Categories
Interview Review

Festivities Celebrating Loneliness: The World of Isa Kamari

An introduction and a conversation with Isa Kamari, a celebrated Singaporean writer

Isa Kamari

Isa Kamari is a well-known face in the Singapore literary community. He has won numerous awards — the Anugerah Sastera Mastera, the SEA Write Award and the Singapore Cultural Medallion, the Anugerah Tun Seri Lanang. He has been part of university curriculums and has written for the television. With 11 novels, nine of which have been translated from Malay to English — and some into more languages like Arabic, Mandarin, Urdu and Turkish, French, Russian Spanish — three poetry books, plays and one novella written in English by him, one can well see him as a leading voice in literature on this island that seems to have grown into a gateway for all Asia.

Kamari’s writings dip into his own culture to integrate with the larger world. The most remarkable thing about his works, for me has been the way in which he has brought the history of Singapore from the Malay perspective into novels and made it available for all readers. The most memorable of these actually gives the history of the time around which the Treaty of Singapore was signed between the British and the indigenous ruler in 1819, handing over the port to Raffles, the treaty that was crucial to the founding of modern Singapore. The novel is named after the year of the treaty.

Other novels like Song of the Wind , Rawa and Tweet — all bring into perspective how the local Orang Seletar integrated into the skyscrapers of Singapore. We can see in his writings how the indigenous moved to be integrated into a larger whole of a multi-racial, multi-religious accepting modern city. One of his novels, One Earth (1999), is like an interim almost, set during the Japanese occupation in Singapore. The narrative dwells on the intermingling of races in the island historically. Kiswah and Intercession are novels that cry out for reforms on the religious front.

He also has novels that delve into individual journeys to glance into the maladies of the modern-day world. Whether it is faith, or career, he brings into focus the need to heal. Recently, Kamari has brought out a book of short stories, Maladies of the Soul, to focus on just this. His fifteen short stories centre around the issue mentioned in the title. In the first ten stories, he writes of old age, of mental stress, of compromises made to achieve success, of anxieties just as the title suggests. These are internal conflicts of people in a country where most have enough to eat, a house to live in and access to education for their offsprings. Then in the last five stories, he moves towards not just showcasing such maladies but also resolving, using narratives that are almost surrealistic, or poetic. They are not happy but reflective with the ability to make one think, look for a resolution. They are discomfiting narratives.

One of the last stories is given from the perspective of a silkworm — a powerful comment on the need for freedom to survive. Another has the iconic Singapore Merlion emote to an extent. The writing escapes the flaw of being didactic by its sheer inventiveness. One is reminded that this is a book by an author from a city-state which has resolved problems like poverty to a large extent. That the journey was arduous and full of struggle can be seen in Kamari’s earlier novels. But now, that people have enough to eat and live by, he takes the next step that is necessary. His stories demand not just being familiar with the issues they faced in the past, but also suggest a movement towards resolving the social problems that in a developed country can warp individuals to make them non-functional and make the society lose its suppleness to adapt and progress.

One of the stories like his earlier novel, The Tower, reflects the climb of a careerist, an architect, up a tower he has built, while recalling the compromises made. The interesting thing is the conclusions have a similar impact. And then, there is yet another story that is almost Kafkaesque in its execution, where a man turns into a bull — a comment on stock trading or people’s obsession with money and to compete?

The book needs to be read sequentially to get the full impact of his message. For, he is a writer with a message, a message that hopes to heal the world by integrating the spiritual with modernisation. In this conversation, he discusses his new book and his journey as a writer.

What makes you write? What moves you to write? Why do you write?

I need to be disturbed by events, issues and thoughts before thinking of writing anything. I would then ponder and research on the topics at hand. Only when I have my own tentative resolution of the conflicting elements, I would begin to write. Most often, my views and positions will change as I write further. In that sense writing is a form of discovery and therapy for me.

Tweet in Spanish

Do you see yourself as a bi-lingual writer or a Malay writer experimenting in English? You had written your novella, Tweet, in English. Later it was translated to more languages. How many languages have you been translated into? Do you feel the translations convey your text well into the other language?

Culturally, I think in Malay. English is a language of instruction for me. When I attempt to translate my Malay works into English, the writing sounds and feels Malay. Tweet is a result of a challenge I imposed upon myself to write creatively in English. The result is not bad. Tweet has been translated into Malay, Arabic, Russian, French, Spanish, Azerbaijan and Korean. I wouldn’t know how well the novella has been translated because I do not know those languages. I trust the translators whom I choose carefully.

Throne and Tweet in Russian
Tweet in French

The stories of Maladies of the Soul first appeared in Malay. Now in English. Did you translate them yourself, being a bi-lingual writer? Tell us your experience as a translator of the stories. Did you come across any hurdles while switching the language? What would you say is the difference in the Malay and English renditions?

Yes, I translated all the stories in the book. I had to overcome my own fear that the stories might end up too Malay in expression and feel. But I told myself to be true to my own voice and not be inhibited by language structure and convention. I would not know exactly the difference between the two renditions. I was just interested to tell the stories.

Is this your first venture into a full-length short story book? Tell us how novels and short stories vary as a genres in your work. How do you use the different genre to convey? Is there a difference in your premise while doing either?

I have produced just one collection of short stories. In each of the short stories, I had to be focussed on expressing concepts and philosophies on a single problem of the human condition. In my novels the concepts and philosophies are varied, expanded, more complex and layered but yet interrelated and weaved around dynamic human experiences facing common predicaments or challenges of an era.

One of the things I noticed about the book was that the stories would convey your premise better if read in order. Is that intentionally done or is it a random occurrence?

The short stories can be weaved into a novel. There is a central spine, which is my observation and philosophy of life which bind them all. The intrinsic sequence or order is not intentional, but perhaps it is the psychological thread and latent articulation of the storyteller.

Some of the stories seem to have echoes in your novels, like Kiswah and Intercession, both of which deal with crises in faith. Did your earlier novels have a direct bearing on your short stories?

I used to transform my poems into short stories, and from those write novels. The genres are just tools for me to express my thoughts and feelings. I use whatever works. I have even experimented on weaving short stories and poems in a novel. I wanted to create prose that are poetic, and poems that are capable of conveying a narrative. My latest novel, The Throne, is a result of this experiment.

Some of your stories touch on the metaphorical, especially the last five. Some of the earlier ones describe unusual or even the absurd situations we face in life. As a conglomerate, they explore darker areas of the human psyche, unlike your novels which were in certain senses more hopeful, especially Tweet. What has changed to bring the darker shades into your writing? Please elaborate.

The stories in Maladies of the Soul have a common theme of alienation in various facets and dimensions of life. As such the expected feeling after reading them is that of gloom and hopelessness. That is intentional as a revelation of the deeper and hidden fallacy of modern life that appears organised and bright on the surface. I wanted my readers to be shaken or at least moved to ponder and reflect on our current, shallow and fractured human condition. There is a better life if we were to look the other way and be more mindful and caring of each other and our environment.

I still recall a phrase from your novel, The Tower, “Festivities celebrating loneliness”. Would you say your short stories have moved towards that?

Exactly.

Why did you choose short stories over giving us a longer narrative like a novel?

It is like giving my readers bite sizes of my exploration and philosophy of life. I leave it to the readers to weave the stories into a whole, and reflect upon their own experiences, thoughts and feelings, perhaps in a more integrated and holistic manner.

What are the influences on your writing?

Life itself. Like I mentioned earlier I do not write in a vacuum. I engage life in my writing as a way of validating my ever-changing existence. I want my life and writing to be authentic and significant. Hopefully, meaningful to others too.

