Category Archives: Economics
Speaking to the crowd of Poor People’s Campaign demonstrators in front of the Supreme Court building 6-13-18, Reverend William Barber II, co-leader of the campaign, said, “I heard a friend of mine. He’s dead, but I heard him in a book. He was gay. He’s a powerful brother. And he said something like this in the 1930s, in the middle of traumatic times, that still has relevancy today to us:
O, let America be America again—
The land that never has been yet—
And yet must be—the land where every person is free.
The land that is mine—the poor man’s, the Indian’s, the Negro’s, ME—
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.
Call me any ugly name you choose—
But the steel of freedom does not stain.
From those who live like leeches on the people’s lives,
We must take back our land again,
I say it plain,
America never was America to me,
And yet I swear this oath—
That America will be!
It’s a good thing I listen to selected episodes of “Democracy Now” via podcast, or I would have missed last Wednesday’s incredibly moving story about the Poor People’s campaign, barely mentioned in the New York Times. I hope you’ll go to http://www.democracy now.org and listen too. The story of the arrests (for demonstrating in front of the Supreme Court, which had just upheld suppression of voter rights in Ohio), what participants had to say, and the songs they sang (“Everybody got a right to live”) had me on the verge of tears. Go to www.poorpeoplescampaign.org and volunteer to join the campaign and/or donate. I did both.
This campaign inspires me for two powerful reasons: its goals not only need to be realized, but when they are the promises of my era, the ’60s, will be fulfilled (this campaign is a continuation of Martin Luther King, Jr.’s 1968 Poor People’s Campaign). Another key podcast, a speech by Black Panther founder and leader Bobby Seale broadcast on June 7th, is available on Alternative Radio (www.alternativeradio.org). Seale’s ideas are right in line with the Poor People’s Campaign. Power to the people!
As a student of history, particularly Russian history, I was curious about the new film “The Death of Stalin,” then appalled when I did some online research and found out that it’s a slapstick comedy about officials grasping for power after Stalin died in 1953. What’s funny about something like this? Nothing. Also shocking is the way the film gives absolutely no context about Stalin, one of the key historical figures, for good or ill, of the 20th century. As Peter Hitchens, a London reader of The Guardian wrote in that paper’s letters section on 10-27-17, “As far as I know, this is the first time a mass-market film has dealt with this event. We may be saturated with serious drama and documentary material on the Nazis and the end of Hitler, but the equivalent evils of the Stalin nightmare haven’t received anything like the same treatment. For most who see the film, it will be the first time they’ve ever heard of these strange events. And what do they see? An intensely serious moment in human history played for laughs, with lavatory humor and plentiful use of the failed comedian’s standby, the F-word. We’re so free and safe that we can hardly begin to imagine a despot so terrifying that his subordinates are even afraid of his corpse. This trivial and inaccurate squib doesn’t help us to do so. Perhaps it’s the comedians who need to be satirized, by some fitting seriousness about a serious subject.”
The only critical review I found of the film online was one posted on the World Socialist website (www.wsws.org) on 3-9-18. David Walsh describes it as “a fatally ill-conceived ‘black comedy’ about the demise of the gravedigger of the Russian Revolution, Joseph Stalin, in March 1953. The film is not so much maliciously anticommunist as it is, above all, historically clueless. Iannucci presents the various surviving Stalinist officials, Nikita Khrushchev, Georgy Malenkov, Vyacheslav Molotov, Anastas Mikoyan, Nikolai Bulganin, and the rest, all of whom had gallons of blood on their hands, as a largely ineffectual bunch of bunglers and toadies, jockeying ‘comically’ for position. The betrayal of the Russian Revolution was one of the greatest tragedies in world history [not to mention the planned famine in Ukraine and Stalin’s purges, which together killed more people than Hitler]. Iannucci’s film doesn’t begin to confront the vast significance of events in the Soviet Union.
Taken in and of themselves, there are amusing lines and moments, until one remembers the general context and the historical stakes, and the laughter freezes in one’s throat. All the actors are fine at doing what they’re asked to do, but what they’re asked to do is terribly off the mark. It’s impossible to make sense of a film like ‘The Death of Stalin’ except in the context of the disastrously low level of historical knowledge or interest that exists in the arts at present.
