Marriage equality: what is it good for?

8 Dec

Marriage Equality

I realised during an enthusiastic debate on Twitter yesterday with @amicus_AU and @chronicfemme on the question of marriage equality, that apparently both ends of the continuum fear that same-sex marriage will result in an apocalypse for their cause. Marriage conservatives fear equality will bring about the death of marriage in an inexplicable metaphysical erosion of heterosexual values, while some in the queer community fear it will bring about the death of queer, as queer couples reject the radical demand to abolish state-sanctioned commitments altogether, and instead seek acceptance within the heteronormative paradigm of marriage.

The marriage equality debate inevitably becomes conflated with the debate about the institution of marriage, which is unfortunate, to my mind. They are two separate and equally important issues, and neither is done justice when they are intertwined.

Nobody wants the state in their bedroom. It is not the state’s business whom one chooses to marry, or live in a de facto relationship with. At the same time, when such arrangements break down, there must be protections in place for the wellbeing of vulnerable parties, usually women and children under current arrangements, who are likely to come off second best in serious matters such as property settlements, child support, access to a parent and all the other miserable detritus that commonly litters the personal landscape when things go wrong.

Humans being what we are, and being even more what we are in times of relationship breakdown, many of us cannot be trusted to behave reasonably when we are in the grip of extreme emotion provoked by the collapse of hope and future and the losses involved. We need laws at these times, and state-sanctioned relationships provide us with these laws.

If the argument is for no state involvement at all then we cannot argue for recognised de facto relationships either, as these are also governed by the state at times of breakdown, though not in precisely the same way as is marriage.

If it is heteronormative for queer couples to marry, is it also heteronormative for them to be covered by the protections offered to de factos?

Are queers arguing against marriage equality actually arguing that creating a couple is heteronormative? This is to my mind an interesting argument, and one that takes us into the fascinating territory of theories of constructed desires, et al, however, in practice as a society we have to contend with coupledom and its consequences for the vulnerable being currently rather more in our faces than theories of desire, and requiring our urgent practical attention.

Which is not to say people shouldn’t think about these things if that is our inclination, and radically interrogate entrenched norms.

I’m at a loss to imagine a system of relationship in which the state is not involved. It cannot be left up to individuals to fairly sort out the messes that occur when intimate relationships break down. Therefore, it is absolutely unjust for that protection to be denied to couples other than the heterosexual. There is simply no valid argument to deny marriage equality: every human being is entitled to the same protections, regardless of sexual orientation.

If you don’t “believe” in the state having anything to do with your relationship, don’t call upon its laws to protect you if your relationship breaks down. Find a radical new paradigm, rather than simply calling for our current arrangements to be abolished. I haven’t heard or read any discussion of viable alternatives that can achieve what state intervention achieves when marriages and de facto relationships collapse, and people have to salvage what they can of their lives and the lives of any children involved.

As for the supernaturally destructive powers invested in marriage equality by opponents of all kinds: if your ideology is so fragile that people loving each other in the manner they choose is going to destroy it, maybe it’s time to find a new ideology?

Save the last dance for me

1 Dec

When a performer has reached the age of  seventy-nine one can be forgiven for fearing every appearance might be his last, and it was clear at Leonard Cohen’s concert in Brisbane last night that thought has also crossed his mind.

Though he is enviably fit (he drops to his knees with strength of feeling, and there’s not a catch in his voice when he rises again without even putting his hands on the floor) and his voice has thrillingly deepened since I saw him last some three years ago, he is an old man and I have prepared myself for last night to be the final time I see him.

Well my friends are gone and my hair is grey 
I ache in the places where I used to play 
And I’m crazy for love but I’m not coming on 
I’m just paying my rent every day 
Oh in the Tower of Song

The man was on stage for well over three hours, finally remarking that he really wouldn’t mind if we all decided to go home, but nobody wanted to go home, nobody wanted to leave him,  and we stamped and clapped and yelled “More please, more please,” like two-year-olds presenting our empty bowls for refills.

And refill them he did. Perhaps it’s to do with his sojourn in a Buddhist monastery, but Cohen has a talent for living in the moment that allows him to sing every song as if it’s the first performance, with a freshness and passion that lets the audience hear the lyrics anew, even though some of us can recite them in our sleep. He’s surrounded himself with musicians who can do exactly the same thing, performers for whom Cohen expresses the most gracious respect, granting them time and space to shine as he steps quietly away, his hat doffed, his head bowed in deference to artists such as Javier Mas, the “sublime” Webb Sisters, and long-time collaborator Sharon Robinson, whose breathtaking interpretation of Cohen’s “Alexandra Leaving” I present here for your pleasure.

