Daydreams & Nightmares

** actions have consequences.

The Power of Nightmares is a 2004 documentary made and produced by Adam Curtis. It explores the origins of contemporary Islamic fundamentalism. Curtis draws parallels between it and Neo-conservatism in America and then considers the impact of both. It consists of three parts:

01. — It’s Cold Outside
02. — Phantom Victory
03. — Shadows in the Cave

Anti-capitalism_color—_Restored
Life’s a Layer cake.
Banksy---Visitors-not-welcome
Them & Us
Divided-we-stand---United-we-fall
Divided we Fall /
United we Stand //

but what about individuality¿?¿ ‘What’ indeed!


Oh So You Kay:

“Yes Minister”
— Classic British political satire.
The Thick Of It
“The Thick of It”
— Political satire at it’s very best.
The Mash Report
“The Mash Report”
— Contemporary political lampooning.

Mayday, ((m’aider))

venez m’aider (“come and help me”)

The Handmaid’s Tale stresses the importance of reading to our freedom…

This book is usually, and quite rightly, placed in the same category of dystopian fiction as Nineteen Eighty-Four and Brave New World, but has a particular focus on the tyranny of patriarchy (the Aunt’s being the lapdogs so to speak). **I do though get confused by Offred because, well, yes you’ve gotta adapt to survive, but she seems somehow accommodated to her trysts with Commander fRed and in to her dalliances with the driver. What happens to Molly? how exactly did her daughter get wrested from her bosom up by the cold river?** The book’s ending pleasingly open-ended, because come on — dear J — there ain’t no such thing as black — 000000 — and white — FFFFFF. __Context — our sub-text & reading in between the lines my Only.One — is everything; ain’t it m8? Atwood stresses this by emphasising how changes in context impact upon behaviours and attitudes. We read the phrase “Context is all” in the book several times: Think scramble. And yeah, I loved it how our Ofred believed that she’d won round one and let him take the second, but after several “games nights” realised his superiority at this particular board game.__

… it also stresses the trap that academics may fall into: the risk of misreading and misunderstanding historical texts.

Snippets


There is more than one kind of freedom. Freedom to and freedom from. In the days of anarchy it was freedom to, now you are being given freedom from. (p. 24)

⁓Total Control⁓


Men are sex machines, said Aunt L, and not much more. They only want one thing, you must learn to manipulate them. Lead them around by the nose, this is a metaphor. This is nature’s way. (p. 143)

⁓Total Control⁓


So there it was. Out in the open: his wife didn’t understand him. That was what I was there for then. The same old thing. It was too banal to be true. (p. 156)

⁓Total Control⁓


The moment of betrayal is the worst, the moment when you know beyond any doubt that you’ve been betrayed: that some other human being has wished you that much evil. (p. 193)

⁓Total Control⁓


“Nature demands variety, for men” he says. “It stands to reason, it’s part of the procreational strategy. … Women know this instinctively … they buy so many clothes to trick the men into thinking they are several different women.” (p. 239)

⁓Total Control⁓

B02BACD9-6C87-42CC-AA9A-FA6A6FCA7008
George Orwell’s “1984” is often juxtaposed with fellow English author, Aldous Huxley’s “Brave New World”

Who controls the past controls the future /
Who controls the present controls the past.


p. s.

“Mayday, mayday, mayday”
Mayday is an emergency procedure word used internationally as a distress signal in voice-procedure radio communications. The “mayday” procedure word was originated in 1921, by a senior radio officer at Croydon Airport in London. The radio officer—one Frederick Stanley Mockford—opted for “mayday” from the French m’aider (“help me”)—a shortened form of venez m’aider (“come and help me”)—because he had a thing at that time for a fine young thing from Paris.

My hero: George Orwell by Margaret Atwood
I grew up with George Orwell. I was born in 1939, and Animal Farm was published in 1945. I read it at age nine. It was lying around the house, and I mistook it for a book about talking animals. I knew nothing about the kind of politics in the book – the child’s version of politics then, just after the war, consisted of the simple notion that Hitler was bad but dead. To say that I was horrified by this book would be an understatement. The fate of the farm animals was so grim, the pigs were so mean and mendacious and treacherous, the sheep were so stupid. Children have a keen sense of injustice, and this was the thing that upset me the most: the pigs were so unjust. The whole experience was deeply disturbing, but I am forever grateful to Orwell for alerting me early to the danger flags I’ve tried to watch out for since. As Orwell taught, it isn’t the labels – Christianity, socialism, Islam, democracy, two legs bad, four legs good, the works – that are definitive, but the acts done in their names. Read on…

Lust and Lambast
A hand left poignantly unshaken; a republican party, quite unstirred.

Writing concisely is not my style yet, as column inches for anything other than celebrity gossip, consumer reviews and self-help are now such a precious commodity, I must be succinct. Even if I were allowed to go wild with the word count, it would probably demonstrate only the validity of the Law of Diminishing Returns. Nowadays smartphone shortened attention spans need to be taken into account. In order to gain wide readership on matters of current affairs, being parsimonious with prose is a necessity. Gone are the days when waxing lyrical in verbose flowery language on issues of international political economy was considered a mark of distinction. Read on…

Selfish {self.E}

The Century of the Self

The Century of the Self is a 2002 documentary made and produced by Adam Curtis. It considers the rise of psychoanalysis as a powerful mean of persuasion for both governments and multinational corporations. It consists of four parts:

01. — The Happiness Machine
02. — The Engineering of Consent
03. — The Policemen Inside our Heads
04. — People Sipping Wine

English dogs

Quite why the British love dogs so much I dunno, maybe it’s cos they like to boss people around — dear reader I joke! I’m a proppa anglophile. Dogging is one thing (I’ll let you look up this pastime yourself) but, what’s it mean to be called a “poodle” or a “lapdog”?

