Archive for November, 2009

DVD Review: Dirty, Pretty Things

Dirty Pretty Things DVD

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Who are the Dirty, Pretty Things? Not some 70s rock combo! One character in this film, “Sneaky” or Juan says “The hotel business is about strangers [they] come in the night and do dirty things…we make it pretty again”. Or perhaps when the film’s hero Okwe answers the question “How come I’ve never seen you before?” with “We are the people you do not see. We drive your cars, clean your rooms and suck your cocks” he is describing the true dirty, pretty things.

This film is about the life of illegal immigrants in London – how it seems that these immigrants all wish to get to New York a city portrayed in mythical terms. In contrast London is variously described as a “shit, dustbin city”; “a weird city”; “colder than Moscow”; where in one of its myriad bed sits “nothing works” and yet “everything here is connected to everything else” – almost a metaphor for London itself perhaps (though London does work and the ‘black’ economy thrives). There is not much joy depicted in this “vibrant” city – most of the external camera shots are of clogged roads and crowded markets; sweat shops and urban grime.
Everything is certainly connected to everything else. Okwe is a man, a doctor, fleeing from a brutal regime in Nigeria. If he is to be believed then he is the archetypal genuine asylum-seeker. Though like the rest he has simply dropped into the detritus of London life and its underworld service industry. Okwe is like a Christ figure, tending to the needs of the immigrant community both new and established (for instance treating his fellow taxi drivers who have caught ‘the clap’). He works at the front office of a well-to-do hotel at night and drives taxis in the day. Whilst working at the hotel he discovers the racket in prostitution (dirty, pretty things?) and the more sinister racket of illegal organ transplanting. This film is graphic and dirty. Okwe is a sensitive, cultured professional man who, during one scene, we see fishing out a bloodied organ from a toilet basin.

The main plots of the film are how Okwe resists being blackmailed by ‘Sneaky’ to become part of the illegal organ trade and how a relationship develops between him and the Turkish girl Senay. Senay is played by Audrey Tatou erstwhile lead in Amelie a French film that captured the hearts of the English a few years back. What a contrast. Whereas Amelie is a film that espouses a light-hearted, nostalgic feel-good sense of Frenchness – in Dirty, Pretty Things Senay is an illegal immigrant escaping Turkey because “I do not want to live like my mother”.
There are some interesting remarks about Englishness that thread through the film – the doorman of the hotel Ivan says to Okwe “You start dressing like an Englishman” and later it is said of a man who has had a kidney removed (and may die) “He is English now…he swapped his inside for a passport”. And later in the film there is an exchange between Guo Yi (“I am a certified refugee”) and Okwe where Guo Yi says in response to Okwe’s disbelief that the illegal organ trade is going on, “You think it doesn’t happen because the Queen doesn’t approve?”
There is indeed much emphasis on changing identity. Senay wants to have a passport where she is Italian and these counterfeit passports are produced by Lebanese…“Guys who made this [a French passport] are the best in London.”

The white people in the film are depicted as bad (the immigration officers especially, also the white ‘punter’ who attacks Juliette the prostitute) or seem remote (Irish doctor in hospital; man who collects organs). There is also an amusing (and interesting) exchange between Okwe and Juliette in the hotel. Juliette (black) says, “You’ve come from somewhere with lions? I like lions…” and later asks, “So have you ever seen a lion?” Okwe replying, “On TV.” There is also an interesting scene where Guo Yi dresses a corpse in traditional Chinese fashion. He wonders why there is no family to do this and says, “Perhaps he came from the back of a truck”.
Some characters deliberately misuse ideas of identity or play with it, for instance when Senay is being coerced by her Asian sweat shop boss into gratifying him sexually: “They [the authorities] will put you in prison and here [London/Britain] they mix men and women and you will be raped every night.”
Senay to Juliette (the prostitute): “Before I was a virgin.”
Juliette: “Jesus!”
Senay: “Mohammed!”
When Senay is at one of her lowest moments, she puts on Turkish music and dances in Turkish fashion – it as if she can only find peace and security in her deep identity.

The film is intense and yet fast-paced and thrilling. I won’t give away the end but it’s neatly done and satisfying. In one of the last scenes Senay says to Okwe, “Always we must hide” and when Okwe calls his daughter he says, “I’m coming home”.
There is a real sense of ingenuity in the community that lives by its wits ever aware of the danger of arrest and deportation. There is a feeling I got as if I were watching a war film – perhaps with the ethnic edge of the war in Bosnia and ex-Yugoslavia or even an old English film of POWs escaping through occupied territory.
The organ trade is callously depicted as “[based] on happiness. Everyone is happy”. This is not a multi-cultural dream but rather a sordid nightmare where even so the nobility of Okwe and the faith of Senay remain. New York is the city that offers the ultimate freedom (from identity?) and London is the necessary hell to escape. Whether ‘going on’ or ‘returning’ will give the characters what they are seeking is debatable. The clever racketeers, the one’s who know how to play the system will exist very nicely in any community – but in a community hidden from view their power is further increased and corrupted.

