Stop the execution of Troy Davis.
Innocence Project.
Amnesty USA
Amnesty France
Wednesday, May 20, 2009
Monday, May 18, 2009
Friday, May 15, 2009
Thunk
« La classe ouvrière n’existe plus. Mais elle prend tout sur la gueule »
The working class no longer exists. But it's still taking it in the chops.
« Le communisme c’est le seul contrepoison le seul antidote le seul remède la seule alternative à la société d’exploitation au capitalisme qui jamais n’a le visage humain. Tous les damnés de la terre savent ça qui sont de plus en plus nombreux et de plus en plus damnés. Seuls les salauds ne sont pas avec eux et c’est comme ça qu’on les reconnaît. »
Communism is the only antitoxin the only antidote the only remedy the only alternative to the capitalist society of exploitation which never has a human face. All the wretched of the earth who are more and more numerous and more and more wretched know it. Only the bastards aren't with them and that's how we recognise them.
Georges Labica, Démocratie et révolution
The working class no longer exists. But it's still taking it in the chops.
« Le communisme c’est le seul contrepoison le seul antidote le seul remède la seule alternative à la société d’exploitation au capitalisme qui jamais n’a le visage humain. Tous les damnés de la terre savent ça qui sont de plus en plus nombreux et de plus en plus damnés. Seuls les salauds ne sont pas avec eux et c’est comme ça qu’on les reconnaît. »
Communism is the only antitoxin the only antidote the only remedy the only alternative to the capitalist society of exploitation which never has a human face. All the wretched of the earth who are more and more numerous and more and more wretched know it. Only the bastards aren't with them and that's how we recognise them.
Georges Labica, Démocratie et révolution
Wednesday, May 13, 2009
Monday, May 11, 2009
Saturday, May 09, 2009
Thursday, May 07, 2009
Wednesday, May 06, 2009
Saturday, May 02, 2009
Realists v. Neo-Cons
Blue corner:
Red Corner:
...Petraeus expressed the view that the Pakistani army could survive the fall of the government of President Ali Zardari and that the army, led by Chief of Staff Gen. Ashfaq Kayani, is “superior” to the civilian government.
This statement echoed the position indicated by President Barack Obama at the Wednesday evening press conference marking his first 100 days in office. Obama said he was confident that Pakistan’s nuclear arsenal would remain secure, “Primarily, initially, because the Pakistani army, I think, recognizes the hazards of those weapons falling into the wrong hands.” He added, “We’ve got strong military-to-military consultation and cooperation.”
In contrast, the American president described Zardari’s government as “very fragile” and lacking “the capacity to deliver basic services” or “gain the support and the loyalty of their people.”
Obama concluded by saying of Pakistan, “We want to respect their sovereignty, but we also recognize that we have huge strategic interests, huge national security interests in making sure that Pakistan is stable and that you don't end up having a nuclear-armed militant state.”
Red Corner:
To prevent catastrophe will require considerable American effort and unquestionably provoke resistance from many Pakistanis, often for widely differing reasons. We must strengthen pro-American elements in Pakistan's military so they can purge dangerous Islamicists from their ranks; roll back Taliban advances; and, together with our increased efforts in Afghanistan, decisively defeat the militants on either side of the border. This may mean stifling some of our democratic squeamishness and acquiescing in a Pakistani military takeover, if the civilian government melts before radical pressures. So be it.
May Day



Into the Streets May First!
Alfred Hayes
Into the streets May First!
Into the roaring Square!
Shake the midtown towers!
Shatter the downtown air!
Come with a storm of banners,
Come with an earthquake tread,
Bells, hurl out of your belfries,
Red flag, leap out your red!
Out of the shops and factories,
Comrades, these are our tools,
A song and a banner!
Roll song, from the sea of our hearts,
Banner, leap and be free;
Song and banner together,
Down with the bourgeoisie!
Sweep the big city, march forward,
The day is a barricade!
Pour forth like a second Flood!
Thunder the alps of the air!
Subways are roaring our milllons --
Comrades, into the square !!!
Alfred Hayes, May 1, 1934
Friday, May 01, 2009
AMY GOODMAN: Why would any library agree to give over their work to a private company?
BREWSTER KAHLE: It seemed like a good idea at the time.
AMY GOODMAN: Why?
BREWSTER KAHLE: Because Google was going to pay for the digitization of these books. And what they said originally is that they would—like a web search engine, they would go and index these books and then allow people to see bits and pieces, but direct people back to the libraries or direct people back to bookstores to be able to get them. What we now find through this suit is Google’s ambitions were far greater than just directing people back to where they came from; they wanted to be the library or the bookstore themselves.
AMY GOODMAN: So they will make money on these libraries?
