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Notes on Orwell’s “Politics and the English Language”

Teaching a lot of Orwell this spring in a writing class focused on questions of economic equality and justice. I mean inequality and injustice. Haven’t read him in a long time. Plan to re-engage here with Orwell as I reread his work.

1.

Orwell is too rational. I mean that in the best way, but he’s an idealist realist, and his ideals lead (led as he changed) him to prescribe and proscribe (and so rationally). To scribe ( “Why I Write”). Politically. And he’s on the right side most agree, picking an Orwell from the pile. You can be a neocon ex-Trotskyite like Hitchens and agree (in fact, claim Orwell for your very own, you imagine yourself “the O of our times” and are ever the contrarian, and imagine Iraq your own private Catalonia). You can be a Chomskyite retro-anarcho-syndicalist and agree, again and in another — radically different own private Catalonia. You can be a bland centrist and Orwell is so rational and preaches against extremes — this is what you remember from Animal Farm and Nineteen Eighty-Four, you think — and you blithely use “Orwellian” in conversation in precisely the lazy and sloppy fashion proscribed in “Politics and the English Language” to mean any number of things in any number of lazy sloppy moments. You can be a libertarian a la Ron Paul and love Orwell for his nightmare visions of malevolent total state power. You can be a right-wing pundit on Fox and use “Orwellian” in just the same fashion as the bland moderate. You can be on Democracy Now! talking to Amy Goodman and Orwell is there for you. But in the end, the thing is, this is just what “Politics and the English Language” wants to fight (my brain almost typed “militates against,” but then thought better). He would hate the word “overdetermined.” He would appreciate the irony of his name and its adjective form being so.

 

Thinking about Liu Xiaobo too. Liu Xia’s “ugly doll” photographs, as well.

Google Liu Xiaobo Orwellian

BOMB IRAN

A poem from a set written not long after we moved to Shanghai and settled down in the French Concession near the old publisher’s row on Shaoxing Lu (once known as the Rue Victor-Emmanuel III). It was published at some point in Sal Mimeo. I tend not to think about old poems much, but the recent surge in American-Iranian saber rattling in the US media have sent me back a few times to this one. Lots of 2006 references here, with “BOMB IRAN” being the closer.

WORLD BANK CARD ALBUM

for Kevin Davies

We wish we could drop it
The defining massacre of the moment
Ours, the day a diastole
flooding with blood and vowels
O say wait what not to come
Let’s face “our moment”
In fidelity to the imagined-as-forgotten:
We knew she’d be there, up to her neck in the frozen river
The important thing now
Is more orders, ones requiring less
Loss of top-shelf self in the supply chain
Than this which requires guilt and admission
You have to take the train
To Lhasa before the rest of you
Here hit the dice: I misread 1 a.m. as I AM
Again, radio on
Rhetorician in Maine woods!
A long haul from bad nights’ sleep
Upon sleep, and then, again and there
On the other end of the beam a stranger
One of countless broken means
The floating world of cartoon bears
Like ictus means a meter or a seizure
The body’s prosody buried in thin
Dirt above the creek below the cave
In the Reading Room it’s Illy
Flipping through the World Bank Card Album
Shangainese retirees waltz amidst the fumes
I mistranslate shaoxing both ways as “little happiness”
LA Times editorial opines: BOMB IRAN (11/9/06)

 

The Chinese DVD pirate pundit speaks

The Great Sages

Laozi
Zhuangzi 
Kongzi
Mengzi
Ponzi

Notice Tone

Is off the chest box isgarden
dirt going construction ballsite

cold side of Mercury where
all our ornery hormones

rip generator airlight or where
pure pneumatic hammers

durian strapped to a moped
form scramble runaround &

Jump horny vac
jump

Translation: Two poems by Hai An

The Shanghai poet Hai An recently asked me to work with him on translations of two of his poems in advance of the 25th anniversary meeting of the Shanghai Translators Association. So I did.