I urge all readers of this magazine to watch Dirty Pretty Things then perhaps you can decide who these creatures really are.
Tim Bragg

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Book Review: The Curious Incident of the Dog in the Night-Time

Curious Incident of the Dog in the Nightime

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Author: Mark Haddon
Paperback: 224 pages (April 1, 2004)
Publisher: Vintage
ISBN: 0099450259

The Curious Incident of the Dog in the Night-time by Mark Haddon is a Whitbread Book of the Year winner and its cover is weighted with praise. I was given this novel as a (very) belated Christmas present and on asking why this particular book was told that I would probably enjoy and find fascinating the narrator’s voice. Now, I’m neither a quick reader nor someone who will read “anything” – and I knew nothing of its surrounding media “hype”! I sometimes have a few books on the go and depending on my mood will choose the one whose rhythm and style fits. As soon as I picked up The Curious Incident…I was so taken by it and – indeed – the style and voice of the narrator that I could hardly put it down. This is unusual. Normally I can’t read when other people are around or the television is spewing out its vapid inconsequentialities (okay sometimes it’s a great medium), or there is the odd, arrhythmic and almost disharmonic uttering of a computer game. But I was “in there”. Transfixed I was, very curious indeed and funnily enough definitely in tune with the rhythm of the novel. I say funnily because the narrator – Christopher Boone – suffers from an acute case of Asperger’s Syndrome* whose thoughts are marshalled in short, ordered sentences and who is trying to navigate a very curious and at times hugely frightening world.

Christopher has constantly to make sense of this, our, world. His thoughts are precise and usually logical; though he has aversions to particular colours and will “read” things into certain patterns – i.e. four red cars in a row equals a “good day”. He sees the detail in all things– almost as if he is under the influence of a hallucinatory drug. It is as if everything is a problem – everything is too much – a sensory overload that causes him great pain.

As we read and inhabit his mind, his rhythm of life, we feel something of the intensity, the illogic of our own. He is gifted at mathematics and requires absolute order to function properly. He doesn’t like touching people and cannot tell a lie. Because he doesn’t tell lies he has an innocent charm. Also in order to live reasonably he needs to break down everything into manageable sections of order and logic. There is a real feeling of isolation and an unbearable and very concrete barrier between him and others. And yet we understand why he is the way he is – because the narration unfolds clearly the process of his thought – thus to some extent we inhabit his mind.

He is like a romantic poet without the poetry – and yet there is a kind of poetry in the book; a poet makes you view the world differently or makes the common-place extraordinary – I think Christopher does this. But his poetry is unconscious. We are forced into his world and the clear, innocent logic of it makes our world often seem hysterical and nonsensical. Sometimes it is as if his skin has been removed and he is left raw to his environment. No wonder he doesn’t want to touch. To touch would be unbearable. And because the world “shouts” at him he has to withdraw and find peace in internal complication. Puzzles, timetables, chess etc. gives him some relief. Also we can only wonder at his acute mathematical intelligence. He is gifted – but the price of his gift is heavy.

The Curious Incident is not, I stress not, a depressing book. Far from it. When I read the last sentence I had a smile on my face. The appendix, which carries a mathematical equation (that Christopher had worked out), humbled me. I wouldn’t want to have to pay the price Christopher has for his way of thought but I finished the book thinking about people and their thoughts slightly differently.

How complicated does life have to be? What kind of a world have we – the “sensitive” people (those who think emotionally and who can touch each other) created? And yet if Christopher were to invent a world (in his favourite dream everyone dies except those like him; therefore he never needs to be near people) it would be very ordered and cold. I am uneasy with this statement because as you read the book you tend to feel instinctively that Christopher has a great locked-up chest of emotions. But am I being fanciful? He cares for animals and it is the “murder” of a dog that sets him on a life-changing course. But it is the idea that an ordered, imposed world kills emotion, excess, subtly, nuance, that stays with me. We might live in a crazy world but it is an exciting world. Cruel and frightening too – if you don’t obey its covert rules. And through the novel we see the effect of Christopher’s condition on the adults who care for or surround him.

The novel is driven along by some nice twists (in our expectations) and there is plenty of movement within it. It makes you think about life without being heavy. The title of the book and elements within it (often explicitly) refer to Sherlock Holmes’ detective adventures. Christopher admires Holmes for his cool calculations but despises Conan-Doyle the author for his sentimentality and belief in the supernatural. Christopher is encouraged to write his thoughts and thus the story by a social worker at his school – this gives Haddon the opportunity to throw in a few ideas about the nature of writing and hand over authorship of the Curious Incident to “Christopher” – giving distance and credibility.

One thought I have had since finishing the novel is the seeming absence of puberty on Christopher. I have no idea if this is unduly affected by Asperger’s Syndrome or not but would be intrigued to know. All of us become somewhat “obsessive” during these years and there must, at least, be a potential affect upon a sufferer of autism.

* Asperger’s Syndrome seems to identify a form of autism where the children have a very high IQ

Reviewed by Tim Bragg

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Book Review: Orwell: The Authorised Biography

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Orwell: The Authorised Biography
By Michael Shelden
Politico’s
London,
2006 pb, 566pps

When I read fiction I tend towards authors or their characters who are outsiders, mavericks, those who do not/did not quite “fit in” . Two of my favourite authors are Franz Kafka and George Orwell (Eric Arthur Blair). Both died of tuberculosis; both had nightmare visions and both have had their names given to such visions: Kafkaesque and Orwellian. Nineteen Eighty-Four and Animal Farm as The Trial and The Castle are novels I return to regularly. And thus I came to review the five hundred plus pages of Michael Shelden’s biography: Orwell being as complicated and interesting a character as I might have hoped, a man of the Left often most championed by those of the Right, a man who in Nineteen Eighty-Four – no matter what the objections – portrayed a world closer to our own than might ever have been expected. And as I began this review I was sent Billy Bragg’s autobiography The Progressive Patriot with a quote from Orwell’s The Lion and the Unicorn: Socialism and the English Genius on Patriotism and Conservatism (opposites).