Music is, of course, from and for the emotions, but it takes a rare talent in any genre to convey the kind of feeling that deeply moves the heart, mind, body and spirit. Cohen and his fellows share the ability to imperceptibly nudge their audience out of the everyday into the realms of poetry, that is, to evoke meaning over and above the prosaic, the obvious. Cohen stirs the emotional imagination, the man can’t help it, a brief account of his journey through the Brisbane tunnels on his way to the Entertainment Centre becomes a metaphor for life. The tunnels were therapeutic, he says. He entered them feeling not so well but by the time he emerged he was feeling splendid. Through darkness into light: there is a crack, a crack in everything, that’s how the light gets in.

Although Buddhism became a significant part of Cohen’s life, like Bob Dylan he is also fascinated by Christian imagery, and often references the traditions of that faith, especially in his latest album, “Old Ideas.”

I have to add here that there’s not much else Dylan & Cohen have in common attitudinally. Cohen assumes everybody likes him and won’t hold it against them if they don’t. Dylan assumes everybody is his enemy and especially hates them if they like him. I could write a thesis comparing the two, and I might well one day.

“Old Ideas” has the feeling of a man preparing for the end of his life, especially the quite lovely “Come Healing:” Behold the gates of mercy in arbitrary space, and none of us deserving the cruelty or the grace…

Yet it is a measure of Cohen’s astounding talent that he can imbue the 1960’s Drifters classic “Save the Last Dance for Me,” recorded by, among many, Dolly Parton, the appalling Michael Buble, Ike & Tina Turner, Harry Nilsson, Emmylou Harris et al, with such poignancy, as he performs it as his last song of the evening (no matter how much we shout and plead he’s skipped off stage, yes, he skips, and he won’t come back) and the familiar song takes on the quality of a farewell to the audience that he loves, but knows he must finally leave, and he wants us not to forget him, he wants us to save our last dance for him cos he loves us, oh so much.

Ah, Leonard. Right back at ya.

I love Leonard, because he is sublime.

27 Nov

In three more sleeps, I’ll be at the Leonard Cohen concert in Brisbane. 

It’s impossible to choose a favourite quote from Cohen’s sublime output, but I do rather like this one, bearing in mind the man spent fifteen years of his life in a Buddhist monastery, from which he emerged to discover his manager had fleeced him of every cent:  I’ve studied deeply in the philosophies and the religions, but cheerfulness kept breaking through.

Cohen’s sense of humour underpins everything he writes: those unbelievers who  claim he creates “songs to cut your wrists to” entirely miss his often gentle, sometimes darkly ironical humour, his innate”cheerfulness breaking through,” his extraordinary self-deprecating modesty that he manages to combine with an equally extraordinary dignity. Cohen is great. Cohen is humble. Cohen is, always, the one whose lonely love is unrequited: My reputation as a ladies’ man was a joke that caused me to laugh bitterly through the ten thousand nights I spent alone, he wryly observes, and in the  beautiful “Ain’t no cure for love” he mourns:

I’m aching for you baby 
I can’t pretend I’m not 
I need to see you naked 
In your body and your thought 
I’ve got you like a habit 
And I’ll never get enough 
There ain’t no cure, 
There ain’t no cure, 
There ain’t no cure for love
 

I use the word “sublime” to describe Cohen’s work reservedly. While “sublime” indicates the presence of an emotional depth and integrity that transcends rational thought and language, strictly speaking it also requires the presence of horror and fear inspired by that which is, in Kant’s terms “absolutely great.” Kant explains the difference between the beautiful and the sublime thus:

Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt. 

The boundlessness of the sublime inspires a desire to transcend the limits of the self,  a fear-inspiring project if ever there was one, most commonly experienced when falling in love, that chaos of intense emotions, sublime delight, and necessarily, if one is offering one’s heart to another, trembling fear. To be in Cohen’s stage presence is to be for those few hours in an open-hearted state of  love without the fear: the man emanates an almost tangible love and generosity, you are the only audience he has ever had or ever will have, he is, like the best of lovers, entirely focused on you, given over to your pleasure, he lives, for these few hours, only to delight you. You feel Leonard Cohen in all your erogenous zones but it isn’t about sex. Cohen’s presence is sublime.

It is not so easy to find horror and fear in Cohen’s work, mediated as it is by humour, melancholy, and melody, however lyrics such as “The Future” describe a chilling dystopian vision:

Give me back my broken night
my mirrored room, my secret life
it’s lonely here,
there’s no one left to torture
Give me absolute control
over every living soul
And lie beside me, baby,
that’s an order!