What can your readers look forward from you next?

I have just completed a draft of a novel in Malay, Firasat. As in all my novels, I offer a window towards healing by embracing a rejuvenated Malay philosophy called firasat which is an intuitive, integrated, balanced, lucid, harmonious and holistic way of life.

Thank you for sharing your time and your writings with us.

(The online interview has been conducted by emails by Mitali Chakravarty)

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL. 

Click here to access the Borderless anthology, Monalisa No Longer Smiles

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Categories
Poetry

Rhys Hughes on Poetry

THE LAST POEM

I wanted the last poem
I ever wrote
to be profound and clever
and I wanted
to write it outdoors.

But the weather was awful
and my coat
was unsuitable,
so like a dutiful idiot
in my wooden hut
I wrote it with a carrot
carved in the form of a pen.

Luckily I was only ‘like’
a dutiful idiot
and not an actual dutiful
idiot, thus the poem that was my last
turned out to be
quite a good one. Thank heavens for
similes as broad as grins.

And the poem in question?
It went like this:
A parrot in a garret drinking claret
and a pen that is a carrot
are disparate.

 
POEMS OF THE FLOATING WORLD

Haiku floats like boat
The middle line does not sink–
Watertight canoe

A shipshape limerick from Iran
was drifting in circles like a fan.
Each line was a hull,
three pecked off by a gull,
and it became just a catamaran.

A bold ode to a seaworthy sight
floating on the estuary,
a schooner
getting ready to leave at night
to take advantage
of the light of the moon,
while the navigator hums
a tune to Luna
because the sooner
they arrive at their destination,
the faster this crooner
will be reunited with the woman
he calls his wife.

This is a four-line poem
about an anchor that was weighed
and brought to the surface
a surprised mermaid.

And this is a rhyming couplet
about a ship sailing into a sunset.


Poems are rowing
Distant islands are closer
Rhyme schemes are drowning
The syllables are counting
We say tanka very much

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

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Categories
Musings of a Copywriter

Hair or There: Party on My Head

By Devraj Singh Kalsi

Courtesy: Creative Commons

Uncomfortable with my political views aired unexpectedly inside his salon, the savvy barber, swinging in his fifties, swung into rapid action by making a flower bloom on my head. A cadre of fierce loyalty, he chose to operate without showing a hostile reaction. His hands got together for an act of mischief, with the party symbol taking shape in the back of my head. His fiendish attempt to groom me as a party worker fetched partial success as he fumbled to get his floral designing right. The final shape he managed to accord was such that it was impossible to identify the flower, with several political outfits with floral symbols competing for political aggrandisement in the local town. The remote resemblance still made me think why I couldn’t gauge what he was up to, why I let this happen after surrendering my head in good faith to him while rambling on the rumble and tumble of politics. In hindsight, I should derive consolation from the fact that the rabid supporter, with scissors in hand, could have shown a much worse violent streak and I was lucky to have escaped unhurt. 

Earlier, when I roamed around freely, nobody dared to call me a party worker. But now my teashop friends would be keen to excavate details of my allegiance, which party I swore allegiance to. It was better to let confusion prevail or else I would be stereotyped as a political aspirant though the truth remains that nobody in our family or dynasty has ever contested, leave aside won any election for generations.   

During my next hop to the salon, I had queries lined up for the barber, but he was busy with his loyal customers. A few people waiting around stared at my face and head with the designed cut. Finally, when I had the chance to ask the barber why he had experimented with a design on my head, he sounded evasive and denied having any such nasty intention. He defended his innocent act by blaming me for being unsteady and shaky. When I tried to make him recall the details and his intent, he started a sudden conversation with another customer to deflect attention, asking him what to do with his goatee. When I sounded hell-bent on seeking an explanation, he cleared it was not a party symbol he intended. He fished out his camera phone, zoomed in, clicked my head and warned me to stay away from his shop or else he would be compelled to post the picture of my head on social media channels tagging local heavyweight politicians, though that was the last thing on his mind. 

Becoming an object of ridicule was unacceptable so I chose to disappear from his shop without further discussion. A fanatic supporter could stir any controversy to gain mileage. It was safer to forget the entire episode as the worst nightmare of my life. I had no intention to air political views with a haircut which announced to all kinds of people a political opinion towards which I was indifferent. My best friend also warned me of the ramifications and urged me to go bald right away, to avoid escalation of political conflict. Perhaps it was genuine advice to save me. The next day, I stepped into a branded unisex salon for a neat, nifty job of turning my head into a cleared space. He quoted a hefty price for tonsuring my head, but it was much less than what I would have to cough up in case I was caught in the political crossfire.  

Identity matters are crucial both in terms of flaunting and hiding – depending on which community one belongs to. Since both parties were active in the area, I had the fear of being roughed up by the cadre of either party and asked to clarify which party I belonged to. Since I am apolitical by choice — evident from my reluctance to vote for any political dispensation — the safest option would be to cover my head with a cap or hat to avoid any question about why I went for a bald look or what a tonsured head signified in the heat of elections. There would be discomfiting scenes when the neighbours started throwing the odd question. Maybe someone would find the look quirky enough and post it on a social media platform as a classic case of a fence-sitter or a rank opportunist would give it the final shape after seeing who wins, which flower blooms – the turncoat types waiting to lap up the right opportunity. In my case, the housemaid was the first to notice the change and sympathised: “Your bouncy hair is all gone, a terrible experiment that raises concerns.”    

The new avatar was the outcome of my quick visit to the reputed hair stylist who egged me to avail of tattoo and beard trimming services though I was well past my prime to sport any of these. Business targets compelled him to pitch these services to all kinds of customers and persuade them. Despite a handlebar moustache as a fearsome icon, I caved into the suggestion, and he then proceeded to snip it. After doodling a small rosebud on the nape right below the collar, he suggested I should remove dark circles from under my eyes using their special serum. I agreed reluctantly to buy a golden facial grooming session to improve the overall look.

The entire package pinched my pocket, but the makeover did give a facelift to my personality and erased the fears of becoming a victim of a political bash-up. I took a selfie and posted it as a profile photo but the response to my glow was unusually slow and the makeover got fewer likes than earlier for some strange reason. The brazen attempt to look younger and dapper, and being fairly successful at having gained the look,  was perhaps the reason that stoked jealousy in my peers. The tattoo of a rosebud was a romantic add-on when I should have ideally gone in for something like a lizard or snake as my venomous tongue unleashing spite was notorious all around. Even a cult icon would have suited my age, but not these teeny-bopper love symbols though these were safer than party symbols.

When the elections were over, none of the floral symbols won, but a newly formed party swept the polls. I was relieved I was rendered safe and went to the barber to see how he sulked now. I was surprised to see he had switched loyalty. The new party colours were spread all over the salon with posters. As I was about to take potshots, the barber did admit belatedly he had intended to draw a party symbol on my head the last time but could not do it perfectly well. His new party had a very simple symbol, and it was easy to draw for any novice. The intended threat was enough to make me beat a hasty retreat as my tonsured head had already raised an abundant harvest of salt and pepper hair within a couple of months.  

Devraj Singh Kalsi works as a senior copywriter in Kolkata. His short stories and essays have been published in Deccan Herald, Tehelka, Kitaab, Earthen Lamp Journal, Assam Tribune, and The Statesman. Pal Motors is his first novel.  


PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

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Categories
Stories

The Infamous Art Dealer

By Paul Mirabile

The Scream by Edvard Munch(1863-1944). Courtesy: Creative Commons

I met Gustav Beekhof twice whilst travelling in North Africa, once in Tunisia on the island of Djerba, and then in Algeria when I emerged from the desert after spending about seven months living amongst the Touregs.

