“When times are hard, like they are now, what’s the use of knowing stuff?”
— the end of Cixin Liu’s Of Ants and Dinosaurs (Trans. Elizabeth Hanlon, (London, UK: Head of Zeus, 2020), 248).
OPERATION LEGEND: “a sustained, systematic and coordinated law enforcement initiative across all federal law enforcement agencies working in conjunction with state and local law enforcement officials to fight the sudden surge of violent crime.”
MEETS
Wall of Moms
Portland
…although involuntary hospitalisation and treatment is deemed to violate an individual’s civil rights in the US, running for president would seem to meet the conditions of posing a danger either to themselves or others in order to be held for evaluation…
“Police said they have recovered 420 bodies from streets, vehicles and homes in [Bolivia’s] capital of La Paz, and in [its] biggest city, Santa Cruz, in the span of five days. Between 80 percent and 90 percent of them are believed to have had the virus.” — from here.
…winding up business:
For those who might have thought a drug to treat COVID-19 might have a value beyond measure, no. That its value is capable of measure is a measure of its value.
COVID-19 presents–and is presented by the Guardian article breaking news of the breakthrough–an unprecedented (the article says there ought to be a stronger word) opportunity … to make money.
This is not turning others suffering into profit, profiting off others’ suffering, as the soul is said to off the body, as the body is said to turn the soul’s suffering to its own profit, but a profitable speculation on turning the suffering of others around, profiting off the prospect of the positive outcome of their future health.
You can read it for yourself and make sense of what kind of breakthrough is being celebrated here.
…
Have you been wondering about representation? American critics have been pointing out the debt–suppressed–still owing–20th century dance in the West owes to Africa, and in America, black dancers.
This is not any kind of reciprocation, payment or token but look at Pina Bausch’s Rite of Spring being prepared for a tour that with COVID-19 didn’t happen:
…
Evening. I have been reading about von Zemlinsky in a poem by John Ash. The first part dwells on or in this word evening in English, German and Turkish. Ash has adopted Istanbul as his home city. I wonder how he feels about the Hagia Sophia, about Erdoğan leading the first prayers–at least in the front row of bent over figures, for the camera op–since it has become a mosque and is no longer a museum. Did I imagine him wearing a mask? Erdoğan that is.
What does it mean for the Hagia Sophia to become a mosque? has it reverted to being a mosque? is this a reversion or is this progress? and if progress to what far horizon are we bound? and we might even ask so literally.
I have been following Tim Mackintosh-Smith in the footsteps of Ibn Battuta. He stops in Turkey, second leg of the journey, in three episodes [1, 2, 3]. The Hagia Sophia is a place when our documentarian visits that epitomises the interpenetration of Christianity and Islam in its architecture–high above the heads of those bowed in prayer now, are images, not so much graven as mosaic, Christian icons.
Strange to have seen that the Hagia Sophia twice in very different circumstances so recently.
Von Zemlinsky is yet to reappear. Or perhaps he has pre-appeared.
Besotted with the Alma who wed Mahler and on Mahler’s death married Gropius, of Bauhaus–of the building, incidentally we used regularly to visit of an evening in Berlin, evenings spent following the Wall in its nearby span through our neighbourhood of Kreuzberg–he, von Zemlinsky, held himself to be so ugly he could not bear the sight of himself. A dwarf. And writes Ash, how many of these giants of the Western musical canon were short: Berg towered over most of them. Stravinsky. Mahler himself. Schönberg. Von Zemlinsky, the dwarf.
Where would he have pre-appeared but in the poetry of Bolaño? where there’s always a dwarf, and a hunchback, like he inhabits a Tom Waits song.
There exist slow-acting déjà vu. Perhaps I am yet to hear von Zemlinsky’s 4th Quartet, to have tears–what does Ash say?–dashing from my eyes? Unless I … and haven’t we all imagined we would sooner or later meet this criterion … have not the heart, not the sensitivity, cannot feel, do not understand the musical language, have lost the sense of its symbolic relatability? have been rendered with the rest of these generations who are now living deaf to it? We might not be falling into hyperbole to ask whether this is not a deafness or an intellectual dwarfism, a dullness that afflicts the whole of our civilization. And what would it mean if it did?
My friend–long distance–by email–but I hope she does not mind that I name her as a friend–Aliette Guibert-Certhoux liked to say we have lost in the West a common symbolic frame of reference–we have lost the Symbolic. She includes among her own friends Guy Debord and Baudrillard.
She wrote very movingly on the death of Baudrillard he was a favourite of the nurses, the old … I was about to write roué, and, as I am lacking acute accents within easy reach, I looked up the word. We know that a roue is a wheel. What roué refers to is the wheel which would be the punishment for a debauchee, for all those litanised by the #metoos: he would be broken on a wheel.
Does this make any sense?
The wheel. The Wall of Moms. The #metoos.
I was surprised that an Australian feminist thinker could not countenance–that means face–the late Irigaray. She would only consider the early Irigaray. Not the Irigaray of the evening who wrote so strongly it is perhaps only a true understanding of sexual difference that will, that can, save us.
And Oscar Wilde? will it also save Wilde? … He enters the poem of Ash, by way of “The Birthday of the Infanta.” And this pre-appearance is so striking I have to quote what it turns up, noting first that it handles of a dwarf hunchback:
“The Dwarf mistakenly believes that the Infanta must love him, and tries to find her, passing through a garden where the flowers, sundial, and fish ridicule him, but birds and lizards do not. He finds his way inside the palace, and searches through rooms hoping to find the Infanta, but finding them all devoid of life.
“Eventually, he stumbles upon a grotesque monster that mimics his every move in one of the rooms. When the realisation comes that it was his own reflection, he knows then that the Infanta did not love him, but was laughing out of mockery, and he falls to the floor, kicking and screaming. The Infanta and the other children chance upon him and, imagining it to be another act, laugh and applaud while his flailing grows more and more weak before he stops moving altogether. When the Infanta demands more entertainment, a servant tries to rouse him, only to discover that he has died of a broken heart. Telling this to the Infanta, she speaks the last line of the story ‘For the future, let those who come to play with me have no hearts.'”
You see? It is as we feared.