Private Eye
Private Eye — subtext: The U.K.’s Prime Minister is a ‘control freak,’ he only appoints Ministers who will agree with whatever he does or says.

Poodle
[insult]
In politics, “poodle” is an insult used to describe a politician who obediently or passively follows the lead of others. It is considered to be equivalent to lackey. Usage of the term ‘poodle’ is thought to relate to the passive and obedient nature of this breed of dog.

Lapdog
[insult]
A weak person who is controlled by someone else.

Here’s one more but it’s Chinese in origin:

Running dog
[insult]
This is a pejorative term for a person who unquestioningly helps more powerful people. It is like being called a ‘yes-man’ or a ‘lackey.’ Usage of the term ‘running dog’ is thought to relate to the tendency of dogs to ‘blindly’ follow after humans in the hope of receiving food or a favour of some kind (e.g., shelter or a pat on the back).


FOOTNOTES

More Private Eye covers etc.

Political satire
Subtext: The U.K.’s PM is being pulled in two different directions.

Man Alive!

(i.e., Good Lord!)

Oh My Word! All day I’ve been racking my brain to recall the name of a poem me and my man did analyse a semester or two ago. I actually wrote a post about this memory lapse earlier on today: Within the hour /, see how I began,


I’ll not lie… the poem that is obsessing my thoughts now… its name I cannot recall.

Well as the British do say in a non-literal way, “fuck me!” The poem I’ve been hunting is called: ‘The Lie.’ It was there in plain sight ( { [ Lie ] } ), it was on the tip of my tongue but my brain didn’t allow me to know so ( { [ LIE ] }.

The Lie


Go, soul, the body’s guest,
Upon a thankless errand;
Fear not to touch the best;
The truth shall be thy warrant:
Go, since I needs must die,
And give the world the lie.

Say to the court, it glows
And shines like rotten wood;
Say to the church, it shows
What’s good, and doth no good:
If church and court reply,
Then give them both the lie.

Tell potentates, they live
Acting by others’ action;
Not loved unless they give,
Not strong but by a faction.
If potentates reply,
Give potentates the lie.

Tell men of high condition,
That manage the estate,
Their purpose is ambition,
Their practice only hate:
And if they once reply,
Then give them all the lie.

Tell them that brave it most,
They beg for more by spending,
Who, in their greatest cost,
Seek nothing but commending.
And if they make reply,
Then give them all the lie.

Tell zeal it wants devotion;
Tell love it is but lust;
Tell time it is but motion;
Tell flesh it is but dust:
And wish them not reply,
For thou must give the lie.

Tell age it daily wasteth;
Tell honour how it alters;
Tell beauty how she blasteth;
Tell favour how it falters:
And as they shall reply,
Give every one the lie.

Tell wit how much it wrangles
In tickle points of niceness;
Tell wisdom she entangles
Herself in overwiseness:
And when they do reply,
Straight give them both the lie.

Tell physic of her boldness;
Tell skill it is pretension;
Tell charity of coldness;
Tell law it is contention:
And as they do reply,
So give them still the lie.

Tell fortune of her blindness;
Tell nature of decay;
Tell friendship of unkindness;
Tell justice of delay:
And if they will reply,
Then give them all the lie.

Tell arts they have no soundness,
But vary by esteeming;
Tell schools they want profoundness,
And stand too much on seeming:
If arts and schools reply,
Give arts and schools the lie.

Tell faith it’s fled the city;
Tell how the country erreth;
Tell manhood shakes off pity
And virtue least preferreth:
And if they do reply,
Spare not to give the lie.

So when thou hast, as I
Commanded thee, done blabbing–
Although to give the lie
Deserves no less than stabbing–
Stab at thee he that will,
No stab the soul can kill.

— Sir Walter Ralegh

This is sublime, fucking sublime. At first I thought what the fuck’s going on here, but — as we say — step by step, it all became clearer and clearer and then dearer and dearer to me. As I say here:


Literature, like other forms of cultural production, is not created in a vacuum. It is created in a specific context (time, place, and situation), and therefore it is a product of specific historical, cultural, and social circumstances. …it is widely argued that without an understanding of the given text’s social, cultural, and historical context the experience and significance of the work may well be diminished.

In short, this poem is about betrayal, about how everyone turned on Walter as he was imprisoned in the Tower of London. Luckily for us, for posterity they allowed him to have and use pencil and paper whilst he awaited mortem eius.


p.s.

“Wracking” or “Racking” Your Brain?
If you are “racked” with pain or guilt or you feel nerve-racked, you are feeling as if you were being stretched out to snapping point on a medieval instrument of torture: the rack. It isn’t surprising that ‘rack’ was adopted as a verb meaning to cause pain and anguish. You rack your brains when you stretch them vigorously to e.g., remember the name of a poignant poem. On the other hand, “wrack” has to do with ruinous accidents — meaning “to ruin or wreck” it is recorded in print from the 1560s onward and initially it specifically meant “to be shipwrecked.” — so if the stock market is wracked by rumours of imminent recession, it is wrecked. n.b., if things are wrecked, we can say they’ve gone to “wrack and ruin.”

“Did I do that? Did I say that? Yes, yes I confess!”