Sheldon’s biography is ultimately satisfying and one immediately wishes to read or re-read as much of Orwell’s work as possible (with clearer insight perhaps) – but there were times when I felt distant from this tall, pale faced writer. In many ways this distance stems from Orwell’s character itself. A hard-working, intellectual – a practical man too (he loved carpentry and the natural world) who believed in a radical form of socialism, though a particular English socialism – a quiet, thoughtful, enigmatic man who was also a man of action. Yet it is difficult to reconcile his seemingly reserved nature with the man who would tramp and doss down with vagabonds, who would risk his health to live a life amongst the down and outs in London and Paris; who had been with the Imperial Police in Burma; a man who had the courage of his convictions and upped and went and fought in the Spanish Civil War, seeing there the bizarre and deadly in-fighting of the various leftist groups. Displaying valour (not just jottings in a writer’s pad) he was shot through the throat and then, after a spell in a filthy hospital, had to escape Spain in a great hurry. It seemed the communists were out to liquidate POUM (the organisation Orwell fought for) and its members. (There were young, idealistic men who went to fight in Spain who never returned – imprisoned and executed by forces they had so recently fought alongside.)

In many ways a troubled man, Orwell was often dissatisfied with his work and in constant expectation of rejection and failure (even the name Orwell was taken to remove the direct sting of rejection). Orwell spent much of his last remaining years on the island of Jura and – importantly – finished Ninety Eighty-Four there even typing the final draft despite the fact that he was in severe pain and dying. He was to be treated in Switzerland and shortly before his expected travel there he re-married. The ceremony uniting him with Sonia Brownell took place around his hospital bed. Life must have seemed surprisingly hopeful for he had planned a new novel and other works and expected to live at least another ten years.

Perhaps towards his end he also recognised he had become the writer he had wanted and strived to be; Animal Farm had brought him commercial success as well as acclaim (and resistance and opposition – the publisher Victor Gollanz does not come out well in this biography) but Nineteen Eighty-Four established him as a truly great writer – and whatever the criticisms of Orwell as novelist – his last two novels are classics.

Orwell never ceased being a socialist – his warning in Animal Farm is for the common man (or animal in this case!) to maintain vigilance and not to let unscrupulous power-hungry beings usurp the true ideals of the revolution. It may also be that – in Ninety Eighty-Four in particular there is much taken from the author’s own life – BUT – we ignore the essential message of these novels at our peril. I have just read a trivial (perhaps) piece of information about Tom and Jerry cartoons and the careful, methodical, erasure of all scenes depicting smoking. Banal indeed. Frightening? One immediately thinks of Nineteen Eighty-Four – this is our cultural reference.

As the world progresses one can only wonder who will be re-written out of history – Orwell himself? Animal Farm and Nineteen Eighty-Four are intolerable to any totalitarian regime. Nineteen Eighty-Four was originally titled The Last Man in Europe – while there is one free thought and free-thinking man then tyranny will be held at bay. Orwell’s writing will continue to support all such free-thinking souls.

Reviewed by Tim Bragg

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DVD Review: STAR TREK: Live Long and Prosper!

Star Trek 2009 DVD coverUSA:PG-13 (certificate #44847) | South Korea:12 | UK:12A | Netherlands:12 | Ireland:12A | Finland:K-13 | Singapore:PG | Norway:11 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | Australia:M | Portugal:M/12 | Italy:T | Canada:G (Quebec) | Canada:PG (Alberta/British Columbia/Manitoba/Ontario) | Brazil:12 | Sweden:11 | Philippines:G (MTRCB) | Hong Kong:IIA | Argentina:Atp | Peru:PT | Iceland:10 | Germany:12 | South Africa:10V | New Zealand:M | Mexico:B | France:U

The 2005 movie Batman Begins was the first film I noticed to set the recent Hollywood trend of returning to the early days of a much-loved character. Sony Pictures has done the same with James Bond.  Until now, all the movies in the Star Trek canon started off with older versions of the characters we got to Next Generation crew headed up by Captain John-Luc Picard and his First Officer William Riker. Thankfully we were spared big screen versions of the dreadful Deep Space Nine spinoff series.

The latest Star Trek movie is directed by the creator of two top TV shows, Alias and Lost,  J J Abrams.  He has chosen to go back to the beginnings of the original show’s crew; Kirk, Spock, Uhuru, McCoy, Sulu, Chekov and Scotty.  We learn how James T Kirk came to meet the half-human, half-Vulcan Spock and how the crew we remember came to serve together under the USS Enterprise’s first captain, Christopher Pike.

J J Abrams has excelled his brief.  He has put together a movie that is fast, furious and fun.  This is not just one for the trekkies but one everybody can enjoy. The film opens with a bang even before the opening credits roll. The scene is set when Nero (Eric Bana), a notorious Romulan war criminal, ambushes a Federation starship and murders its captain as he searches for ‘Ambassador Spock’.  George Kirk (Chris Hemsworth), the acting captain sacrifices himself to save over 300 crew members including his own wife and newborn son, James Tiberius Kirk.
Young Kirk (Chris Pine) is an angry young man who seems bound to go off the rails as he grows up in rural Iowa. He steals cars as a boy and  grows up to pick fights in bars just for the hell of it. Yet Captain Pike (bruce Greenwood), an old friend of his late father, sees the potential in this angry but bright young man and dares him to enlist in Star Fleet. The rest is history.