Gustav was a Dutchman, tall, slender, long blond hair falling to his rounded shoulders. His blue eyes shone like scintillating mountain lakes in the morning sun. He spoke excellent English, French and German, all learned at school but polished and refined ‘on the road’ as he said in his high, nasalised voice.

Over a glass of tea, we spoke about many subjects, he emphasising that the voyager must touch Africa with his or her feet, and not ‘do’ it either in vans or in Land-Rovers as so many ‘doers of Africa do’. Gustav indeed had a whiff of smugness about him.

We split, the cocky Dutchman en route to Morocco, I back into the desert to Tamanarasset. Before leaving, however, he gave me his phone number and insisted that if I ever found myself in Amsterdam I should look him up. He threw back his long blond hair and as he got up to leave, said that he held my friendship in high regard.

Seven years later this was exactly what I did! I had been shuffling between Madrid and Burgundy France as a Flamenco guitarist at Rosario’s dance studios in the mornings and Antonio’s mesón[1] at night, and as a grape-picker at several farms between Dijon and Beaune in Burgundy. Every Autumn I would hitch to Burgundy from Madrid and for a month or so labour in the fields, in the wine-cellars, bottle wine and study oenology with the wine-growers in my spare hours.

The life of a mediocre musician and a seasonal farm labourer made no sense. I needed a change. Was not life a thick forest of possibilities ? One day as I treaded wine in one of the enormous kegs that aligned the cellar of a famous wine-grower, what the Burgundians call ‘piger‘, I suddenly thought of Gustav Beekhof. That night, back in my little room on the farm, I searched through my belongings and found his address. Yes, I would go to Amsterdam for that change.

When my work had finished on the farm I left my guitar with some friends, borrowed a bicycle and cycled up to Holland via Liechtenstein and Belgium, a strenuous journey, given the fact that the bicycle had no gears. I arrived in Amsterdam, thoroughly exhausted, but immediately set out to find my ‘friend’, if I may say so at this point in my narrative.

And indeed I did find him: having telephoned Gustav, that nasalised voice gave me directions to his home. I set off on my bike in search of him. It took me hours as I crossed bridges, turned in and out of little roads and lanes. As I struggled on, I had a strange feeling that Gustav did not know with whom he was speaking over the phone. Be that as it may, I finally found his ‘humble home’ as he merrily said, one of the many barges that float listlessly in the canals that criss-cross Amsterdam. A rather shoddy one at that, but its bohemian appearance did suit the personality of the individual I had met some seven or eight years ago in North Africa, and who was at present standing on the plank that led to the barge from the grassy pavement-bank. He was all smiles. He gestured for me to come ‘aboard’, shook my hand and led me into his ‘humble home’ …

A home that rocked and rolled ever so gently when a barge cruised by. Gustav warned me that to live in a barge one must develop sea-legs. He laughed, and the twinkle in his eye intuited that the Dutchman had no idea with whom he was speaking. I felt rather uncomfortable at first, but this loss of memory seemed not to disturb my host who spread out his long arms as if to engulf all the belongings that swam before my eyes: dozens and dozens of paintings, either framed, rolled up in clusters or on easels covered the uncarpeted ‘bottom deck’ along with hundreds of acrylic paint tubes, whilst more books and documents rose in high stacks against the unpanelled ‘starboard’, barring the grey afternoon light from penetrating two ‘portholes’. Large packages lay on a bunk bed at the ‘stern’. There were no rooms, only a very long and narrow ‘hole’ with a kitchenette at the ‘prow’. Rusting red-painted iron beams horizontally crossed the ‘hull’. Two tables had been placed in middle of this capharnaum[2], one for writing, I presumed, and one for eating ; both had seen better days. The toilet, a cubby hole, was located on ‘portside’ …

I was overwhelmed by the quantity of paintings, some of which I recognised.

“How do you like my prized collection ?” Gustav began. His tone had an undercurrent of secrecy. “I have acquired them at great pains, some are originals, others copies … and a few a result of my own genius.” Modesty was never a quality of Gustav’s personality … not even false modesty !

“But you have a Jasper Johns[3] … a Frans Van Mieris[4] and a Nicolais Astrup[5]!” I rejoined in amazement. They must have cost a fortune. My host shrugged his shoulders.

“Why do you think I live on a rubbishy barge and not in a golden palace, my dear lad ?” He threw back his long blond hair and motioned to the hackney table, where two plates, two forks and two knives had been neatly set. I sat opposite a lovely Laurits Andersen Ring painting: Road in the village of Bunderbrøde. Original or copy ? From the kitchenette Gustav sailed back gingery to the table carrying a large tray of chips ; they were dripping with oil. I put one or two in my mouth and felt sick to my stomach. From a cupboard near the toilet he brought forth a bottle of Jenever which presumedly was to wash down the chips. I looked over to his writing table and observed an open notebook.

“My Waybook,” he laughed. “I’m writing a collection of poems and stories about my voyages in India, Central Asia and Africa. Poems and stories written out ‘on the road’, but here in my barge-solitude, polished to a lacquered lustre.” My host was beaming with self-complacency.

I let Gustav make inroads on that greasy stack of chips whilst I cast cursory glances at those many paintings… “Remember those horrible mosquitoes in Africa ?” he reminisced. “They always bit me … perhaps because my blood is so sweet.” His voice had a fluty tone to it. I nodded perfunctorily.Was his blood sweeter than mine ?

I left about midnight, rather sozzled from all that Jenever.

For the next few days, my Dutch friend took me about Amsterdam, especially to the bars where we would invariably get thoroughly drunk, but also to the countryside on bicycle, gliding by the still standing windmills cranking their sails, the tulip fields in blushing bloom, over a streamlet or two, our bicycles poled over on small barques. One day we stopped near one of those streamlets to indulge in some Gouda and Edam cheese. It was there that Gustav, his mouth full of cheese and bread, made me a proposition which I was to regret for the rest of my living days …

“Listen,” he began, munching merrily, washing down his cheese and bread with a few shots of Jenever. “Since you’re out of work, how about working for me ?” I raised a quizzical eyebrow. He gave me a sly wink. “Don’t worry, it’s not hard labour. I need an itinerant salesman for my paintings. You know, I’m stuck here in Amsterdam and can’t meet the demands of all my clients. I have clients in Italy, Spain, France, England ; all over Eastern Europe, too. You’d be a perfect dealer for me, you know many languages, you have a bit of artistic talent yourself to explain certain niceties, and above all, you’re honest. I know you won’t cheat me.” His grin stretched from ear to ear. A strange grin, plastic-like. “I’ll give you ten percent of the proceeds.” And he had another spot of Jenever.

“Why ten ?”

“Why not ? It’s a number like any other. And don’t forgot, some of those paintings are going for over 8,000 Guilders, even double that in other currencies. What do you think ?” He eyed me fixedly, the deep blue of those two tarns swirling before me like turbulent whirlpools.