I can’t argue that Cohen’s music and lyrics are by themselves sublime. But the man’s presence and delivery make them so. Of course, like any text, they are not fully realised without the participation of the reader or audience: if you want to feel Leonard’s great-heartedness, you have to open up your own. He is a spiritual man, whatever one takes that to mean, and many of his love songs can be read as addressing either a mortal lover or a transcendental exteriority.

I’m counting the sleeps.

Like a bird on the wire, 

like a drunk in a midnight choir 
I have tried in my way to be free. 
Like a worm on a hook, 
like a knight from some old fashioned book 
I have saved all my ribbons for thee. 
If I, if I have been unkind, 
I hope that you can just let it go by. 
If I, if I have been untrue 
I hope you know it was never to you. 
Like a baby, stillborn, 
like a beast with his horn 
I have torn everyone who reached out for me. 
But I swear by this song 
and by all that I have done wrong 
I will make it all up to thee. 
I saw a beggar leaning on his wooden crutch, 
he said to me, “You must not ask for so much.” 
And a pretty woman leaning in her darkened door, 
she cried to me, “Hey, why not ask for more?” 

Oh like a bird on the wire, 
like a drunk in a midnight choir 
I have tried in my way to be free.

leonard_cohen_1208796c

On being unfaithful

10 Nov

cheating spouse

My husband, whom I’ll call Bill, was unfaithful on two occasions that I know about and there were likely more, though it does the heart no good to dwell on possibilities.

I became aware of the first infidelity when Bill’s lover, whom I’ll call Emma, came to me in something of a state, and confessed. I knew Emma a little, we had both been Bill’s students, however, what I hadn’t known was that she’d been in love with Bill all through university, and had for the years since nurtured a deep loathing for me, provoked by our marriage. Which she had attended at Bill’s invitation, and on the day of the confession I remembered, as one remembers the most unlikely things when trapped in situations of intensity, noticing odd hand contact between them at our wedding party. Bill, when I asked him about it later, shamefacedly admitted it  involved passing between them a bag of weed, the smoking of which was apparently a ritual they shared in his office from time to time, and one he could not share with me because it made me chuck and weep.

Some months later, after our US honeymoon, in itself an extraordinary experience during which I was welcomed into a large Jewish Russian Polish American family whose matriarch liked to tell people in front of me that I was “just a doll of a girl, even if he has married out,” postcards began arriving for Bill from Emma, who was now in Italy on her honeymoon. “Caro,” the postcards began, which can be dear, beloved or darling, but Italian always sounds deliciously sensual and intimate, and I did ask why she was addressing him thus from her brand new nuptial bed. I don’t know, Bill said, I wish she wouldn’t, it’s embarrassing. After that, I forgot about Emma for years, and if anyone had asked me, would have said I presumed she’d forgotten about us.

It turned out that Emma’s marriage was not successful, hardly surprising since she said she’d never stopped loving Bill. They had been meeting for coffee & cake at the Gelato Bar at Bondi Beach for several months after her marriage collapsed, but as Bill and I had friendships that didn’t necessarily include the other, and he was always meeting with students anyway, their encounters never got a mention, and I conducted my life in blissful ignorance of what was building.

I should say here that Bill loved women, and women loved Bill. He was the smartest man I’d ever met, he was very funny, he had a way of speaking to others as if they were the only people of significance in his universe, and he was very seductive, though he swore he wasn’t on purpose and I think that was probably true. He could have had just about anyone, indeed, I once overheard a successful author wail at a gathering, “I offered myself on a platter and he turned me down.” When he asked me to marry him it went to my head, even though he said he only wanted us to get married so I would have his superannuation. Marriage as a thing in itself was politically and emotionally problematic for both of us, we’d both done it before, unsuccessfully, but him caring about my future without him (he was much older than me) won me over, so we did it.

Emma, it turned out, had sought out Bill after her marriage collapsed for comfort, which he would have given, initially anyway, in the most innocent of ways, because that was another thing about Bill, his empathy with the more difficult experiences of the human condition was legendary, and people sought him out when they needed someone to unconditionally accept them and their personal chaos. This sometimes led to us extending hospitality to characters you could think of as a little unsavoury, if you were feeling judgemental. It also meant having various former girlfriends to stay when they were passing through Sydney, and just wanted to have “a bit of his mind,” as one put it to me.

I don’t know how things escalated from comforting Emma to getting into bed with her, or at least, that isn’t true, I can imagine exactly how that progressed, but even these many years later I don’t want to talk about it, except to say that when one discovers a spouse has been intimately involved with someone else whilst conducting their ordinary life with you, it’s as if that period of time no longer has validity, it is not what you had thought it to be, you believed it to be what it absolutely was not, and that is something like the feeling of clinging desperately to a stair rail on the fortieth floor of a swaying building in a Tokyo earthquake.