At the same time, Spock (Zachary Quinto and Leonard Nimoy) grows up suffering the fate of many of those who dare to be different.  He is bullied by other Vulcan youngsters to try and get an emotional reaction from him.  Even the Vulcan Academy of Science believes that Spock’s excellent grades were a triumph over disability; having a human mother. Because of this, Spock rejects membership of this highly esteemed body and enlists in Starfleet where he first meets Kirk.

Intially Kirk and Spock come into conflict with one-another. Without getting into the details, it’s enough to know the bits and pieces that the writers weave into the script fit into the larger Trek mosaic because they are true to character.  Characterisation is the key to this film, especially the enjoyable banter and interplay between Kirk and Leonard ‘Bones’ McCoy (Karl Urban).

I’m not sure about the science behind the film. I doubt it would be possible for the young Spock to meet his future self, for example, but who cares?  Don’t think too much about it. Hold on to your seat and enjoy the ride.
Every character in this film is believable. There’s not a tedious moment in the entire 127 minutes.  The casting is superb.  Some of these young actors look uncannily like their predecessors in the role.  I was struck by how much Zachary Quinto looked like the younger Leonard Nimoy and how Karl Urban was a dead spit for the original Dr McCoy, Deforest Kelley. The characterisation sets the film head an shoulders above most of the previous Star Trek films.  This crew deserves a continuing mission to boldly go around the universe.  J J Abrams can do it.

More soon, please.

Reviewed by David Kerr

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DVD Review: Angels & Demons

Angels and Demons DVD cover

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USA:PG-13 (certificate #44269) | Netherlands:12 | South Korea:15 | Finland:K-13 | UK:12A (cut) | Hong Kong:IIB | Switzerland:12 (canton of Vaud) | Switzerland:12 (canton of Geneva) | Ireland:12A | Singapore:PG | Norway:15 | Portugal:M/12 | Czech Republic:12 | Canada:14A (Alberta/British Columbia/Manitoba/Ontario) | Canada:G (Quebec) | Germany:12 (f) | Sweden:15 | Argentina:13 | Brazil:16 | Germany:12 | Philippines:R-13 (MTRCB) | Iceland:14 | Mexico:B15 | Japan:G | France:U | Taiwan:PG-12 | New Zealand:M | Finland:K-15 (Extended cut) | Singapore:NC-16 (extended version) | Australia:M | Netherlands:16 (extended edition) | UK:12 (video rating) (cut) | Ireland:12 (video rating) | UK:15 (blu-ray)

Sometimes I wonder about critics when they pan films and books that sell well. I have never read any of Dan Brown’s popular conspiracy books or seen the first film based on his runaway bestseller, The DaVinci Code. Angels and Demons was slated so badly, I wondered if I was wise even bothering to go and see it. Perhaps you too are in two minds about going to see it. Well, don’t hesitate. Go and see it.

Mind you, you may have to disengage your mind to allow for the preposterous plot as our hero and his comely companion careen around Rome searching for clues to save the lives of four kidnapped Catholic cardinals and prevent the evil ancient Illuminati from blowing up half of Rome and all the remaining Catholic cardinals gathered together in conclave to select a new pope.

The film has an oblique local angle, as one of the prominent characters is an Ulster born priest. Some violent scenes are extremely graphic, though. I can’t imagine how director Ron Howard got away with a 12A certificate. It’s an enjoyable romp through Rome but leave the kids at home. You might traumatise the more sensitive ones for life.

Reviewed by David Kerr

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Body, Mind, Spirit & Time

A series for Counter Culture investigating Body, Mind, Spirit & Time
Part 1

Whether the spirit chooses the body or the body the spirit may be irrelevant to the fact that spirit “finds” itself in a material being and has to develop alongside – or catalyse – the human body’s development. We (the “I” the “ego”) become aware of ourselves gradually with the development of self-consciousness – the question is has that consciousness come about through the action of spirit or has it come about in order to enable awareness of the spirit. Or is spirit something that has simply been created by consciousness and has no independent or true existence?

Firstly, let us say (rightly or wrongly!) that spirit belongs in, or comes from, a timeless state – possibly a space-less state if that isn’t too much of a paradox. Does our spirit come into our body and eventually leave it or is it grown in the body at conception or sometime thereafter and then leaves it at death? If it is the former then has “our” spirit inhabited other material bodies beforehand? What might be the point of this? Certainly given that there is SOME point in our spirit having a material, earthly experience then exploring the potential of the realm of our human senses must be of some importance.

If the sole reason for the spirit is to experience why is it that these earthly bodies and their minds have deliberately put limits to that which they can experience? Rules and codes exist expressly forbidding some experiences of the flesh? Well I shall try and ask many more questions and ponder some of the answers that spring into my mind. These thoughts will fill a number of articles in future Counter Culture magazines and on-line. You are invited to comment and criticise and add to this debate. Anyone who has knowledge of the functioning of the brain and/or experience with mental dysfunction or mental illness or who has a strong atheistic or religious viewpoint are most welcome. We need to ask: Does spirit exist? Can spirit be measured?