It took me three days to think over his proposition, and during those three days, when I visited him, we tramped about Amsterdam’s bars, drinking and conversing. Never once did he enquire about my decision. It was whilst licking off the foam of my Heineken in one of Gustav’s favourite bars, where it was his wont to reach into a drinker’s open poach of tobacco, serve himself a good pinch and roll a cigarette without ever asking permission, a rite that he alone exercised at the counter, that I decided to accept his offer. “Fifteen percent !” I added. He winced at first, but that mask slowly transformed into a broad smile. We shook hands and the deal was sealed. He ordered another round for us whilst pinching a bit more tobacco from the pouch of his displeased but stoic neighbour …

And that is how I became an itinerant dealer for Gustav Beekhof’s paintings. My wanderings took me to the most remotest of European towns, and to the most hideous suburbs of those towns. Instead of dealing with rich bourgeois families, small museum curators or private collectors, Gustav’s mailed instructions directed me to shifty-eyed men, well-dressed and well-spoken indeed, but shifty in our negotiations. Besides, we effected our transactions in the oddest of places: warehouses, depots, repositories, seedy hotel rooms. I would remove the paintings from long, plastic cylinders similar to those that the Chinese use to carry their scrolls, unroll the merchandise they were expecting, and after a thorough inspection, the head of these delegations would produce a wad of bills, and without counting them push them into the pocket of my vest. They would leave me standing there without a word, although now and then, one of them was given orders to drive me to the centre of the town and drop me off at my hotel.

Gustav had advised me to deduct my fifteen percent from the purchases, deposit the maximum amount of cash that was permitted in one of the subsidiaries of a Dutch bank, found in Greece, Norway, Belgium, France, England, Luxembourg and Germany. If a large amount of cash remained, I was to travel to another country, locate another subsidiary and deposit the rest. Gustav had absolute faith in my integrity; at any time, I could have run off with thousands of francs, liras, pounds or any currency and simply disappeared. Of course the thought never occurred to me. As to the paintings themselves, they were sent through a special mail service along with a note at one of my hotels directing to the addresses where I had my the appointments. In this way I had no need to return to Amsterdam.

These proceedings continued without respite for two years as I scurried from country to country and town to town. I must admit that over the course of time I began to question the probity of the individuals I was dealing with, for all these transactions seemed enshrouded in mystery, carried out by dubious characters, each and every one of whom bore a rank odour of unprincipled morals, although their behaviour towards me was always impeccably polite, aloof indeed, but nevertheless perfectly respectful. I, thus, disregarded these apprehensions; after all, I was earning vast amounts of money. And I wasn’t one to, as the French say, cracher dans la soupe[6] !

One fine Spring day, I received six paintings at my hotel in Thessaloniki, Greece, and a note directing me to Istanbul, where an Armenian merchant was waiting impatiently to buy the paintings at a very handsome price. However, the note warned me that the merchant was a bit of a rogue, and a clever one at that. I smiled inwardly; I had been to Istanbul several times and could negotiate quite well in Turkish. I rubbed my hands ready for the joust …

It was on the fourth day of my arrival in Istanbul by bus from Thessaloniki that our appointment had been fixed in the Armenian’s small shop near the Armenian Church of Üç Horan (Trinity) inside the Fish Market. His shop, crowded with every object that one could possibly find on the face of the earth: wooden religious statues, candelabras, thuribles, musical instruments, Ottoman-styled hanging lamps, church paintings, ikons, antique furniture, travelling chests dating from the Ottoman Empire, sabres and shields, made it difficult for me to find the merchant seated behind a long, knotty mahogany table upon which had been stacked books, paper-weights and a scruffle of yellowing documents. He had a sinister look about him, doleful, suspicious, a darkly look that matched his dark frizzy hair, thick eyebrows and beard. When he noted my arrival he sat there in frozen silence which lasted longer than I had expected of a potential buyer of Gustav’s long-sought paintings. I sensed something amiss … something which did not sit well in this Ali Baba’s cave.

The Armenian stood and cleared away the books that encumbered his table. He bade me deposit the paintings in his outstretched arms. I took them out of the cylinder and placed them gently in the crooks of his arms, where like a mother holding her child, he cradled them for a few long seconds before laying them delicately on the knotty mahogany table.

Without a word he unrolled each one, admiring the colours, the textures, the shapes, the lines.

“Very nice … lovely !” he finally said in rough Turkish. “The colour saturation of this one is marvellous. And here, the crackle paste indeed gives the village a mediaeval aura. The application of mica flake certainly highlights the effects of the tempest over the sea, whilst here, the dry brush technique impresses an eerie velatura of the Scandinavian landscape.” He looked up at me. “And what do you think of Jasper Johns’ Between the Clock and the Bed ?” The question snapped me out of my reverie; no client had ever posed a question to me concerning the contents or quality of the paintings ; all my dealings had always been conducted with the utmost taciturnity.

“I don’t know … I’m not an art specialist, only a dealer.”

He chuckled : “Are you now ?” He touched the painting ever so delicately. “Pop art ? Expressionism ? What do you think, dealer ?” I remained silent, fidgeting about, the atmosphere had become unbearably  oppressive. “Look, these fourteen colours set out like a lithograph should have been painted on Japan paper … do you follow me ?” I shook my head, ignorant of all these technical details. “Well, Mr Dealer, this is not Japan paper, consequently, the painting it not an original, which leads me to surmise that it’s a forgery !” The word forgery shot through me like a bullet. “So are those four, all falsified due to over-enthusiastic scrambling[7]. Only one is an original: The Scream, one of the eight versions by Munch, stolen this year from the Munchmusect in Oslo !” He stopped, stealing a glance at me. “How did you steal it?” he asked in a deep-toned voice, authoritative, one that does not brook rebuke. “And all the others stolen from museums, private collectors and galleries ? Just how do you do it ?” I cringed, feeling engulfed in a welter of confusion.

Mouth agape, I stammered : “I’m not a thief … I sell paintings for Gustav Beekhof, that’s all. I know nothing about where the paintings come from, except that …”

“I shall repeat the question once again,” retorted that deep-toned voice: “How do you steal them ?”

I stepped back. The whole affair was becoming a nightmare. “I told you I sell paintings for Gustav …”

My interrogator bent over the table and slapped me twice in the face. The violence sent me reeling backwards into some wooden statues. He circled round the table and stood menacingly over me. “We have been following your doings for months and months Mr Gustav Beekhof. Your repugnant affair has brought death and destruction to many innocent people.”

“Please, I don’t understand …”

“Shut up and listen !” And he punched me in the stomach, doubling me over. “Interpol shall be here in a moment or two to question you. But I would suggest you tell me everything here and now, for their methods are far from savoury.”

“Really … I’m not Gustav Beekhof … my name is Vigilius Notabene …”

“Oh really ?Vigilius Notabene ? Well now, Mr Notabene, let me inform you that you have been selling stolen paintings and forgeries to underworld criminal organisations and terrorist groups. Do you understand what that means Mr Notabene ? That means with the money they earn by selling what you have sold them for double or triple your amount, they buy arms to execute military personal and politicians, bombs to blow up train stations and aeroports. Did you think you could continue your lucrative affair with impunity ?” He grasped my collar, his face screwed up.

Suddenly, the shop door swung open. Three or four burly men dressed in civilian clothes wove their way towards us. They took me by the arms whilst the Armenian slapped me repeatedly across the face. I began to swoon. He turned to the men: “Gustav says his name is Vigilius Notabene.”

“But … I’m not Gustav !” I whimpered.

“Shall I juggle your memory ?” continued the Armenian. And that powerful fist drove into my chest. I cried out, hanging limp in the strong arms of the agents who looked on indifferently. “No, I’ll tell you your real name. Javier Fuentes, born and raised in Madrid, lover of bullfights and flamenco music. You left Spain for Holland where you changed your nationality and became Gustav Beekhof, amateur painter, counterfeiter and arch-cozen. Do you think we would never get on to your little affair ?” Again that hairy fist ploughed into my ribs.