The affair went on for several months, until Bill decided he had to end it. He told me he felt too guilty to continue, to which I rather scathingly responded that it had taken quite some time for that guilt to kick in, hadn’t it? Later he admitted he just didn’t desire her anymore and had found himself in the ridiculous situation of desiring his wife more than he desired his lover. In fact he always had, he continued, he’d just been so moved by the powerful combination of her distress and her unflagging long-term desire for him that he’d capitulated to her need. Desire begets desire. Don’t enhance it, I told him. A mercy fuck is a mercy fuck.

And then, because some of us are incapable of protecting ourselves and seek to know what can only cause our hearts to bleed half to death, I asked “Were you very passionate with her?”

There was a long silence.

“What else would you have me be?” he finally answered.

I was breathless at the audacity of his reply, at the excruciating hurt it caused me, and finally, at the truth of it. I would not have had him be a man who dithered about these things. If it is to be done, it ought to be done with feeling, holding nothing back. The man I loved was incapable of acting without passion in all things, and no, I would not have had him be less than passionate about his infidelity either.

However.

I was a that time involved in a family court matter with my first husband to do with property and child maintenance and all the detritus of a broken-down marriage. I had a lawyer. This lawyer made it obvious to me, by rubbing his leg against mine under the table as we sat in front of a magistrate hammering out details of the settlement, and with various other attentions I hadn’t known were included in his fees and that I ignored, that he fancied me as a potential sexual partner. I was about as uninterested as anyone can be, my preferred mode of relationship being serial monogamy, and being as deeply in love with my husband as it’s possible to get.  Sam didn’t stand a chance. But after Emma’s confession, everything changed. My hurt was a constant dark companion that made me feel quite maddened. I’d smashed up the kitchen, broken every thing I could break, started smoking, and in the most bizarre expression of grief I can ever recall in my life, shaved my head. All my long blonde hair, so loved by Bill, lay in a tangled slippery mess on the bathroom floor, and I refused to clean it up. Every time he brushed his teeth he tried to avoid treading in it but would always come to bed with strands  of my hair between his toes.

“I can’t believe you’ve done this,” he moaned the first night, and tried to stroke and kiss my head, but I swatted him away in a fury and removed myself to sleep in my study.

My newly bald look did not deter the lawyer. This was before the time bald immediately made everyone think of chemotherapy, when it was still exotic. I made up my mind. I would fuck the lawyer. If Bill could do it, so could I.

I cared not a fig for the lawyer, the sex was terrible, I cried the whole time and then I did it again. The affair was brief, over a couple of weeks, and I told Bill straight away, otherwise what would have been the point of it? This caused an explosion I could never have foreseen. It was, apparently, one thing for Bill to fuck around, but quite another if I did it. He didn’t smash anything because there was nothing left to smash, but he did insist on meeting with Sam to “discuss” the “situation.” They met at the Gelato Bar.  Sam’s contact lens fell out into his coffee, he said Bill was better looking than him, and he felt at a disadvantage. They agreed if I wanted both of them, they would learn to share me with as little acrimony as possible.

I heard that news from both parties initially with bemusement, and then rage. I could not believe the arrogance and stupidity of men. And Emma wouldn’t leave me alone.

Bill had, it turned out, made promises. He’d led her to believe he was in something with her for the long haul. She had offered him what she called an “unconventional” relationship, in which she would be his mistress, she accepted that he would stay with me, and he had agreed to the arrangement. I said I couldn’t think of anything more conventional than being some man’s mistress, and I let them both know I very much did not appreciate finding myself in such a fucking cliché.

“She isn’t going to let this go,” Bill told me, trembling, after another long, fraught phone call.

“Why should she? You gave her your word. You let her think it was a long-term thing. Is she now to think that either she’s a fool, or you’re an opportunistic liar? You knew she’d been in love with you forever. What do you expect?”

“I changed my mind, surely a man can be allowed to change his mind?”

“You really have to be careful about “changing your mind” when it involves relations with another human heart. Did you think she’d say OK, and thanks for all the fish?”

I’ve since noticed, listening to others describe their affairs with married men, that there seems to be an assumption on the part of those men that the words they say to their mistresses don’t carry the same weight and gravitas as the words they say to anyone else. In general, these men are amazed when their lover protests, but you said…and repeats back to them the undertakings they have made. There seems to be an assumption on almost everyone’s part except the women involved, that married men are not to be held to anything they say when they are involved in an extra marital affair. The woman, it’s generally thought, is a fool to believe them, and ought to behave graciously when he wants to return to the safety of his marriage, and should not remind him of what have become for him embarrassing promises and declarations of love.

