THIS bullshit again?

Premier Chris Minns says Newcastle Writers Festival ‘crazy’ to invite author Randa Abdel-Fattah

New South Wales Premier Chris Minns says the Newcastle Writers Festival is “crazy” to invite Palestinian-Australian author Randa Abdel-Fattah to speak, after she was removed from a similar event in Adelaide.
Dr Abdel-Fattah was uninvited from Adelaide Writers’ Week, part of the Adelaide Festival, last month after pressure from the South Australian government.
That decision set off a chain of events resulting in the resignation of the Adelaide Festival’s entire board, and the writing event being cancelled.
Mr Minns said on Friday he did not agree with the Newcastle Writers Festival’s decision to book the author, but he would not intervene.
“I don’t know why these organisations do it,” he said.
“I think they are crazy to invite that author when you think about how divisive it is, and how difficult it would be for the organisation as a result of the notoriety.”

To give him credit, Minns does seem to be handling the situation differently to Peter Malinauskas, at least insofar as I can see he hasn’t mentioned Bondi yet. And, to be sure, the event organiser has also said that Minns hasn’t put pressure on them to cancel Abdel-Fattah’s invitation and that they wouldn’t be doing so… but whatever, apart from that, it shows that not many lessons have been learned from the Adelaide debacle, especially when it comes to, frankly, not looking like you’re specifically targeting this individual AGAIN for the heinous crime of having a Palestinian background (I mean, I don’t know that Randa Abdel-Fattah is necessarily a great or even good person as such, but her ancestry does seem to be the problem people have with her as much as anything she’s actually said)… and the timing could’ve been better given that Israel’s president Isaac Herzog—who holds all Gazans responsible for the October 7 attack and said it was their fault for not overthrowing Hamas—is coming to town, though whether or not that’s the work of the festival or of Minns I don’t know. Either way, nice to see we’re still “avoiding” divisive debates in this country…

Still “avoiding” divisive debate

The repercussions of the horror at Bondi Beach last month have reached all the way to Adelaide, with the cancellation of the Adelaide Writers’ Week after the latter disinvited a Palestinian author, Randa Abdel-Fattah, and invoked Bondi in doing so; a bunch of other authors (from here and abroad) withdrew their own RSVPs in support of her and several board members quit, and finally Louise Adler, the director of AWW, resigned and today the whole thing was duly called off. It should be noted that Louise Adler is Jewish and objected to Abdel-Fattah’s removal from the invite list.

Who, then, is actually to blame for all of this shit? Well, this writer has an idea:

Premier Peter Malinauskas has repeatedly insisted that he bore no influence over the board’s decision to drop Abel-Fattah. He reminds us that, legally, he cannot issue directions to the board – but that he did give the board his written opinion that Abdel-Fattah had no place at the festival.
Far from keeping an arm’s length, however, the Premier has led the public charge at every stage. If the move to overrule Adler and dump Dr Randa Abdel-Fattah was the board’s alone, why did it go to ground while the Premier mounted a well-prepared media offensive to defend the decision and discredit Abdel-Fattah?
If it was the board’s decision, why did all its members resign, choosing to walk away from their duty of care to artists, audiences and festival staff less than two months from opening night?
Whatever the true circumstances behind the decision, it’s also surprising to see the Premier forcefully back a move that so plainly risked plunging Adelaide’s famous – and economically vital – ‘Mad March’ into crisis, especially after the state government has spent months fighting to save South Australia’s tourism industry in the face of a damaging algal bloom crisis.

And Louise Adler also mentions Malinauskas:

In 2023 AWW programmed a handful of sessions devoted to contemporary Palestinian writers. Propagandists leapt to exhume, misrepresent and misquote social media posts to cultivate the conditions for cancelling writers. The South Australian premier, Peter Malinauskas, took exception to one writer’s tweets, expressing his personal distaste, as was his right as a citizen in a democratic country.
It was heartening then to listen to his subsequent speech to a packed Town Hall audience. He shared his thinking about the arts, their role in society and the responsibility of the government of the day. He confessed that he had thought of withdrawing our funding. And he concluded that if “politicians decide what is culturally appropriate … it leads us to a future in which politicians can directly stifle events that are themselves predicated on freedom of speech … it’s a path that leads us into the territory of Putin’s Russia”.