Firstly – Time & Spirit
We are defined on this world by our span of life – between birth and death. We arrive in the world and grow physically and mentally before beginning to decay and die either of old age and/or illness and disease or accident: innocent or malicious. Everything we do is patterned by time and defined by time and – in fact – time only “stands still” or ceases to exist where there is NO MOVEMENT. We move externally and internally until (and even slightly after) death. We are the beings who give time reality. Time is our perception. In a sense we invented time! Interestingly though we don’t necessarily live an internal life in a linear time fashion. Thoughts come as if unbidden at any time; perpetually and almost unrestrained and if we recall our lives we might well not begin with our first memories and follow on sequentially – it is more likely that the most important moments of our lives will come first – and where do they come from; in our minds…stored away until needed/recalled – always there (one presumes) but not in our everyday consciousness until brought forth into that consciousness. Brought forth consciously or otherwise. And ideas about who we are or ideas that “spring” into our heads or thoughts that we try and marshal are also stored in our minds. They exist and they don’t exist at the same time (we are unaware of them until that deliberate conscious moment).

Okay this means that we perceive the external world in a linear, finite fashion but that our internal world although existing within our conscious linear world is – itself – non-linear. If there is an existence of the spirit then it has come from a state of neither time nor place (“place” will need to be analysed!) into this world of movement and “time” (created by us and continually fractionalised; from perceiving the time as the passing of a day to highly developed atomic clocks – the latest type of which can accurately “measure” time within a fraction of a second over millions of years!!!). The most obvious questions needed to be asked at a later stage are: Why? Why come into a finite existence? Is this earthly existence of paramount importance? Why would a timeless and placeless entity come into solidity and finiteness? Has the spirit come from eternal being? Is our mortal existence part of that eternal being? Mortality within immortality! And many, many more…

Before being carried away by streams of consciousness – we must keep focused on the essence of Spirit and Time:
Spirit. If the spirit animates our earthly body or simply uses our physical senses, in which manner has it a sense of being itself? Is that essence something we should know – in other words how much is the spirit PART of us? Is spirit beyond the capabilities of language? If so, how is it that we have named and identified something that is beyond the physical/beyond supposed language? Is there (or must there be) a connection between spirit and physical being? What is the interface – is it the mind? How far is the mind a spiritual or physical entity?

Two stories:
A man is everything he is because of what he has experienced; he has listened and learnt; spoken, touched, experienced pleasure and harm – everything he has seen is stored in his brain. He is fully formed and has a distinct personality. One day the man loses an arm. He is changed by this event and grieves over his loss. But he copes, learns to live with this handicap and is essentially the same man. Later he loses his other arm. Again he grieves and curses his fate – but he learns to use his legs and toes to do all the things he once did with his arms. He is still the same man with the same personality although he has become slightly bitter and more determined. Later he loses a leg. (He is an unlucky man – whatever “luck” is!) He needs to use a crutch to walk; he becomes ever more dependent – but he still lives, still experiences – is still the same man. Next (in this unsubtle relentless story) he loses his other leg. He is immobile except his ability to shuffle along or to be carried by others. Later he loses his sight. His personality – though the same – is still more bitter or maybe resigned or maybe wiser or maybe something else…he is definitely more dependent. But he can still laugh and joke when he isn’t given to periods of anger or frustration or sadness. He can communicate and have relationships with others. His personality is the same yet – as ever and as always – is developing through its sensory experience. Is he the same, essentially as when he was a child? Is he on a kind of interior journey? Have his experiences fundamentally changed him?

We continue the fate of this “poor” man. He loses his hearing. The world becomes silent as well as unseen – he is plunged into his interior world – a world made up of all the experiences of his senses before he became blind and deaf or without legs and arms. His interior world in his dreams is perhaps more real than the world he “wakes” into. But he can still feel the wind against his face…okay I can hardly bear to persecute this body further. But if he were to lose all senses he would – in effect – exist ONLY in his mind and his mind would be everything that made him who he was THROUGH HIS SENSES. If he creates jokes inside his mind or has courage or weeps bitter tears that is because he has learnt all these things – has experienced them or understood them through language; verbal and written – through interaction and physical experience.

Now. Let us hear a story of an even more unfortunate man:
This man was born and immediately put into a cell (this is a horrible idea and I don’t like writing about it – especially after the case recently in Austria) – he is fed and given water but denied all physical senses. No touch other than being fed (in twilight) and no verbal or otherwise communication. He grows and as he grows his movement is restricted and eventually he experiences complete sensory deprivation (perhaps suspended in a chamber used for such experiments). Without going into details because I don’t wish even a FICTIONAL character to be so cruelly treated – we will progress simply to the ideas of that man’s being or self or consciousness or state of mind. Given that I haven’t explored tight, narrative details (I am capable of this if any have read Biting Tongues and the detailed description of a man incarcerated in an old air-raid shelter for seven years) – we must presume that this man has had the most limited input to his senses. The man cannot talk – has no language. We might wonder at his ability to “think” and if one can indeed think without having language. What could we say of him?

Without language how developed would his mind be? How much of the mind is language based – would that mind choose to be itself using say – the experience of chemical reactions within the body and brain?
Without external sensory experience – how developed would/could his mind be? Again would the mind reflect internal bodily reactions?
What would his mind consist of and how would it make sense of itself; how would it be conscious? How could it be conscious without “thought”? Or am I showing my mind’s weakness by now being unable to comprehend a mind operating totally differently?
Would the man be a “vegetable” – equivalent to a vegetative state?
How would the man – in a permanent state of non-movement perceive time if there is part of him that comprehends something or identifies a “him” an “I” – though in non-language form?
Is he a man? (Heavy but necessary question.)
Where is his spirit, if indeed he has spirit – where might it be situated or interface?
There are many more questions but I’m uncomfortable with this character – and such a horrific fate. So, please imagine for yourselves what might or might not constitute this man’s mind. Yet there is a point to these two stories. The man of the second story cannot (we imagine!) articulate any connection with spirit and spirit inside him would have no – or little – ability to experience. Maybe the spirit would manifest in the workings of the body and internal organs etc but regardless – this is not the usual form of experience for either spirit or man.