This has never seemed quite right to me. I felt a certain sympathy for Emma. I felt furious with Bill for behaving like any other boring stupid married man who thought for a while he could have a wife and a mistress and then when it got complicated ditch the mistress, and then have the temerity to complain when she didn’t shut up and go away and instead held him to his words, and let her messy broken heart bleed all over his life. I didn’t care how much trouble she caused him. Bring it on, was what I thought. I never got annoyed if I answered the phone and it was Emma asking for Bill, even in the middle of the night. Of course, I’d say, he’s right here. Then I would sit, glowering at him, listening to his uncomfortable side of the conversation  while he made helpless shrugging gestures at me, as if to say, I can’t get away, she won’t shut up. Good, I’d mouth. Serves you fucking well right.

Eventually, Emma did give up and I have no idea what became of her.

I count myself as fortunate to have loved and desired Bill to the degree that I never wanted anyone else, so I didn’t have to struggle with what is, in Western culture, forbidden desire. Though I never managed it, I would like to have been able to deal with his infidelities with more equilibrium, because I don’t think there is anything wrong with desire, and I think  it’s probably much better to act on it than to attempt to repress and deny it. I tend to agree with William Blake:

Those who restrain desire, do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling.
And being restrain’d it by degrees becomes passive till it is only the shadow of desire.

He who desires but acts not, breeds pestilence

When Bill asked me, in response to my tortured question about his passion with Emma, “What else would you have me be?” I understood that a human being can never be enslaved by another, and though his infidelity was like death to me at the time, I could not have wished him to do it in any other way.

I don’t think Blake is suggesting I act on every whim, like a rude child selfishly doing whatever I want with no thought for anyone else. But desire isn’t whim. I think Blake is saying that desire is a powerful force, and to be reckoned with, that it is transgressive, that it will break down all my boundaries and lead me into the unknown, and if I turn away, if I refuse desire, I will be the lesser for it in the end. Desire is perhaps incompatible with convention and fidelity. Perhaps this is why cultures are so anxious to restrain it, and the infidelity that so frequently accompanies it, whenever it so subversively appears.

Blake- Marriage of Heaven & Hell

Stranded in the shit field

30 Oct
Shit Field, by poo on you

Shit Field, by poo on you

 

Now and again in a life, one runs into what I like to call a shit field – a series of apparently unconnected events that occur simultaneously, or hard on one another’s heels, all of which share a common theme.

It can be difficult to recognise you’re in the shit field at the time, because its very nature clouds the mind and takes a toll on perceptions.

For the last twelve months, and particularly the last four or five, some of the effects of trudging through the shit field have been an increasing lack of creativity, loss of interest in the world, crippling anxiety, depression, and a sense of having completely lost control of my life and my ability to make good decisions.

I apologise to everyone who has stayed with the blog, for my increasing lack of output, and the deteriorating quality of the posts I have managed.

I wrote here about the experience of being with my beloved husband last year, after he suffered a massive stroke. I underestimated the length of time it would take me to recover from the loss of the man with who I had shared a long, fraught love affair of such intensity that I couldn’t ever imagine loving anyone else. I’m familiar with the Kubler Ross theory of the five stages of grief, though in my experience they are not necessarily consecutive, and I don’t recall ever doing any bargaining, probably because I don’t believe in a higher power so I don’t have a transcendental exteriority in my life with whom to cut a deal.

Apart from that, I’d say the model is fairly accurate, and applies to important loss of any kind, not solely death and dying, if one needs a framework to help explain the chaos inside.

I also underestimated the exhaustion I would feel and for how long I would feel it, after week upon week of sitting at my husband’s bedside, watching him deteriorate, watching in shocked despair as he railed and screamed at me in a language I could no longer understand, and at the end of these rantings, trembling as I watched him break down, as he stroked my face with his one good hand, and begged me for I knew not what. I assumed comfort. Many times I climbed onto his bed and laid my body the length of his frail frame, and held him while he fumbled, sobbing, for my breasts.

I would leave him at the end of these gruelling days, and make my way back to the Bondi Beach apartment a friend’s daughter had loaned me while she was overseas. Sometimes I’d catch a bus. More often I’d walk, as a way to calm myself, and reconnect with the world outside of the nursing home. I was not really a fit companion for anyone, and generally too exhausted for dinners or meetings with old friends. I found it difficult to sleep. These days I hate the city, and found adapting to its racket after the silence of my north coast home, almost impossible. I missed my dog. I missed him something awful.