By his own acknowledgement, though, Malinauskas specifically said “the state government” didn’t want Abdel-Fattah at the festival. That’s a bit more than merely “personal distaste”. And maybe he can’t actually order the board about what to do and all that, but specifically invoking the government like that could be read as trying to lean on the board to do a certain thing at least. Anyway, the Adelaide festival board has been restocked and it’s going ahead as scheduled, just without the writers… and without at least some of what credibility it had. Remember, the bullshit over Khaled Sabsabi was just last year, it’s not even quite twelve months since that began; seems Australia is in no danger of learning how to do deal with Middle Easterns creators in any hurry…

Gone to the gods

Erich von Däniken finally abandoned this planet the other day at the fairly good age of 90. Don’t know if I was aware that he’d still been with us up to now, but if I was it was pretty dimly… apparently he remained fairly popular in Europe long after Anglophone readers started losing interest in him during the 80s, and his frankly dubious influence will no doubt linger longer than it should. How dubious? Well

“The evolutionists say that man descends from monkeys. Yet who has ever seen a white monkey? Or a dark ape with curly hair such as the black race has?”
“Were the extraterrestrials able to opt between different races from the beginning? Did they endow different human groups with different abilities to survive in different climatic and geographical conditions?”
”Today it is assumed that primitive men had dark skins.”
“Was the black race a failure and did the extraterrestrials change the genetic code by gene surgery and then programme a white or a yellow race?”
“Nearly all negroes are musical: they have rhythm in their blood.”
“I quite understand that I am playing with dynamite if I ask whether the extraterrestrials ‘allotted’ specific tasks to the basic races from the very beginning, i.e. programmed them with special abilities.”
“I am not a racialist… Yet my thirst for knowledge enables me to ignore the taboo on asking racial questions simply because it is untimely and dangerous… why are we like we are?
“Once this basic question is accepted, we cannot and should not avoid the explosive sequel: is there a chosen race?”
“A black family emigrates from its home in the tropical zone of the earth and settles in a cooler region. Pigments change down the generations, dark skins become light, perhaps so light, the negroids become white. Dark skin, say the racial specialists, no longer being necessary as a protection against the sun. OK, but in his new environment the black man would also have to lose his curly hair, his prominent dark eyes and protruding lips, otherwise he could never become a white man. But it’s all quite simple, someone will tell me. The black breeds with a white and there you are…”

That’s a series of quotes from von D.’s 1979 book Signs of the Gods collected by his “nemesis” Jason Colavito; I’ve often seen it said that the whole ancient astronauts thing and its later Graham Hancock-type lost civilisations variant relies on frankly racist assumptions and, well, Erich was clearly not above expressing some of those outright. I have my own issues with Jason Colavito (particularly his assertion that the ancient astronauts scene von D. popularised really stemmed from H.P. Lovecraft by way of Pauwels & Bergier’s Morning of the Magicians; whatever their own assertions about their fondness for HPL, they actually barely mention him in that book and spend a lot more time on Charles Fort), but he is right to call this bullshit out. In his own words:

Von Däniken asserts that the “extraterrestrials did choose a specific race.” He won’t say what that race is, but he leans heavily on Jewish claims to be the chosen people, which we have just seen him connect to the white (European) race. There can only be one conclusion, even if unstated. He then advocates eugenics, suggesting that modern genetic research will advise which combinations of races “are beneficial and which should be eliminated.” He seriously asks whether the aliens want “strict segregation” of the races, and he advocates human cloning to perpetuate the very best superior specimens in the event of disaster.
We know from documents I obtained from the National Archives that in these years von Däniken secretly tried to influence the U.S. Republican Party to use his alien theories to energize voters to support conservative politics, particularly in opposing creeping socialism. We also know from his recent books that he remains uncomfortable with changing gender norms, writing as he did in 2009’s Twilight of the Gods that if Islamic prophecy were correct the world would have already ended because “women act like men and the men act like women.”
Also in that 2009 book, Erich von Däniken decried efforts to link him to racism: And suddenly Erich von Däniken is associated with idiotic racists, as if the ‘heavenly seed’ were my idea and I had made up the ‘chosen ones’ myself.” Well, I think that the racism claim has a bit more to it than that.

Parenthetically I was very interested to discover last night that when Chariots of the Gods? was finally published in 1968, it had actually been heavily rewritten by von D.’s editor, one Wilhelm Roggersdorf, a movie screenwriter who was also known as Wilhelm Utermann, under which name he had worked a few decades earlier at the Völkischer Beobachter… also known as the official newspaper of the Nazi Party in Germany from 1919 to 1945. For whatever it may be worth…

Punk is old

Happy slightly belated 50th anniversary to Punk magazine, which apparently first burst onto the world on January 2nd 1976. The term “punk” had been circulating for a few years but mostly in relation to 60s garage rock; I gather Punk was a big player in drawing attention to a certain contemporary scene in New York (and other US cities and, lest we forget, Australia) that had been percolating around that time and the term “punk” being used to describe that new music. Plus it wound up originating thousands of print followers of its own. I wonder if messrs Holmstrom and McNeil ever thought that music would become a kind of “classic rock” in the way that certain strains of 60s and earlier 70s rock became thus enshrined during the 80s, though…

Lyndwulf

John Coulthart features an interesting edition of Beowulf at his blog today, this being a 1939 edition illustrated by Lynd Ward