BREWSTER KAHLE: Not only will they make money, they will be the sole organization to control access to these works.
AMY GOODMAN: What do you mean, “control access”?
BREWSTER KAHLE: Well, if they want those books to be available to people, they can have it in their search engine and rank it high. If books are things they don’t want to have available, I don’t know, for any reason that corporations might want to do that, they can take it effectively out of the library. If they get to be the library that the next generation grows up with, then they get to decide who has access to works, and if you happen to be reading a book, they’ll know about it.
Thursday, April 30, 2009
Wednesday, April 29, 2009
For Gaza? Honestly?
Seven Jewish Children - a Play for Gaza.
Now what could Gaza want with this play I wonder?
Someone in a haloscan somewhere "was struck by how powerful and moving it was". Yes.
The crazed, positively illiterate reactions of Jacobson and Goldberg of course incite one to defend the play from their absurd, cynical, malicious comments.
And that's a pity because the piece is not only anti-Semitic (in a distinctively British philoSemitic way) but, more disturbingly, contemptuously Orientalist, Eurocentric (racist) and Imperial-apologetic. And of course a very competent piece of theatre. Engaging, moving and entertaining.
Did the British public really need yet another piece of deft kitsch of this sort, another compelling statement of the comfortingly familiar white British viewpoint which shoves Palestinians to the barely glimpsed margins of their own calamities, reduces them to silhouettes loping along the background horizon on camels and bloodied corpses flashed on television, while preferring to examine (as foil for its own righteous self) the endlessly fascinating collective psyche of an AngloAmerican-mass-culture-produced Jewish Tribe as the ultimate Type of victim-perpetrator, a compelling figure of traumatised imperialist, and to remind us that history arrived in Palestine with European Zionists in the early 20th century? “For Gaza”, yet another solemn account of how terribly some previous incarnations, less ancestors than earlier avatars of the Type, of the agents of white supremacist imperialism besieging and bombarding it once suffered? Gaza needs yet another reiteration of how really the Middle East came under European imperial domination and so remains because of some anguished parental protectiveness taken to extremes? Another acknowledgement that the path to Palestinian Liberation must lie through the therapeutic mass psychoanalysis and cure of the only true protagonist of Palestinian history: "The Jewish People", that is, generations of identically loving parents of little girls?
“For Gaza” yet another touching tale of the psychic pain and terror endured by the European overlords? “For Gaza” a play about the eternally well meaning compassionate innocent inheritor of expropriated wealth and land, a parade of little harmless helpless girl children, hiding from Cossacks, orphaned by Nazis in Europe, cherished by refusenik cousins in Israel? "For Gaza" another explanation of how all the propaganda fables under which Palestinian history is obscured - here on stage yet again - have been concocted to protect the ignorant naivety of a vulnerable little girl, to keep this innocent of genteel civilisation from being frightened? “For Gaza” yet another emphatic illustration that Palestinian suffering is endowed with what little significance it has – should it become too garish and bloody - only by the hazy disquieting reflections it leaves in the piquantly tormented psyche of this ordinary European family with its pretext children, giving rise to the familiar powerful poignant stories - so familiar they can be fully conveyed in this abbreviated way (the entire genre of Holocausterie transmitted by "don’t tell her what they did”) - that English people tell their children and their theatre audiences?
(I suppose it is what one expects of a British playwright whose Romania of 1989 hosts vampires and whose "critique" of British colonialism consists of a sex farce set in that old reliable "unspecified African country".)
Now what could Gaza want with this play I wonder?
Someone in a haloscan somewhere "was struck by how powerful and moving it was". Yes.
The crazed, positively illiterate reactions of Jacobson and Goldberg of course incite one to defend the play from their absurd, cynical, malicious comments.
And that's a pity because the piece is not only anti-Semitic (in a distinctively British philoSemitic way) but, more disturbingly, contemptuously Orientalist, Eurocentric (racist) and Imperial-apologetic. And of course a very competent piece of theatre. Engaging, moving and entertaining.
Did the British public really need yet another piece of deft kitsch of this sort, another compelling statement of the comfortingly familiar white British viewpoint which shoves Palestinians to the barely glimpsed margins of their own calamities, reduces them to silhouettes loping along the background horizon on camels and bloodied corpses flashed on television, while preferring to examine (as foil for its own righteous self) the endlessly fascinating collective psyche of an AngloAmerican-mass-culture-produced Jewish Tribe as the ultimate Type of victim-perpetrator, a compelling figure of traumatised imperialist, and to remind us that history arrived in Palestine with European Zionists in the early 20th century? “For Gaza”, yet another solemn account of how terribly some previous incarnations, less ancestors than earlier avatars of the Type, of the agents of white supremacist imperialism besieging and bombarding it once suffered? Gaza needs yet another reiteration of how really the Middle East came under European imperial domination and so remains because of some anguished parental protectiveness taken to extremes? Another acknowledgement that the path to Palestinian Liberation must lie through the therapeutic mass psychoanalysis and cure of the only true protagonist of Palestinian history: "The Jewish People", that is, generations of identically loving parents of little girls?