Our life together, mine and A’s, had been largely conducted in Bondi where we lived at the beach, apart from a brief period when A realised a life-long dream, and bought a converted Pittwater ferry that we moored at the Newport Marina and lived on for a couple of years on and off. Our weekend pleasure was to motor slowly round the waterways, and come back to haul up our crab pots full of blue swimmers that A would then cook in a huge pot and we’d eat for supper with wine or a beer.  I remember once standing beside him at the boat’s wheel, my skirt flying open in the wind, my hair whipping at my face, and A turning to me and saying “If I died now, here with you, I would die a happy man.”

I told him this and other stories of our life as I sat beside him, holding his hand. I think he heard. I think he remembered. I think it gave him some sense of who he was, and had been.

I know now that I had never loved him more than I did those months I sat vigil at his bedside. I don’t know where that love came from. I felt it enter me as I walked through the nursing home doors. I felt its energy fill me as I climbed the stairs to his room. I felt that love sustain me through everything that occurred, every day it occurred. That love overwhelmed me.  Without it, I couldn’t have lasted a week. I’m not a believer in anything much. But I believe in that love.

When my friend’s daughter returned from New York, I moved to the glorious cliff top eyrie owned by my friend, Elisabeth Wynhausen, who recently died, who swore me to secrecy when she discovered her cancer, and whom I miss.

The theme of my shit field is emerging.

Then, to my utter surprise, when I had decided such things were over for me, earlier this year I fell in love.  The circumstances were challenging. Everything indicated this was not going to be easy. And yet again, out of nowhere, that love swept in with such power and took hold of me, even harder than before if that was possible, and I said a yes.

Well, in keeping with the theme of the shit field the challenges were too great, and I find myself once again in the stages of grief, or perhaps I never really got out of them.

What strikes me as remarkable, however, is that something so comparatively short-lived can cause an anguish not dissimilar to the loss of the love affair of decades. Of course there isn’t the history to mourn. But the loss. Oh god, the loss.

Or perhaps it is an accumulation of loss that finally overwhelms. I can’t tell yet. I’m still too much in love. I haven’t caught up with events. I’m still talking to him in my head as if he hasn’t gone. I’m still hurt when there’s no good morning and goodnight. I haven’t got used to the loss of him beginning my days and ending my nights. The absence of his presence.

So, I doubt I’ll be out of the shit field anytime soon. Thank you for staying around.

 

Immigration Minister Morrison instructs his staff to lie

20 Oct

In this article in The Age today, Immigration Minister Scott Morrison orders his staff to publicly refer to asylum seekers as “illegal” arrivals , “detainees,” and “illegal maritime arrivals.”

As seeking asylum in Australia is not an illegal, criminal act, no matter how potential refugees arrive, Morrison is in effect instructing his staff to lie to the public.

Describing asylum seekers in the above terms criminalises innocent people, and this false criminalisation is then used to justify the Coalition’s treatment of them.

There can be little more offensive in a workplace than a boss ordering his staff to lie to the public. That a government minister should take this action is serious cause for alarm.

That this same minister is also a very public Christian should give even more pause for thought.

Dark vision: the world of Melinda Tankard Reist

24 Sep

Last night’s Australian Story on ABCTV invited its audience into the world of the remarkable photographer Poli Papapetrou and her family, in particular that of her daughter, Olympia.

When Olympia was six, Poli took a portrait of her naked in a re-creation of a much earlier image made by Lewis Carroll, known as the author of Alice in Wonderland, as well as for his photographic studies of young girls.

Poli’s photograph caused expressions of outrage from Kevin Rudd, Bravehearts founder and child advocate Hetty Johnston, and of course my old nemesis, Melinda Tankard Reist, all of whom found Olympia’s image highly offensive and her mother even more so for making it.

Olympia, now sixteen,  has become interested in what’s known as “selfies” which for the uninitiated are self-portraits, usually taken by teenage girls in various stages of undress, and posted on the internet. Her critique of this practice can be read here.

Australian Story  invited Melinda Tankard Reist to comment on selfies, and the manner in which we gaze upon young girls in our culture. Tankard Reist declared that because our vision is so tainted by pornography thanks to the pornified, sexualised atmosphere in which we dwell, it has become impossible for us to innocently view images of girls, whether they be those made by Poli Papapetrou of her daughter, the notorious photographs of Bill Henson, or selfies.

My damn spell check will not accept selfies as a word and insists on changing it. That means something, doesn’t it.