I gasped for air. In low voices, the agents spoke to the Armenian in Dutch and in Turkish. I was amazed that I understood every word that was said. “Yes, yes Mr Beekhof, you understand everything we are saying. Polyglot, dilettante painter and musician, intrepid thief and casual traveller — it has taken us a while to corner you. And here we all are in my little shop. Cozy, eh ?”

A blow to the midriff sent me hurtling against a gaggle of porcelain geese, where I then slid squirming to the floor breaking the necks of two ! The agents violently grabbed my long, blond hair and stood me up.

“I’ll give you Gustav’s address …” I managed to gasp, my mouth filling with blood. Two agents squeezed my rounded shoulders so hard that I buckled over.

“Still on about Gustav, eh ? There is no Gustav Beekhof in Amsterdam on a barge. Gustav is right here in front of me, and there he will remain until he tells us the truth … If not …” I lifted my arms to ward off a blow, albeit none came.

“Come, come Gus, your mind has been unsettled by all these false identities ; all these wanderings in and out of cheap hotels, dealing with a bunch of thugs and killers. Fifteen percent ? Why give yourself fifteen percent when you deposit the rest in your own name in a Dutch bank account ? You must be completely daft!” I stared at my interrogator in disbelief. How did he know such precise details ?

“We know everything about you, Gussy!” as if reading my mind. “Everything except how you managed to steal these paintings from the museums. That remains a mystery to us all.”

“I’m Vigilius Notabene, born in Gotland on a farm. My parents died when I was thirteen so I left for Holland, Spain and France. In France …”

“Enough!” The Armenian began pummelling me. The agents stopped him. Then I heard the door of the shop swing open. I caught a glimpse of four men dressed in white ; tiny, white skull-caps coiffed their bald heads. They forced me into a straitjacket and hurried me into an ambulance. I was given an injection and that is all I remember until now …

I awoke in a small room, an all ghost-white room: white walls, door, window bars, curtains, bed and bedsheets, writing table. The whiteness pricked my eyes. My arms were strapped to my sides ; they had straitjacketed me. I lay helplessly surrounded by all this monochromatic melodrama.

One day a man, dressed in white whisked into the room, threw me a cursory glance, laid a notebook and pen very carefully on the white, metal table then strode to the bedside. He undid the straps of the straitjacket, pointed to the notebook on the table, and left as quickly as he came, wordlessly.

I stretched my stiff limbs and sat at the table. I had no idea where I was, and no one to turn to: no family, no friends, no lawyers … no one. I stared down at the white, lineless, notebook pages. Yes, I knew what they wanted from me. Ah, Gustav, you are a slippery sod. Here you are at last slipping out of that phantasmagoria of so many faces and places. So many existences that never existed! Take note that Vigilius Notabene will expose the truth of the past. As to Javier Fuentes, he had no future. Gustav is the true wayfarer, the ever-questing pilgrim present, here and now.

So in a renewed state of extreme excitement I now record on those very white pages :

“I met Gustav Beekhof whilst travelling in North Africa…”  

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[1]          A small bar or tavern where people eat, drink and listen to flamenco music if there is a guitarist and a singer present.

[2]          ‘Shambles, disorder, mess’.

[3]          American painter ‘1930- ).

[4]          Dutch painter (1635-1681)

[5]          Norwegian painter (1880-1928)

[6]          To spit in the soup’.

[7]          A technique that allows to paint over areas of a painting to enhance the tone of dark-coloured areas.

Paul Mirabile is a retired professor of philology now living in France. He has published mostly academic works centred on philology, history, pedagogy and religion. He has also published stories of his travels throughout Asia, where he spent thirty years.

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Categories
Poetry

Humanity is an Ocean, Waiting

By Peter Devonald

The sea is a distant relative we all should visit more --
we are all at least sixty percent water, ebb and flow of oceans,
 
so sit and watch the waves awhile, watch them come and go,
chanting miracles, recalling the impressive and the blessed
 
transformations, visions and wonders; then bring them home again.
Waves crash and sing sweet sea-shanty songs, determined just to be,
 
convey such wild optimism, inspiration and belief, the sea endlessly
shifting, shifting, relentless. We have met a thousand times or more --
 
ancient, faithful fury and calm, calm, such passion and resonance.
All things are possible, hold on, hold on, change viewpoints and perspectives,
 
seasons shifting relentless, lovers, yearning, learning, the sea, slowly shifts,
becomes me, impassioned with strong feelings, feel every wave and tide,
 
the gentle tide and time. Did you live a good life? Did a good life live you?
Oceans touch shores, softly, gently, lilting, losing, tenderly into sleep

Peter Devonald is joint winner of FofHCS, Waltham Forest Poetry and Heart Of Heatons Awards. Published extensively, he has been nominated for the Forward Prize and the Best Of the Net. He is a Poet-in-residence in Haus-a-rest. 

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Categories
Slices from Life

Black Pines and Red Trucks

A narrative set against the 2020 impact of Californian forest fires, a community bent on healing the Earth and a travelogue with photographs by Meredith Stephens

The drive up the mountains to the town of Shaver Lake, California, continues to shock me, even though it has been three years since the 2020 fires. Where there formerly stood proud ponderosa pines extending into the sky, there are now barren mountains exposing charred tree trunks and the view beyond of granite boulders previously hidden. The bottom half of the mountain is scarred on both sides of the road, but the upper half is charred and desolate on one side and partially untouched on the other. As you ascend the mountain you notice gates announcing the entrance to where ranches once stood. Some have positioned a caravan or two on the site where their house was. Once you have passed through the town, at an elevation of almost six thousand feet, you notice a line of ponderosa pines adjoining a barren landscape indicating the point where fire-fighters saved the community.

As the Assistant Chief of the Shaver Lake Volunteer Fire Department, James and his team were saving Shaver Lake, while his own property further down the mountain was under threat. His wife Janet, also a fire-fighter, received a mandate to evacuate. Janet was reluctant to leave her home, but obeyed the order, and left with her two dogs. This was just as well, because their house and property were ravaged by the wildfire and she and her dogs would not have survived had they remained at home.

My partner, Alex, had been put into contact with James and Janet when the fires had begun ravaging the mountain in 2020. A mutual acquaintance sent an email to Alex at his home in Adelaide, Australia, asking whether he could offer his holiday house in Shaver Lake to James and Janet. Alex had been focussed on watching the nightly news of the fires back in Adelaide, and scrutinised the maps of the fires every evening to see whether they would engulf his holiday house. It was spared, so he was able to offer it to James and Janet. Alex was unable to visit California himself because of international travel restrictions during the pandemic.

Cluster of Baby Ponderosas

In 2023, Alex and I made the eight-thousand-mile trip from Adelaide to Shaver Lake. Once we arrived, we indulged in morning and evening walks on an undulating path through the ponderosa pines, Douglas firs, and cedars. The path was soft beneath our feet in the aftermath of rain the day before. There was a scent of pine which was immediately calming. In places it is fashionable to pursue ‘forest-bathing’, but here you can simply walk out of your back door and experience biophilia without having to consciously seek it out. 

Lupins alongside the Forest Path

Whenever I heard a rustle I half-expected to see a kangaroo, as I would have in Australia, but instead spotted squirrels hiding behind tree trunks, or a pair of deer cantering away from us as they heard our voices. The path was adjacent to a national park where hunters could hunt deer with a permit in the hunting season.

“When is the deer hunting season?” I asked Alex.

“Not until autumn.”

Phew! It was still late summer, so I needn’t have worried.

“Best wear a fluorescent top in the hunting season,” he advised.

Can you spot the deer?