“For Gaza” yet another touching tale of the psychic pain and terror endured by the European overlords? “For Gaza” a play about the eternally well meaning compassionate innocent inheritor of expropriated wealth and land, a parade of little harmless helpless girl children, hiding from Cossacks, orphaned by Nazis in Europe, cherished by refusenik cousins in Israel? "For Gaza" another explanation of how all the propaganda fables under which Palestinian history is obscured - here on stage yet again - have been concocted to protect the ignorant naivety of a vulnerable little girl, to keep this innocent of genteel civilisation from being frightened? “For Gaza” yet another emphatic illustration that Palestinian suffering is endowed with what little significance it has – should it become too garish and bloody - only by the hazy disquieting reflections it leaves in the piquantly tormented psyche of this ordinary European family with its pretext children, giving rise to the familiar powerful poignant stories - so familiar they can be fully conveyed in this abbreviated way (the entire genre of Holocausterie transmitted by "don’t tell her what they did”) - that English people tell their children and their theatre audiences?
(I suppose it is what one expects of a British playwright whose Romania of 1989 hosts vampires and whose "critique" of British colonialism consists of a sex farce set in that old reliable "unspecified African country".)
Tuesday, April 28, 2009
Pynchon, Vineland
Justin found his father and Zoyd in the back of a pickup, watching “Say, Jim,” a half-hour sit-com based on “Star Trek,” in which all the actors were black except for the Communications Officer, a freckled white redhead named Lieutenant O’Hara. Whenever Spock came on the bridge, everybody made Vulcan hand salutes and went around high-threeing. About the time the show ended, Prairie came by, Zoyd and Flash went off looking for beer, and she and Justin settled down, semi-brother and sister, in front of the eight O’Clock Movie, Pee-wee Herman in The Robert Musil Story. It was mostly Pee-wee talking in a foreign accent, or sitting around in front of some pieces of paper with some weird-looking marker pen, and the kids’ attention kept wandering to each other. “There’s the Movie at Nine,” Justin said, looking in the listings, “Magnificent Disaster, TV movie about the ’83-’84 NBA playoffs – wasn’t that just back in the summer? Pretty quick movie.”
“They’ve been getting quicker over the years, from what I remember,” Prairie said.
“Hey Prairie, would you like to baby-sit me sometime?”
She gave him a look. “Some baby. Maybe I’ll have to kid-sit you.”
“What’s that?”
“Involves some tickling,” Prairie already headed for her new brother’s armpits and flanks, and Justin squirming even before they touched.
Out under yellow bulbs at a long weathered table, Zoyd found himself trying to help flash with the shock of meeting so many in-laws in one place, both men from time to time looking around fearfully, like unarmed visitors in a jungle clearing, as out beyond this particular patch of light Traverses and Beckers went practising on scales, working on engines, debating, talking back to the Tube, sending up gusts of laughter like ritual smoke cast to an unappeasable wind. A Traverse grandmother somewhere was warning children against the October blackberries of this coast, “They belong to the Devil, any that you eat are his property, and he don’t like blackberry thieves – he’ll come after ya.” Even sceptical adolescents weaved in her voice’s spell. “When you see those unhappy souls out by the roadside, back up the lanes, in the ruins of the old farms, wherever the briars grow thick, harvesting berries out in the clouds and rain of October, why just drive by, and don’t look back, because you’ll know where they’ve come from, and who their labor belongs to, and where they have to go back to at the close of the day.” And other grandfolks could be heard arguing the perennial question of whether the United States still lingered in a pre-fascist twilight, or whether that darkness had fallen long stupefied years ago, and the light they thought they saw was coming only from millions of Tubes all showing the same bright-colored shadows. One by one, as other voices joined in, the names began – some shouted, some accompanied by spit, the old reliable names good for hours of contention, stomach distress, and insomnia – Hitler, Roosevelt, Kennedy, Nixon, Hoover, Mafia, CIA, Reagan, Kissinger, that collection of names and their tragic interweaving that stood not constellated above in any nightwide remoteness of light, but below, diminished to the last unfaceable American secret, to be pressed, each time deeper, again and again beneath the meanest of random soles, one blackly fermenting leaf on the forest floor that nobody wanted to turn over, because of all that lived, virulent, waiting, just beneath.
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