 

A HIGH-SPEED TRAIN

With her last glance she sees
The scene collapsing out the window. A dragonfly gone

A little girl in a train car amidst fellow townspeople
The instant of blooming done, undone

A flash of summer lightning in the south hits the line
Strikes the high-speed train strikes the heart of state machinery

So much pain out in the fields, so many souls departing, such
Sudden news shocks this world

For a century, the train passed far from her house
And further yet into her dreams. Dragonflies skimmed low

Rails disappearing far into the distance cut the horizon, drew her far
Trains from the west vanishing into the sky

A siren wails. Day cuts into night again and again
Wakes us up, wakes up as in the past

And tonight unknowing she
Falls into night without end or beginning

(2011)

 

动 车

她最后的一瞥,看见
窗外的景致坍塌。蜻蜓不见了

一位小女孩,随同一车的父老乡亲
顷刻间完成一生的绽放

一道南国的闪电,击中了一列
飞奔的动车,一列国家机器的中枢

哀鸿遍野的惨痛,纷飞的灵魂
一夜间,震惊了全球

整整一百年,火车开到了家门口
开进她的梦想。蜻蜓低飞

那长长的铁轨,一再撑开她的远方
火车打从西方驶来,消失在更远的天际

汽笛声声。黑夜只是暂歇的白昼
还会醒来,一如既往地醒来

而今晚,她的灵魂无从知晓
为何要湮灭在这片黑漆漆的夜色里?

(2011)

 

TSUNAMI

The sea rose broke down the door
And came straight at you

Dragged you into its water, surrender
Struggle shall cease without delay
Drift, drift with the flotsam
Though dead, you cannot sink into the sea
People, shut up for once about your dignity and rights

The dahlias on Sumatra
Notorious Dahlias
In full bloom in the sea
But boundless is the ocean
Where we find love, rise from suffering

As in mere moments the sea rose
to reclaim its lost territory

(2004)


海 啸

大海站起身,破门
走到你的面前

拉下水,卸去一切武装
战火即刻消停
随波逐流,漂成一堆垃圾
死了不让你沉入海底
人类,奢谈你的尊严与权利

苏门答腊岛的大丽花
臭名远扬的大丽花
在大海怒放
而更为辽阔的是心灵之海
爱,正从苦难中起身

大海站起身,一夜间
收复所有的失地

(2004)

#1 reason to return to Malaysia

 

Malaysia World War II Museum

Protest concept for a missing artist / activist / blackjack player (and a number of dead children)

 

The Situation

A disappears.

He is accused of crimes but not formally charged.

He is well known and generally well regarded among many artists and critics and art collectors and journalists and architects and politicians and lawyers and government officials and political activists and blackjack players.

He is well known and poorly regarded among some other artists and critics and journalists and architects and politicians and lawyers and government officials and intelligence officers and police investigators.

Not too many other people really know who he is.

 

(Continued)

Bodega Pop!

Grace Chang (collection of Bodega Pop, Gary Sullivan proprietor)Poet, cartoonist and loudmouth” (not to mention Flarf SEAL assassin) Gary Sullivan’s doing a great thing over at Bodega Pop, sharing music and videos he’s picked up at bodegas around NYC in recent years:

When I moved to New York City in 1997 I began to notice that bodegas run by people from different countries sometimes stocked CDs and DVDs of music and film from those countries.

The music I’ve collected from these bodegas can almost never be found in the “World Music” sections of the few remaining places to buy CDs in the U.S.

And you can mostly forget about finding it on iTunes (or cheapo MP3 sites like Soundike).

Though, oddly, many of these artists can be found on YouTube; where that is the case, I’ve embedded a video or two to watch while you download.

I’m currently enjoying Grace Chang’s Mambo Girl stylings. Visit Bodega Pop for more on Grace Chang and a YouTube clip of the opening scene of 1957’s “Mambo Girl,” along with a slew of fantastic pop from around the world, from vintage stuff like Chang to current Asian hip-hop and rock.

(Continued)