When I chatted to residents further down the mountain, some said that they could not bear to rebuild their lives on their beloved mountain, such was the shock and devastation of their loss. They had left the site of their former home and relocated to the city of Fresno at the base of the mountain. Others, like James and Janet, have bravely rebuilt their house and are busily engaged in revegetation.

In August, 2023, James and Janet invited us to a fire-truck “push-in ceremony” at Shaver Lake, to celebrate the arrival of a new firetruck. We drove to the township the next day at three pm. The road was blocked by the flashing lights of the sheriff’s patrol cars. We turned back and parked the car, and then entered the township on foot. A crowd of well-wishers was cheering the volunteer fire-fighters, who were pushing the shiny new firetruck into its new home. They strained as they pushed it into the narrow confines where it will be housed. Once it was pushed in, the crowd cheered, and everyone was offered a free ice-cream.

James, Janet, and Cyclone.

I hope the firetruck remains shiny and new, and never has to confront smoke and flames, so that the people of Shaver Lake, the deer, the squirrels, and the ponderosa pines, can live in peace.

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Meredith Stephens is an applied linguist from South Australia. Her work has appeared in Transnational Literature, The Muse, The Font – A Literary Journal for Language Teachers, The Journal of Literature in Language Teaching, The Writers’ and Readers’ Magazine, Reading in a Foreign Language, and in chapters in anthologies published by Demeter Press, Canada.

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Categories
The Observant Immigrant

Climate Change: Are You for Real? 

By Candice Louisa Daquin

Courtesy: Creative Commons

In childhood I recall getting my coveted membership to Save Our Seas. I loved the sea and marine animals, and this seemed a meaningful way of helping from a child’s perspective. I recall reading Rachael Carsons famous books Silent Spring and The Sea Around Us at the same age and wondering how a book written in the sixties could be so prescient and why the subject was still under debate? If a ten-year-old can understand the message Carson had, of indiscriminate application of agricultural chemicals, pesticides, and other modern chemicals polluting waterways, damaging wildlife populations and causing health problems for humans, then why not adults?

It’s easy for a child’s mind to think those simple questions, not understanding the intricacies of what’s at play. Not least; politics, big business and money. These more than anything has dictated international policy, and it’s not science that sways policy, it’s influence. Vandana Shiva, an Indian environmentalist, is another such example of a prescient activist whose truth has been stifled in the march toward profit. Shiva, both physicist and social activist, founded the Research Foundation for Science, Technology, and Natural Resource Policy devoted to developing sustainable methods of agriculture. Shiva is contended; “Justice and sustainability both demand that we do not use more resources than we need. Uniformity is not nature’s way; diversity is nature’s way. We are either going to have a future where women lead the way to make peace with the Earth or we are not going to have a human future at all.”

Sadly, Shiva’s work is less known than companies like Monsanto  who are responsible for mass destruction due to putting profits before conscience in the selling of GMO[1] seeds that caused widespread bankruptcy, suicides and irreversible environmental damage. In 1995, the United States Environmental Protection Agency, EPA, listed Monsanto among the top 5 lethal corporations dumping toxic waste, as it was recorded dumping nearly 37 million tons of toxic waste, through air, water, and land. . It is unfathomable why such blatant atrocities should be permitted but our global history is littered with them.

Scientists have warned since the 1800s, where experiments suggesting that human-produced carbon dioxide (CO2) and other gases were able to collect in the atmosphere and insulate Earth (or its reverse) were met with more curiosity than concern. By the late 1950s, CO2 readings would offer some of the first data to corroborate the global warming theory. That it’s not if, but when, climate change will alter the way humans experience life on this planet, let alone wildlife and nature.

At one extreme we have the eco warrior who has valiantly tried to campaign and actively fight against human encroachment; in the middle, we have the skeptic who points to fluctuating weather patterns going back millennia and at the other extreme, there are the climate deniers who despite having children seem not to be concerned about the earth those children will inherit. There is proof that “Dating back to the ancient Greeks, many people had proposed that humans could change temperatures and influence rainfall by chopping down trees, plowing fields or irrigating a desert.”

If I sound biased it is because it’s a generally accepted fact that the earth isn’t just heating up, it is changing. The only issue under debate now is who or what is responsible, if anyone is, and how long do we have before things get really bad. Twenty years ago, people still mulled over whether climate change was happening, many believing it was just cyclical and sometimes it was, but there have been enough giant seismic changes in the last 40 years to put that doubt to rest. “Scientists have pieced together a record of the earth’s climate by analysing a number of indirect measures of climate, such as ice cores, tree rings, glacier lengths, pollen remains, and ocean sediments, and by studying changes in the earth’s orbit around the sun. This record shows that the climate varies naturally over a wide range of time scales, but this variability does not explain the observed warming since the 1950s. Rather, it is extremely likely (> 95%) that human activities have been the dominant cause of that warming.”  

Now if you turn on the TV, the nightly news is as much about weather as it is other things. Weather dominates our lives more than ever. Perhaps it’s ironic that ancient man would live or die by weather and we are now doing the same. The heyday of calm weather may have been slightly exaggerated but most people over 50 can attest that things weren’t quite as dramatic all the time, every year, as they appear to be now.

The harbinger of our behaviour in terms of polluting the environment has speeded up, something that may have been inevitable but could possibly have been avoided. The hardest part being that ‘developed’ countries such as America and Europe asked ‘developing’ countries to reduce their carbon and other emissions without really reflecting that they were as if not more guilty, relatively speaking, before they ‘saw the light’. To ask developing countries to leapfrog ahead in their development for the sake of the environment is coming from a position of privilege, having already polluted the world themselves first.

On the other hand, developing countries may struggle to reduce emissions because they are gaining traction in terms of improving quality of life for most of their population but are not there yet in terms of having the luxury to reduce emissions. It takes a lot of money, effort, commitment and determination to do this and for a country that is trying to improve its lot for its citizens this isn’t always their first priority, not to mention the patronising tone of developed countries demanding this be done. It is important to see this relationally which means understanding the difference in countries development and that some of those countries were abused and depleted of resources and kept ‘poor’ by conquering overlords who reaped the benefits and left them poor as a result. Those counties will struggle to climb out of the post-colonial model and that should be considered when judging them.

But we don’t have time. Despite know this beforehand, we did not do enough. In the late 1800’s, Swedish chemist Svante Arrhenius [1859-1927] wondered if decreasing levels of CO2 in the atmosphere might cool Earth. To explain earth’s ice ages, he considered if decreased volcanic activity could lower CO2 levels globally. Those calculations evidenced that if CO2 levels were halved, global temperatures may decrease by about 9 degrees Fahrenheit. From this, Arrhenius investigated if the reverse were also true; investigating what would occur if CO2 levels doubled. His results suggested global temperatures would increase by the same amount.  

By the 1980s global temperatures were going rapidly higher. So, climate-based experts use 1988 as a critical turning point when events placed global warming in the spotlight with extreme weather and increased public interest. Scientists, the UN and many others warned we were heading to a point of no return.

Turn on the news today and we seem to be there.

Even if we did everything right as a planet from now on, it would still be too late to repair the biggest climate change consequences. That doesn’t mean we shouldn’t try but it’s alarming to imagine we’ve let it become too late, though not surprising when you consider the apathy of world leaders to come together and make this happen.

UN Secretary-General António Guterres’ remarks to the General Assembly in March 2022 illustrates this: “Just last week, the Intergovernmental Panel on Climate Change issued an alarming report that showed climate impacts are already devastating every region of the world, but particularly developing countries and small island States.  The session considered the irreversible impacts of the climate crisis, which could render some parts of the earth uninhabitable.”  What does it mean for us? For the future generations if there are to be any? It means things we took for granted will change. Just as more animals are going extinct than ever before we also must look to history to give us an idea of what we might face in the near future.