The sudden appearance of Ms Tankard Reist in the middle of what had, up till then, been an engrossing  portrait of a loved-filled, creative family life complete with what I suspect were rescued greyhounds, was something akin to the shocking effects felt at the  manifestation of a bad fairy at a joyous christening. Dark, forbidding, increasingly grim-lipped, Tankard Reist described to us of our loss of innocence, our inability to ever see a naked child as anything other than sexual fodder, thanks to the porn saturated universe we have wilfully allowed to engulf us.

We have, whether we realise it or not, had our capacity to gaze innocently upon the young stolen from us by pedophiles. In some abominable alchemical exchange, that gaze has been replaced with their dark and evil vision, and most of us do not even know what we have lost. Obviously, it is up to Melinda to tell us.

I don’t know about everybody else, but when I see a naked child the last thing that comes to mind is sex. I don’t think, oh my, that child is sexualised!Heavens, I even take photos of my grandsons with their willies out and their gorgeous naked buttocks that I could just kiss and kiss!

Set against the backdrop of Olympia and her family, Tankard Reist’s message has never sounded so insanely deviant. Of course there are situations in which girls are exploited and abused. But to lose the ability to tell one thing from another is a dangerous tragedy. Most of us retain that ability. Tankard Reist does not. In warning us of the loss of the innocent gaze, she reveals only that hers is lost. Mine is not and no matter how many pornographic images I’m bombarded with, it will never be lost.

Olympia’s family are an excellent example of how to combat pornographic assaults on the gaze, and raise children capable of distinguishing between art and beauty, and exploitation and abuse. Tankard Reist’s dark vision has no place in this world, and indeed, brings only destruction.

Why I don’t care that there’s only one woman in cabinet.

18 Sep

Look. It’s not as if we didn’t know Prime Minister Abbott’s attitude to women before enough of us voted for him to lead the country.

In case you’ve forgotten, here’s a reminder.

Abbott on women

So it should come as no surprise that the new PM has only one woman, Julie Bishop, in his cabinet.

Anyone who can make the above observation is not going to apply the same merit test for women as he is for men.  Abbott claims the LNP promotes on merit, leading in this instance to a vast majority of males in positions of power and influence. He doesn’t reveal his criteria for assessing merit, but if he starts from the position that women are destined to exclusion from large numbers of areas because of our lady bits, one is inclined to think one of them is owning a penis.

It is, of course, shameful that in 2013 a first world country should be led by a man with such biologically determinist attitudes. I don’t believe for a minute there aren’t women in the LNP as worthy and capable as many of the men Abbott has chosen. However, I have no  sympathy and no respect for any of them, if they are content to stand silently by while their leader treats them with such contempt, simply because they have vaginas.

Although a willingness to be treated with contempt because vagina is likely a precondition of joining the LNP.

Neither do I believe that Abbott’s policies would be any different if his cabinet was crammed to the ceilings with women, so in that sense it doesn’t matter if they are present or not.

The PM has further enraged many by appointing himself the Prime Minister for Women.  He has done this because he can. He is taunting us. We should do our very best to ignore him.

There is certainly a gender issue in play here. However, it is one for Coalition women to fight, not me. Coalition women don’t give a toss about those of us who aren’t of their number. Why do I care if they have positions of seniority or not? They aren’t going to do anything I’d like with their power. So they can fight their own battles, and if they don’t, it won’t keep me up at night.

Abbott & daughters

Why I can’t call Abbott a cunt

7 Sep

Abbott Winker

 

One of the most telling revelations Tony Abbott has ever made about himself occurred in his chat with Annabel Crabb on ABCTV’s Kitchen Cabinet last week.

Describing the circumstances that led to his abandonment of theological studies and his goal to enter the Catholic priesthood, Abbott explained that while struggling with a 500 word essay on the desert fathers, he had a conversation with a mate who was about to leave for London to enable the satisfactory conclusion of a billion dollar business deal. Upon hearing his friend describe his venal life, Abbott experienced a Damascene moment. Christopher Pyne will tell you how to correctly pronounce that word.

What the hell, Abbott wondered, am I doing sitting in a seminary writing about the desert fathers, when I could be carving out a future for myself in the world of power, money, and fame?

Well, that’s not a verbatim report of what he says he thought, but it would be, if he’d been truthful. He couched his moment of enlightenment in terms of doing good, however, in the context of the billion dollar business deal, one is given cause to ponder that ambition.

In short, Abbott found God sadly wanting in comparison with what the world could offer, and without much ado, quit his service.

Some may say it was at this point that Abbott embarked on what was to become a lifelong commitment to selling his arse. In my book, arse-selling has been his highest and most consistent achievement, and before too much longer he’s going to need a colostomy bag to contain his excrement when his arse, abused beyond endurance, finally falls out.