The man in the first story – who also has a terrifying fate – develops his personality through tragic experience. But one could always imagine his spirit keeping him alive, functioning and giving him the will to continue. The man of the second story would lead an essentially interior life that would have no reference to anything we might understand. What memories would that mind have? What concrete experiences beyond taste (or even more cruelly) the absorption of food into the stomach? We cannot conceive of the nothingness of his mind – if indeed “conceive” and “nothingness” are the correct words. The man of the second story would be unlike any other man but perhaps most similar to a very heavily physically and mentally handicapped baby (and I mean this in the broadest sense). And I would wish to ponder at a later stage the experiences of those who have “lost” their minds.

We can say that our minds and personalities are dependent on our physical experiences and therefore NOT dependent on spirit. We can say that spirit and mind perhaps do not interface. We can say that spirit is maybe the outcome of a mind that reflects upon itself and that has sophisticated language. Without personality what could go on after our death? Is the man of the second story just unfortunate and the same as a lower-life animal or simple living being? Does the spirit/soul only reside in the human form – and if so why so in humans who are mentally and physically less able than say, primates? Is it possible that we can be totally unaware of our spiritual “self”? If spirit is neither of our mind nor our personality can/should we, our minds and personalities care too much? If we cannot know the spirit are we – in any meaningful sense – doomed to annihilation? Doomed to annihilation because we do not know our spirit or because (if one believes) spirit does not exist.

Okay it’s getting to sound fairly bleak and hopeless thus I am compelled to throw an optimistic light on the case.
Our minds can be changed by our experiences, by drugs by malfunctions; our personalities can change. Yet we come into this world with a personality (ask any parent); we do not enter tabula rasa as the romantic poets once thought. And yet at that point (birth!) we have experienced very little and NOTHING of this world. We can sense that the newly born babe has a definite personality (or it exudes something that makes it individual and different) – this is quite strange. This could well be its spirit. If spirit is formless and timeless then whichever body it enters is – in a sense – irrelevant other than there being some occult/mystical/Godly reason for spirit to need a physical experience (and here religions have their answers). People have claimed to experience being out of their body and during near-death experiences of inhabiting a spiritual body and plane and of meeting deceased loved ones. Those who had afflictions have experienced perfect health; the blind have been able to see. Maybe our unfortunate man of the second story would inhabit a “perfect” body and have an instant “personality” made manifest in ways unknown to us.

If the mind/personality can or does continue after the body’s death then either it would go into a timeless (motionless) state and thus the personality would become meaningless within eternity (I will come back to this) or the mind would create for itself an existence within timeless and spaceless-ness – whereby it exists in a heaven of its own creation. This to a degree is borne out by the different experiences of people having had near-death experiences based on their cultural/religious outlook; though there is a surprising amount of shared revelations across experiences.

Maybe we are not liberated by our senses but imprisoned by them. On death we are liberated from bodily existence. Our concept of our personality is limited by our ability to conceive!!!! Although – again to be meaningful – we would need to recognise ourselves beyond death or as stated earlier that would be simply another form of annihilation. (At this stage of my thoughts and arguments I deliberately haven’t introduced the idea that annihilation is what awaits us all!!).

We may indeed lose a sense of “ourselves” but in some way keep connected to our spiritual essence so that we might meld into a greater consciousness. We might simply operate on a super-natural level – a step-up from this existence. We might inhabit a parallel universe. These are all speculations. Everything IS speculation – but if this life has meaning then perhaps we must – as human beings with or without spirit – try to unravel the greatest mystery of them all – death. Some might say don’t worry about death and simply lead and experience life. I say we must do both – lead as moral a life as we are able (and certainly strive towards) whilst keeping in mind (!) that this life is finite and that everything we do on earth has a beginning and a very definite end. Are we flowers that bloom but once or are we perennial spirit – either way we (our personalities) have only one life to explore and develop; that in itself is enough to warrant much greater thought and investigation. As humans we need to constantly ask: Why?

Tim Bragg

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DVD Review: Queer as Folk Season 3 (US)

Queer as folk 9US0 DVD cover

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Number of discs: 4
Classification: 18
Studio: Warner Home Video
DVD Release Date: 23 Jun 2008
Actors: Gale Harold, Hal Sparks, Randy Harrison
Directors: Michael DeCarlo, John Fawcett, John Greyson, Laurie Lynd, Bruce McDonald
Writers: Ron Cowen, Russell T. Davies, Blair Fell, Doug Guinan, Richard Kramer
Producer: Tony Jonas

The third season of Queer as Folk was described to me as a ‘comedy drama’. Well it was certainly dramatic but I found the themes it explored quite dark rather than comic. Based in Pittsburgh Queer as Folk was refreshing in that it didn’t shy from controversy. I found it an honest attempt to portray group of gay men and a lesbian couple living in Pittsburgh.

Queer As Folk makes no apologies. The sex scenes are graphic and it isn’t afraid to make political points. Indeed a large part of the plot concerns one character (Brian) working for a homophobic politician – Stockwell on a mission to ‘clean-up’Liberty Avenue. Nor does the show glamourise the gay lifestyle. It shows AIDS, shallow sex, uber consumerism and drug abuse. The plotline regarding Ted (Scott Lowell) and his descent into Crystal drug addiction is both harrowing and convincing. It isn’t easy to watch. Lowell is a great actor. Yet ultimately the worth of the show is that it shows Gay people as humans, with the same relationship and emotional problems we all face. I hope that people will get past prejudice and the graphic sex scenes and see the drama and humanity behind the story.