I admittedly haven’t seen much of Ward’s stuff, and what I have seen has only been his b/w woodcuts; I think this is the first time I’ve seen him in colour. I should note I haven’t just nicked this from John’s blog post, cos he rarely if ever posts large versions of stuff; instead I nicked it directly from the Internet Archive scan of the book that he links to, whence I got larger versions of the colour illustrations. John also notes:

It’s also possible to read the poem itself, although I wouldn’t advise it with this translation by William Ellery Leonard, not when it begins so risibly with the words “What ho!” Beowulf famously opens with a declaration in Old English—”Hwæt!”—that bards would have shouted to gain the attention of their audience. The word doesn’t translate easily to contemporary English but it’s usually given as “Hear!” or “Listen!” Leonard’s “What ho!” is a phrase that belongs with Bertie Wooster.

Woof. The only W.E. Leonard work I’m otherwise familiar with is his translation of Lucretius’ De rerum natura, which I did not particularly like and I don’t think that was entirely Lucretius’ fault (even though I do find the whole concept of didactic verse of that sort frankly bizarre), I recall Leonard’s translation doing some contortions to the English language that were just… off-putting. Don’t think I’m into what I read of his Beowulf while getting these illustrations, either; keeping the appearance of the Anglo-Saxon verse with the caesura in the middle, but not the alliteration structure or the four-beat pattern (turning it into hexameters which I’ve never liked in English verse), and then making the line ends rhyme which English alliterative verse generally just didn’t do, all strikes me as a bit of a bastardisation. Still, the illustrations are pretty cracking, and I give you some of my favourites (click to enlarge, obviously):

When the war was over

Male magazine from 1951 (via). The most notable thing about this cover, of course, the casually tossed off reference to the end of World War III. Nice of “science” to tell us it would end in 1966, but I can’t help but feel it would’ve been more helpful to tell us when it would start… I mean, for all Male‘s readers knew, it could’ve started as soon as they finished reading about the mysterious seemingly immortal chap, and then dragged on for another fifteen years…

Ten cents feels like too much…

I don’t know, I feel like this is a bad title for a book at any time, but especially coming from 50-something reverend Billy Graham in 1969 (apparently when it was published). Mind you, I don’t see it in the list of books in his Wiki entry, so I don’t know if it just got left off the list or is another book retitled. Whatever the case, something about this thing gives me the ick…

In that order?

I know these magazine covers were meant to be kind of eye-catching, but this one really scored on that point… “BEHEADED AND CASTRATED ALIVE” (in big white capitals that stand out strongly from the other headers)? In that order? Did they castrate him before beheading and killing him? Or did they behead him first and he somehow remained alive while they castrated him next? If the latter, how long did Joey live without his head and what was the point of castrating him given that he wouldn’t have been able to feel it? Was there a connection with the bisexual thrill-killer, and what difference did it make that the latter was bi? Was Maggie Boo involved somehow? What about the axe murderer? How did the cover artist miss the opportunity to have a mass of blood dripping off that knife? Did the publisher think that would’ve been in overly bad taste unlike the rest of the contents? So many questions…

Howard Harvey rides again

DOOMLORD’s back! Well, not in actually new form, but for the first time the original photo strip is being reprinted… apparently the publisher actually wanted to do it a couple of decades ago, but the print technology for reproducing the photography in book form wasn’t quite there to their satisfaction; things surely do appear to have changed, and I for one am here for it. By the time I picked up Eagle as a young’un, Doomlord was on its third series, but a few years later I got a loan of a bunch of the earlier issues, and thereby discovered the original Doomlord was a somewhat different affair; if the second Doomlord would eventually appoint himself as Earth’s defender against his people, the first one was a man (sort of) on a mission to wipe humanity out… I suppose it might seem a bit cheesier now that 40+ years have passed, but whatever. Soon as this comes out (apparently not until next year, alas), I’ll be grabbing this…

“Here’s a nice rich seam of blood…”

Something else I sighted on FB tonight:

An illustration by Harold Piffard (one of England’s first aviators as well) for a book called The Signors of the Night; The Story of Frá Giovanni, the Soldier-Monk of Venice; And of Others in the “Silent City” (whew) from 1899 by Max Pemberton, noted novelist of the day. This image struck me as, frankly, slightly alarming. Couldn’t quite work out why at first, but then I got the odd feeling the guy on the table wasn’t 100% dead… Anyway, in search of more information, I found a copy of the book on Internet Archive…

…Oooh, look, that picture! It’s actually the frontispiece for the book, what an interesting choice… what does the caption say… OH. OH FUCK. OH NO. CORPSE IS INDEED NOT CORPSE AFTER ALL. Goddamn, I was actually right about the feeling I got from the picture without the caption… cos the fellow doesn’t look particularly not dead to me, I just got that vibe for some reason. Did Fra Giovanni burst in to save this poor bastard from those cone-hatted murderers? And why do I also feel there’s something oddly anti-Semitic about them?