So why can’t I call Abbott a cunt, as do so many others?

I’ve long been ambivalent about the co-option of this female body part to perform as the worst expletive Western culture can manage. I acknowledge the admirably explosive possibilities of the cunt word. Its unique ability to convey a profound, rage-filled and terminal contempt is undeniable.

And yet, and yet and yet…

The cunt houses the only human body part whose sole purpose is to provide its owner with pleasure. How this can possibly bear any relation to Tony Abbott I’m damned if I know.

The cunt, pink, plump, shiny with the juices of desire, is a thing of exquisite beauty, hidden from view, shown only to the chosen one, repository of what is most astonishing in human sexuality. When I think of the cunt, the last association I make with it is, yes, you’ve guessed right, Tony Abbott.

The cunt, with its miraculous ability to open beyond imagining when fulfilling the task of delivering new life into the world, does not in the least remind me of Tony Abbott, whose desiccated countenance and impoverished speech patterns symbolise a shrivelling of human spirit I cannot associate with any life-giving qualities at all.

Or am I being too harsh?

In truth, I love my cunt and everything she can do. I have never been entirely comfortable using her name as a means of conveying contempt, though I fully understand why that is done, and I’m not getting up a petition to have it stopped.

This leaves me with the problem of how best to describe Tony Abbott. I like to think of him as a rat-fucking piece of human excrement who sucks dead dogs’ balls.  I know that is far clumsier than cunt, and takes more breath.

But please, do consider my argument for the beauty of the cunt, and think twice before likening our next Prime Minister to her.

How to do an ending

3 Sep

It’s occurred to me many times as I’ve watched quality television drama, how few script writers manage a good ending.

I’m thinking specifically of the ABC TV drama Broadchurch, a series that finished last week.  It was pretty good I thought, and I hadn’t picked the villain. That revelation was an unpleasant shock (Oh, no! No! I cried) which I won’t reveal, in case anyone is planning to watch the DVD.

However, after the critical denouement, things went south fairly rapidly, sinking into a swamp of sentimentality that left me irritated and offended. It was as if the script writers didn’t quite know what to do next, and settled on an unrealistic coming together of an intolerably fractured community as their nod to catharsis. Obviously they felt compelled to attempt a resolution, in a situation in which such a thing would take decades to achieve, if ever.

The final scenes worked as an exposition of the kind of overwhelming public emotion experienced after a catastrophic event, the short-lived euphoria of  an intense and temporarily bonding experience. But it told me nothing about the morning after when everyone woke up to find themselves inescapably trudging through daily life in a bell jar of emotions, most of them necessarily dark.

The other ending that comes to mind is that of The Sopranos. No easy resolution for these scriptwriters: the Soprano family are seated in a cafe, Tony looks up, and everything goes black. What the fuck? I yelled. Then I thought we’d lost our power. However, I count this as one of the finest endings I’ve ever seen. Not even the merest nod to catharsis, bugger audience desire for resolution, everything just went black so figure it out for yourself.

My interpretation was that we were offered Tony’s perspective as his life abruptly and unexpectedly ended.

Of course, everything has definitely gone black now, with the recent death of James Gandolfini, who played Tony. There can be no change of plans and further episodes. It is ended.

Endings are rarely easy. The lovely innocence of Aristotle in Poetics, in which he declares his belief in a beginning, a middle and a cathartic end, seems in 2013 to belong with fairy tales and Hollywood, though in the latter case, innocence is long-lost. The ending has to be happy in Hollywood because that’s what brings in the money. There’s also an infuriating rush to resolution in most media: after the most horrific events, people are urged to seek “closure” and “move on” with what seems to me a most unseemly haste. Grief has its own unpredictable timeline, and Freud referred to the “labour” of mourning, implying the hard slog of it. If you’ve lost a sentient being under any circumstances, you’ll know the rewards of  “closure” and “moving on” have to be earned and they don’t come easy. And they aren’t the only losses some of us have to grieve: loss of health, body parts, hopes and ambitions unrealised. Sorrow is, to varying degrees, an inescapable aspect of human life, so why there is such emphasis on hastily tidying up the dark and difficult with such lack of due respect, is a mystery to me.

“I can’t believe it, I can’t believe I’m alive,” snarls Bob Dylan, in one of his many angrily grieving lyrics written for some woman who’s abandoned him, “but without you it doesn’t feel right…”

It doesn’t feel right. It doesn’t feel the same. Something has irrevocably changed. That’s endings for you. And that’s what I want the scriptwriters to show me. Bugger the confected catharsis.

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