Reviewed by Pat Harrington

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DVD Review: The Dark Knight

You either die a hero or live long enough to see yourself become the villain. Harvey Dent.

See, I’m a man of simple tastes. I like gunpowder… and dynamite…and gasoline! Do you know what all of these things have in common? They’re cheap!

The Dark Knight DVD cover

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The Joker Heath Ledger’s tragic death has focused attention on his final role: The Joker in the latest Batman movie, The Dark Knight. Some commentators even speculated that Ledger might even win a posthumous nomination for an Oscar. Before going to see The Dark Knight I had thought that some of this talk was a bit over-hyped. Not any longer. Ledger’s interpretation of Gotham City’s manic crimelord is truly magnificent. I had previously admired Jack Nicholson’s portrayal of the same character in Tim Burton’s 1989 film Batman. At the time he was very good. but Ledger’s new interpretation left Nicholson looking like a mere circus clown in comparison. The Joker is a raving psychopath who offers to reinforce Gotham City’s beleaguered crime bosses in the fight to stay in business. He aims to take charge himself and spread chaos in his wake as he targets the Batman, the police commissioner and others who get in his way.

The strength of this script seems to have brought out the best in all the players. Christian Bale brought out all the facets of the tortured, troubled vigilante. Batman wants to hang up his cape, get the girl and live whatever kind of normal life is possible for a billionaire philanthropist. He does what he does to take on organised crime in Gotham City because he feels he has too. He does see a way out thought, a rising young District Attorney who intends to use the full power of the law to put the crimelords behind bars. This charismatic young DA, Harvey Dent (Aaron Eckhart) , is his rival for the affections of Rachel Dawes. However, Wayne believes in Harvey Dent, despite Rachel’s misgivings that he may be taking the rise out of him, and throws a massive fundraising do to make sure that Dent will have no problems in standing for future elections. Eckhart is impressive as the crusading DA with a mission whose ambition becomes twisted when it is overcome by a tragic dilemma forced upon Batman by the Joker. Gary Oldman is the policeman who secretly colludes with Batman and Dent to take down the Gotham City crimelords. The always excellent Morgan Freeman is Lucius Fox, Bruce Wayne’s urbane fixer. I was especially impressed by Michael Caine in the role of the worldly-wise butler, Alfred, who had some of the best lines. If you’re looking for action, adventure, chases, explosions and mayhem on a grand scale – and a bit of romance on the side too – you can stop now. The Dark Knight is just what you need. I was surprised that it got away with a 12A rating as some of the violence is quite graphic. However, a lot of it is implied as the camera cuts away from the action and you’re left to imagine the rest! It’s effective and it works. What you imagine you’ve just seen is probably worse than what you would perhaps see on an 18 or 15 rated film. The Dark Knight is bound to be a runaway success. It deserves to be. It’s much more than the sum of its parts helped enormously by the maniacal energy Heath Ledger invested in his part.

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Book Review: Gilbert & George, Obsessions & Compulsions

Gilbert and George book cover

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By Robin DuttThis work is a major new monograph on the pair who met at the St. Martin’s School of Art in 1967 while studying Sculpture. The two artists became inseparable, living and working together in their home in London’s East End. 

 My favourite Gilbert and George work, Cocky Patriot from 1980 wasn’t included in this book. It’s large black and white photograph of a young man flanked by two Union Flags.The young man with an erection visible through his trousers is presented as a homoerotic subject. The period was the heyday of the National Front, which was (with notable exceptions!) homophobic. To me it sums up both their mischievous, wind-up element combined with a social comment. There is always ambivalence. How are we to react to this image which seems intended to both attract and repel?

 Another of my favourite images is present in the book, Militant from 1986. It’s similar in a way to Cocky Patriot but depicting ‘Left’rather than ‘Right’. It’s interesting to compare our reactions to the two.

 Gilbert & George have never shied away from dealing with issues:

 “Gilbert & George through their career have moved from issues of race, hate, love, sex, nudity, neo-coprophilia, youthquake tremors and so many obsessions besides.” (p.12)

 Underlying much of their work is a desire to understand why we are so unhappy in our modern, developed world. Their answer could be summed up in one word: conformity: “the supposed need to conform so as not to confound anyone else, to merge, to meet, to be indistinguishable and so ‘safer’. Gilbert and George believe passionately that changing accepted norms and outmoded values and views may free people to think in a way which liberates entirely.”(p.19)

 They have clearly thought about freedom a great deal:

 “In the minds of Gilbert & George, freedom is not just the obvious ability to do just as one desires. Interestingly and logically, it is also the ability not to have to do anything. They stress the element of choice; one does not have to believe, to work, to declare one’s sexuality.” (p.38)

 The book gives a great insight into the working practises of the artists. As someone who has dabbled in graphic design I was fascinated by their use of grids:

 “All colours, all shapes, all patterns are held ‘in place’by a constant grid which of course divides the image into regular sections but which also acts as support and segment frames and also throws the brightly coloured images which often become symbols, almost in relief. Technically it is impossible to produce their vast imagery without division but this technical reality does not seem to overshadow the creativity of the outcome. They have used the grid in their earliest drawing works too. The grid has come to be their trademark. It is their trademark. It is their formula.”(p.14)  

The grids give the appearance of stained glass images so it’s no surprise that they’ve worked in this medium. Much of their art would grace large buildings (but perhaps, given the subject matter, not Cathedrals!) beautifully.