Iannucci is a Scottish-born television, film and radio writer and director, responsible for ‘I’m Alan Partridge’ (along with Steve Coogan), ‘The Thick of It,’ ‘In the Loop,’ and ‘Veep,’ among other efforts, and under the right circumstances, he’s capable of creating funny, pointed satire. When it comes to bringing out the dishonesty, careerist opportunism, and stupidity of garden-variety politicians, media personalities, and other establishment figures, he probably has few equals today. However, when the writer-director steps outside the fairly narrow confines of parliamentary and entertainment industry backroom shenanigans, he falters badly. The second half of ‘In the Loop,’ which satirized the British government’s complicity in the Bush administration’s drive to war in Iraq, is politically blunted and largely unfunny. HBO’s ‘Veep,’ too, about a fictional female US vice president, finds Iannucci over his head. For all its coarseness, it’s quite timid in its portrayal of the ugliness of American politics, with little mention of war policy, drone strikes, and other things that surely consume a great deal of a real president’s focus and attention.
Art and comedy have to rise to – or at least approach – the level of the events or personalities they’re treating. That is, there needs to be some artistic and intellectual correspondence between subject and object. Iannucci’s film is based on a [non-comic] French graphic novel series by Fabien Nury and Thierry Robin. Iannucci has undoubtedly added his own touch. And it’s simply inappropriate and, at times, grotesque.”
I believe history, as the backstory to current and future events, is the key to understanding where we are and where we could go, and I’m more than saddened by the preponderant lack of knowledge of or interest in it today – probably because of the boring, textbook-centered way it’s taught in high school. Good historical novels and films can make up for some of this, but bad ones, like “The Death of Stalin” just deepen the ignorance. Take the time to be curious about your world, and how it came to be the way it currently is. Find important history books by reading reviews on Amazon, then buy or borrow and read them!
Editors Anna Tsing, Heather Swanson, Elaine Gan, and Nils Bubandt introduce Arts of Living on a Damaged Planet (2017) by saying that “the deep time of geology, climate, and natural science is collapsing into the historical time of human technology.” Our species, Anthropos, “has become an overwhelming force that can build and destroy, birth and kill all others on the planet.”
We can counter this process by noticing what Deborah Bird Rose, in Chapter 3, calls “shimmer,” however. Rose notes that what’s occurring in the extinction crisis is more dire than the numbers of extinct and threatened species indicate. Because everything is connected, “relationships also unravel, mutualities falter, and whole worlds of knowledge and practice diminish…Shimmer, the ancestral power of life, arises in relationship and encounter, so extinction cascades drag shimmer from the world. The loss is both devastating and barely comprehensible…
Shimmer is an Aboriginal aesthetic that calls us into multispecies worlds. I use the term ‘aesthetic’ in a nontechnical way to discuss things that appeal to the senses, things that evoke or capture feelings and responses. Flowering plants, for example, have lures that both entice one’s attention and offer rewards.
In his classic essay ‘From Dull to Brilliant,’ anthropologist Howard Morphy discusses art in the Arnhem Land region of North Australia. His focus is on the Yolngu term bir’yun, which translates as ‘brilliant’ or ‘shimmering.’ When a Yolngu painting has just its rough shape, the artists describe it as ‘dull.’ The crosshatching that comes next shifts the painting to ‘brilliant,’ and it’s the brilliance of the finely detailed work that captures the eye. Bir’yun is the shimmer, the brilliance, a kind of motion that brings you into the experience of being part of a vibrant and vibrating world, the ephemeral dance of it all.
In contrast to Morphy, I didn’t work with people who were visual artists; I encountered people who focused on ritual performance, connecting bodies and earth through dance and song. In music, there are multiple temporal patterns, and through them one can also experience shimmer.” The seasons, from the dullness of the dry to the shimmering new growth of the wet, pulse this way, too. “Absence is potential rather than lack. This is where one grasps the awful disaster of extinction cascades: not only life and life’s shimmer, but many of its potentials are eroding…
The term bir’yun, which doesn’t distinguish between domains of nature and culture, is characteristic of a lively, pulsating world, not a mechanistic one – a world not composed of gears and cogs but of multifaceted, multispecies relations and pulses. To act as if the world beyond humans is composed of ‘things’ for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life.”