Look how many times there have been huge seismic shifts in the earth? One example in particular is quite interesting. The Storegga Slide happened in approximately (600-BCE) and was the largest Paleo tsunami to hit Europe in the (Paleo) era. It altered the geography of Europe massively, causing England to break off from continental Europe from where Scotland was attached to Scandinavia. This was lost beneath the sea as a huge part of Scandinavia broke off and caused giant waves that poured over this fertile land and swallowed it whole.  

Climate deniers use these types of stories to explain away climate change as being a natural phenomenon but that’s inaccurate. Whilst significant and damaging things have occurred throughout history and will continue to, as scientists warned, it’s the number of disasters and changes occurring that count, not that they happen but that they happen with such regularity and severity. It’s been this hot before, but has it been this hot consistently and throughout the world for as long before? I was born in a year where there was freak heatwave but that’s just it, it was a freak heatwave.

Such things are natural in nature but not if its progressive or things keep happening one after the other. People assume if there is a cold winter then climate change can’t be real but that’s the funny thing, it’s the extremes of weather as much as heat, that are indicative of climate change. For every extraordinarily hot summer and burning Hawaii, there are extreme weather events in winter too as the planet falls out of a healthy cycle and is slowly losing its ability to nurture life like it used to.  

Does it mean we will become extinct? Or just that life will become harder and less places habitable? And hasn’t that happened before? Well, it has, in so much as once Africa was a grassland without drought and Europe was covered in ice. But when a planet first forms it’s likely to have extreme weather. As long as humans have been churning out chemicals that pollute the seas and mining the earth for its ore, we’ve accelerated and exacerbated those disasters. And just as it is believed a meteor killed off the dinosaurs and a virus might have killed off the Neanderthals it’s possible our actions will hasten our demise and at very least make life more unbearable.  

How? Along with viruses being more omnipresent than previously and antibiotic resistance, UV exposure and higher radiation have increased. The average human has more chemicals and formaldehyde and plastics in their body than at any other point in history. It affects our health, our reproduction and our longevity. Cancers hit the young more than ever before. We’re either over medicated or not able to afford medication. If global temperatures rose by 11 or 12 degrees, more than half the world’s population, as distributed today, would die of direct heat. The disparity between the ‘haves’ and the ‘have nots’ have exaggerated like in the feudal past. The idea we’re all middle class is a myth borne on ownership for technology rather than quality of life, which for many working two or three jobs to sustain their lifestyle, is hardly enviable.

The world is heading for a collision, and we are propagating this by a lifestyle we don’t seem capable of changing. If we label those who care about the environment as eco terrorists and pay football players millions whilst leaving nurses and teachers underfunded? Our priorities must be reflected in these things to have a trickledown effect in the future. If we can’t educate our children to understand that saving the planet isn’t just a day every year or a whim but must be a full-time effort, then what hope does the future possess?

ActNow is the United Nations campaign to inspire people to act for the Sustainable Development Goals and many other organisations like it fight against misinformation and seek to actuate these goals, but they’re often drowned out by lobbyists for special interests, such as the car industry, gas industry, fossil fuel industry, nuclear industry etc.

Just like in the fight against cancer, we need science to lead the way, that science which is not the influenced by special interest groups, like in the case of cancer, big-pharma and big-business. We need to take profit out of research and make it objective rather than tied to business, so it can be unimpeded to do what’s necessary. With cancer research, profit has stymied progress and stalled any meaningful change, instead people believe cancer is being cured by pharmaceutical promises, whilst more people than ever are getting cancer. Contrast this to climate change and if we don’t do the research into sustainable alternatives and ways to live into the future, there may be no future worth living for.

All hope is not completely lost of course. We always find ways, maybe one of them will be to go off world whilst another would be to live in Antarctica when it melts, provided the sea doesn’t swallow it. But what of the towns and cities by the coasts? What will that look like in 50 years? Maybe less. I think in my life time it is predicted that many of these places will be unliveable, beneath water, and whilst this has happened before it hasn’t happened to this degree. Yes, Venice has always been sinking and maybe NYC wasn’t built on the best land but everywhere else? And what will the displaced do? And how is space travel possible without a healthy earth?  

Those old enough can attest that the world seems to be burning and statistically with more people than ever on an already burgeoning planet in terms of resources. We seem to be wasting more food, yet more people are hungry in certain pockets of the world. We are growing hotter in some parts, colder in others, heatwaves represent an increasing threat to cities in both the Northern and Southern hemispheres. And it’s shifting agricultural production. Heatwaves are affecting colder countries too. A study states: “As illustrated by the example of Quebec, rising temperatures and heatwaves are an increasing hazard in countries of comparably cold climate as well as in warmer climates. According to a report published by UN Climate Change, higher temperatures due to climate change cause heatwaves which affect human health. For example, in Germany alone, the heatwave of 2003 resulted in nearly 7,000 deaths and many heat-related illnesses due to heat stroke, dehydration, and cardiovascular disease.”

Realistically many places in the planet are harder to live in, firstly because prices are pushed artificially high by unrelenting inflation but slower wage increases, people are often underemployed or expected to work longer hours for less pay if you consider the cost of living 50 years ago to now and relate that to increase in wages. On another level, people’s standards of living seem to improve in some areas, but again this is hard to gauge when you consider the divide between the very wealthy elite and the rest.

In America at least, displaced people’s flood through the borders and are hopefully given shelter and housing and opportunities but are they really better off than from the places they have fled? In some circumstances invariably, but for others, they may earn more but that money is swallowed by the higher cost of living; so, they’re not really better off. It’s an illusion to consider America as the land of the free or the American Dream, with so many living below the poverty line or just above it, which is negligible when you consider you may have slightly more money but you are thus not eligible for social assistance so you end up being as poor or poorer than those who do qualify for social assistance. This all relates to climate change because what incentive do people who are struggling to survive have, to help save the environment? Can you blame them? Shouldn’t we blame if we are to allocate blame, those who perpetuate poverty and turn a blind eye to its outcomes? Like former colonial countries who once having raped the land, decry its poverty, even as it’s the direct result of such pillage? Haiti being a great example of that.

Meanwhile the war machine grinds on and we pour money into that, to the detriment of climate change. Climate change is left for summits about but little changes. Countries make pledges but few are actuated and that’s without considering the lies that abound, or the cover ups of environmental disasters that are hushed up but have caused immeasurable harm. In 2017, the US Air Force used USD$4.9 billion worth of fuel; also, that year, the US military was responsible for 59 million tons of CO2 which is the same as total emissions of some industrialised countries like Switzerland or Sweden.

If we don’t even get the actual truth, how can we know the true extent of damage and our real part in it? Think of the nuclear disasters? That said, it’s understandable countries seeking to free themselves from fossil fuels would consider nuclear power, but how tenable is that when it depends upon people to function, what if those people were lost? Would the sites go critical and kill all survivors? Where do we safely store radioactive nuclear waste when it takes thousands of years to degrade even slightly? Just like those toxic super-dumping sites dotted throughout the planet, filling the seas with plastic and debris, we don’t think about the consequence of such dumping, only the immediacy of needing air conditioners.