 Gilbert and George by Robin Dutt is worth buying just for the question and answer section and the beautiful (if sometimes shocking and controversial) images alone but the opinions of the author also add great insight.

 Reviewed by Pat Harrington

  • Hardcover 144 pages (December 30, 2003)
  • Publisher: Philip Wilson Publishers
  • ISBN: 0856675709
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    Music: They Called Her Babylon by Steeleye Span

    Steeleye Span are a five piece this for this album. “They Called Her Babylon” is their first new material from the band with Maddy Prior since 1996. Maddy is joined by Rick Kemp and Peter Knight and newcomers Ken Nicol of Albion Band fame on guitar and Liam Genockey on drums.

     Steeleye Span have always drawn inspiration from the music and stories of the past. Fans will recognise their trademarks – the re-interpretation of traditional tales, the choral harmonies, the blend of powerful rock and folk.

    Cover  of Babylon by Steeleye Span

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     The title track “They Called Her Babylon”, written and sung by Nicol it is based on an event during the English Civil War. Between 28 February and 26 May 1644 parliamentary forces laid siege to Latham House. Latham House was one of the few Royalist strongholds in Lancaster defended by the Countess of Derby, Lady Charlotte while her husband was absent on the Isle of Man.

     The lyrics are written from a Royalist viewpoint. The Parliamentary forces come are painted in dark colours. The actual history is a little more complicated. Sir Thomas Fairfax who originally commanded the siege was granted the Isle of Man, forfeited by Lord Derby, at the end of the war. In a gallant gesture, passed on the income he gained from the Island to the Countess. It’s certainly true that the Countess resisted the siege until Prince Rupert relieved her. The lyrics say “Yet brave and as intrepid as any man was she”. History seems to indicate the Truth of this at least.

     As the sleeve notes to the album explain the nickname Babylon was not intended as a compliment. It was taken from a sermon from a Puritan minister at Wigan against Lady Derby upon a text from Jerimiah:

     “Put yourselves in array against Babylon round about; all ye who bend the bow shoot at her; spare her no arrows; for she has sinned against the Lord”(Chap. 50 v.14).

     The powerful chorus on the song takes up this theme:

     “So put yourself in line against Babylon
    All ye that bend the bow against the crown
    Train the gunners sights against Babylon
    Till the eagle tower does fall
    And the walls they are thrown down”

     Of course it’s not necessary to know the historical context to enjoy the music. That stands in its own right. Nonetheless it adds another layer if you do. This extra dimension to folk music is one of the things that makes it attractive to me at least.

     In addition to the title track I also really liked “Samain,”. This rocky track is written and sung by Kemp and takes us back to pre-Christian times, to the holiday now known as Halloween. I’m very interested in Celtic paganism. I trek up Calton Hill on another Festival (Beltane) and I love the way they celebrated each of our Seasons. Samain celebrates Winter. Its purpose is well encapsulated in the final verse of the song:

     “This great feast of Samain
    Our long year will end
    With smoke from the fields all good souls ascend
    Carry our message – with them we sing
    For blessing and favour new growth in the spring.”

     Like Babylon the chorus is very strong, with lovely harmonies, and the riff work at the beginning is excellent.

     There are some fine adaptations of traditional songs like “Heir of Linne” and >”Bride’s Farewell. “Mantle of Green” is a slow ‘broken token’ballad related to songs like “Claudy Banks”, taking a traditional theme where the girl is unable to recognize her true love when he returns after some years. This time the man has taken part in the battle of Waterloo. Prior’s singing is accompanied by an acoustic guitar and some fine fiddling from Knight.

    “Bede’s Death Song” is supposed to have been written at the deathbed of Bede. Accompanied by a sparse piano, the lyrics state that no man is wise enough to know what judgement will be made on his soul – not exactly a cheery drinking song! This is followed by “Diversus and Lazarus,” another tune by Rick Kemp. Those who know their bible will know that it is the story of two “brothers”-one rich, one poor. The Parable contrasts their condition here and in the World to come. The rich man was finely clothed and spent each day drinking and feasting. The beggar is cast helpless at the rich man’s gate, and lay there all covered with sores; he yearns for the crumbs that fell from the rich man’s table, but receives none, and is left to the dogs. In heaven, however, their positions are reversed Lazarus is at the banquet in a place of honour (cf. John, xiii, 23). The rich man is now the outcast. He yearns for a drop of water. Lazarus is not allowed to leave the heavenly banquet and tend to the outcast. It’s good to see a parable put into song. The parables express complex themes in a simple yet strong way. The music is also great.

    They Called Her Babylon is a great addition to the work of Steeleye Span.

    Musicians

    Maddy Prior, vocals

  • Peter Knight, vocals, violin, “Octave” violin, keyboards
  • Ken Nicol, vocals, guitars
  • Rick Kemp, vocals, bass
  • Liam Genockey, drums Tracks
  • Van Diemen’s Land (4:52)
  • Samain (5:59)
  • Heir of Linne (6:49)
  • Bride’s Farewell (4:18)
  • They Called Her Babylon (6:19)
  • Mantle of Green (5:23)
  • Bede’s Death Song (0:41)
  • Diversus and Lazarus (6:43)
  • Si Begh Si Mohr (4:13)
  • Child Owlet (5:07)
  • What’s the Life of a Man? (5:30)
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