Nobel Prize for Literature instead of the Swedish Academy.

The former Permanent Secretary, Sara Danius, also agrees with Lars Heikensten’s eluded view that all members of the Swedish Academy should resign. In a recent interview, Sara Danius has stated that in order for the Swedish Academy to renew itself and rebuild the trust and confidence of the public, it would be in the best interest of all members of the Swedish Academy to resign, and allow third party institutions to appoint and elect appropriate members to the Swedish Academy, and allow the process of renewing and regaining trust to happen without interference or hindrance of those currently presiding.

In the meantime, Gentle Reader, the Swedish Academy is working with a mediator to help resolve the issue. Yet, will the issue actually be resolved in the court of public opinion? As it currently stands many members of the Swedish Academy, have ultimately failed and disregarded the trust of the public—reading and otherwise; over their failure to appropriately govern themselves, without personal dealings of friendships coming into play or being taken into consideration. Sture Allén, Göran Malmqvist, Horace Engdahl, as a trio have ultimately continued to deface and destroy the remaining fragments and remnants of the Swedish Academy, with their churlish behavior, negligence, or public statements regarding former members or their personal relationships. The fact is, as a member of the Swedish Academy, their words, their relationships, their actions, and opinions are weighed heavily, as they in a sense have become public and cultural figures who are no longer entitled to behave in outlandish or negligent manners. They must take firm and defined stances on issues where issues of morality and ethics are concerned, or risk destroying their own reputations and that of the Swedish Academy—which they have already done. First: by Sture Allén, neglecting to act on a letter he received back in the 90’s, where a accuser of Arnault's, sought the Sweden Academy's assistance and appeal in dealing with Jean-Claude Arnault. Sture Allén dismissed the letter as non-important, which has only strengthened criticism of the academy's lack of moral pedigree or ethical direction. Second, during the entire crisis, Göran Malmqvist and Horace Engdahl, acted as power starved vultures, who exploited the crisis as an opportune moment to criticize Sara Danius in her role as Permanent Secretary (and continue to), which only moved the Swedish Academy closer to implosion. Third, Horace Engdahl specifically refuses to distance himself from Jean-Claude Arnault, and remains an advocate and supporter of his friend. In the end: as I already mentioned when one becomes a public figure—be intellectual, cultural, political, or even ‘pop culture/celebrity,’—your behaviour is noted and scrutinized when it is placed in a moral or ethically precarious situation, and you risk your reputation being damaged, decimated, or destroyed in the process and in this case the Swedish Academy as well. Perhaps the only way for the Swedish Academy to truly renew and reinvigorate trust with the public both in Sweden and internationally, is for the current members to resign; and allow for a fresh perspective of intellectuals, writers, scholars, academics, linguists, and historians to steer the Nobel Prize for Literature, without being tainted or touched by the scandal.

For now though, Gentle Reader, only the Swedish Academy can truly decide on which moral and ethical ground(s) it stands as does its best to whether a passing storm and the impending floods. Though, it is obviously clear: the Nobel Prize for Literature’s reputation has been unprecedentedly been questioned and even marred by the Swedish Academy’s current member’s behaviors and a very fresh scandal.  

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary

For Further Reading Please See the Following Links –



https://www.nytimes.com/2018/05/26/world/europe/swedish-academy-nobel-prize-literature.html

https://www.svt.se/kultur/danius-englund-och-espmark-kraver-horaces-engdahls-avgang

https://www.svt.se/kultur/bok/kristina-lugn-efter-sara-danius-utspel-har-hittills-lost-alla-problem

https://www.svt.se/kultur/sara-danius-1