Eventually fossil fuels will run out, but we haven’t found a tangible replacement. Electric car batteries don’t do well in heat, they also aren’t as durable in distance driving, cost a lot in using electricity which is still using resources, are prohibitively expensive and likewise with solar energy and wind energy. It seems there are downsides to all we’ve come up with so far, and whilst some progress is made with desalination of water to ensure clean drinking water and terraforming of previously uninhabitable land, is it enough to ward off the inevitable or does it mean those who already are rich, will be somewhat protected from the first consequences of planet earths deteriorating climate, whilst those without, will be the first to pay the price?

We’ve had so many canaries in the coal mine warnings from long before now, that none of this is news but people still en mass prefer not to think of it. When polled, voters in America usually do not put climate change in the top five concerns they have. The last few years this has changed, and that might signal a positive shift to taking climate change seriously, but it’s a bit late. Things can be done to shore up some of the fragile resources, but it will take a sustained commitment. How can that happen if majority of politicians’ are more focused on power and money than true change, renewable energy that works and a consensus that if we do nothing, we only have ourselves to blame? We have to change politics, policies and education if we hope to have a meaningful impact long term.

If we replace jobs with AI and technology as we are doing, how will people afford to improve their lives and make significant change? Everything is interconnected, it all matters, but we have to care, and being distracted by technology and super stars isn’t the answer. Why can’t an eco-warrior be a hero as much as a basketball player? We must keep trying. As Dr. Vandana Shiva is quoted as saying; “I do not allow myself to be overcome by hopelessness, no matter how tough the situation. I believe that if you just do your little bit without thinking of the bigness of what you stand against, if you turn to the enlargement of your own capacities, just that itself creates new potential.”

[1] Genetically Modified Organism

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Candice Louisa Daquin is a Psychotherapist and Editor, having worked in Europe, Canada and the USA. Daquins own work is also published widely, she has written five books of poetry, the last published by Finishing Line Press called Pinch the Lock. Her website is www thefeatheredsleep.com

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Categories
Poetry

Global Warming in Verse

Poems by Michael Burch

The King of Beasts in the Museum of the Extinct

The king of beasts, my child,
was terrible, and wild.

His roaring shook the earth
till the feeble cursed his birth.

And all things feared his might:
even rhinos fled, in fright.

Now here these bones attest
to what the brute did best

and the pain he caused his prey
when he hunted in his day.

For he slew them just for sport
till his own pride was cut short

with a mushrooming cloud and wild thunder;
Exhibit "B" will reveal his blunder.


After the Poetry Recital

Later there’ll be talk of saving whales
over racks of lamb and flambéed snails. 


Evangelical Fever

Welcome to global warming:
     temperature 109.
You don’t believe in science,
     but isn’t the weather Divine?


God to Man, Contra Bataan

Earth, what-d’ya think of global warming?
Perth is endangered, the high seas storming.
Now all my creatures, from worm to man
Know how it felt on the march to Bataan.

Michael R. Burch’s poems have been published by hundreds of literary journals, taught in high schools and colleges, translated into fourteen languages, incorporated into three plays and two operas, and set to music by seventeen composers.

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Categories
Poetry

Nature Poems by Jared Carter

Morels. Courtesy: Creative Commons
              MORELS

(In temperate regions of the northern hemisphere,
over seventy species of the highly prized
mushroom, Morchella, may be found)


This is the way, through apple trees
          gone wild – on past
The ruined church, where branches seize
          and catch – at last

An opening in the fence. We
          come every spring
Along a path that gradually
          bends ’round, to bring

Us back to what, still hidden here,
          not far below,       
Occasionally will reappear
          in the patched snow.

             SHORELINE

Then in late winter, after rain
          has swept the sea,
And neither presence can explain
          the mystery

Of sand unblemished, or of waves
          that wander there,
Though nothing follows, nothing saves
          those margins where

Half circles fade. As from a dream,
          a ragged frond
Of seaweed surfaces, and gleams,
          and then is gone.
Courtesy: Creative Commons

Jared Carter’s most recent collection, The Land Itself, is from Monongahela Books in West Virginia. His Darkened Rooms of Summer: New and Selected Poems, with an introduction by Ted Kooser, was published by the University of Nebraska Press in 2014. A recipient of several literary awards and fellowships, Carter is from the state of Indiana in the U.S.

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Categories
Review

The Story of an Incredible ‘Lightman’

Book Review by Bhaskar Parichha

Title: The Wizard of Festival Lighting – The Incredible Story of Srid

Author: Samragngi Roy

Publisher: Speaking Tiger Books

There are two things that make this book interesting. Firstly, it is the story of a man who decorated lights during festivals and got worldwide fame for what he did. Secondly, the author of the biography is a young writer. The Wizard of Festival Lighting: The Incredible Story of Srid is written by the protagonist’s granddaughter, Samragngi Roy, who published her debut novel, a young adult fiction in 2017.

Nevertheless, what makes this book stand out most is its unconventional theme. History is presented innovatively in this 352-page book, and folklore is at the center. Just like Durga puja can’t be mentioned without Kolkata, Jagatdhatri puja can’t be mentioned without lighting. This isn’t just West Bengal’s festival history, but India’s. Here’s how one man conquered the world through his vision. Documents like this are historical.

The blurb reads: “Eleven year old Sridhar was fascinated by light. Growing up among a dozen siblings in a mud cottage in Chandannagar in West Bengal, he longed to create something beautiful. A school dropout who never studied beyond Class Eight, he taught himself about lights and electricity by doing odd jobs at an electrician’s shop—an act that earned him a severe beating from his father. In spite of his family’s opposition, he grew up to become a celebrated light artist and inventor, setting new standards for festival lighting and pioneering new techniques.”

Recalls Sridhar “In 1968, when I was hired by the Bidyalankar Puja Committee for the purpose of providing street lighting, I had volunteered to additionally decorate the banks of our old pond too for three primary reasons. Number one, I had grown up next to it. Number two, it had been the source of some of our most sumptuous meals in childhood. And number three, it had been the setting for several of my childish shenanigans.

“However, when the lights glowed around the pond after sundown, the space enclosed by the banks of the pond looked extremely empty. But of course, I couldn’t have done anything about it because the enclosed space contained nothing but neck-deep water. That’s when I first contemplated the possibility of making lights glow under water and laughed at myself for being so impractical.”

The narrative continues: “So, I closed my eyes, muttered a quick prayer and used my stick to smash a glowing lamp. Then I waited for the impact. There was none that I could feel. My muscles, which had been tense and stiff all along, slowly relaxed. Parashuram and I looked at each other, and my gentle nod was met with a happy little jig that he performed on the steps of the ghat, bursting with excitement. But then the idea stuck with me for a while and what had seemed impossible in the evening had started to seem like an idea worth giving a shot by the night. I wasn’t even sure if the idea was feasible since it was unprecedented.”

Sridhar Das’s work received great acclaim throughout the world. His work has been exhibited in the Festival of India in Russia, Ireland, Los Angeles and Malaysia. The cover of the book is based on his exhibit in the Thames Festival in London — his famous illuminated peacock boat in three dimensions.

As a result of his fame and commitment to work, Sridhar, along with those closest to him, suffered from a variety of issues. His wife had to combat illness and loneliness to care for the family, leaving her husband free to forge his own path. His daughter grew up with her famous father largely absent. The telling encapsulates the true story of his meteoric rise, as well as his family with an unflinching exploration of what his meteoric rise cost him. 

The story, poignantly related by his granddaughter, is both a subtle portrait of a complex individual and an affectionate tribute to a grandfather loved by his grandchildren. It takes readers back to vanished times, and introduces them to a man who pursued his dreams and created his own field through sheer determination. 

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Bhaskar Parichha is a journalist and author of Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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