Try telling this to this lady from a Tower Hamlets retirement home.
10th July 2020, a Turkish Court order approved Hagia Sophia’s convertion from a museum to an operational mosque.
For many Christians around the world, aborting a historical monument that represented the centuries of Byzantine Eastern Orthodox with Ottoman faith-inspired culture in the region, to having it reclaimed as a faith space for Islam, is a vilifying act of disrespect. The region has been affected by territorial tensions for millenia and many in the Balkan and Western Asia Minor, have experienced relocations, marginalisation, faith based extradition, torture and incarceration.
It is a non surprise western Turkey struggles with their record on human rights abuses, and corruption has been developmental to the Greek economy even in modern times.
Looking past the historicity of the region, and the unsettled air Erdoğan’s latest move has created, I can attest to the following:
– Erdoğan has three years left before the next election.
– The Hagia Sofia move was his check mate to Europe beyond the Greco-Turkish spats.
– Erdoğan doesn’t want to join EU (and all the monitoring and regulations), the EU will not have Turkey as it is today, but to make sure they don’t interfere, he needed to growl over his territory.
– Putin will turn a blind eye, despite Russia’s Orthodox Church affinity. Faith is only useful when it serves one’s interests by masking transparency. Christian links to the European church history are problematic for Putin’s and Erdoğan’s dark and underhanded populist and divisionary operations.
– Unmonitored, anyone challenging Erdoğan like the Kemalists, will end up in jail or dissappear.
– Turks in Turkey, Germany and the UK love Erdoğan. He took power and water to the favelas. He is making profits from the Syrian refugees that have no labour rights but plenty of will to do whatever yet not get paid or paid scraps of peanuts when they do (a 10th of the Turkish labour rates according to reports).
Noone wants drama on their doorstep. Turning adversity to positive stories is a way for populist governments to get away with the uttermost abuse of human rights.
Minorities and culture are the capital nasty regimes use for political coercion.
Coercion to domestic opposition, and coercion in international relations contexts.
Threatening securities makes vulnerable populations anxious and puts actor resources at high risk and alert. This costs actors money and make populations more predatory between them. Double win.
Hagia Sophia is the starting line of an incredibly narcissistic performance we will expect to see from Erdoğan in the next three years.
I can only hope there will be limited loss and blood lost in the process, but not set on having any hopes at this point.
In the middle of a pandemic, reclaiming a museum to a faith institution is a bold move.
To be continued…
Tim Hakki is a Londoner of Turkish Cypriot and Guyanese descent. He lives two floors below me, and studies at Oxford University. Amongst the many conversations we have, the Greco-Turkish conflict in Cyprus is a central interest to him, and as I am of Greek and Anatolian descent, we have been analysing the situation, in view of new governments, regional investment initiatives and international cooperation. The following article is Tim’s thesis on the issue, followed by my response.
Athena. I’m sorry I have just been obsessed with Greco-Turkish history since I told you I began to study it. I have formed my conclusions based on a fuckton of new knowledge.
I love the Greek people and the Greek culture but that church is a real dirty piece of work. I just wanted to get them to stop dehumanising Muslims through their propaganda. It’s obvious that they don’t see them as humans but as infidels.
The same can be seen in many Islamic fringe groups today, but the difference is that the majority of Islamic religious authorities denounce the use of violence. I have never seen any effort on the part of the church to do the same with their leaders.
The man who divided the Cypriots was archbishop Makarios. A man with three jobs. He was the leader of the Christians in Cyprus, he was the president of every Cypriot, and he was the commander of a large private army of ultra-nationalist Greeks. At one point, instead of my writing my novel, I told myself I wanted to understand, truly understand, what happened in Cyprus, rather than relying on the account of my family or the various Cypriots spewing lies at each other on various forums in a never-ending ethnic battle.
I watched documentaries made by Greek Cypriots, Turkish Cypriots and British filmmakers and tried to get the most comprehensive view I could. It’s a very sad story what happened to the Cypriot people. The political context of these events was British rule. My grandmother grew up in a British dictatorship. It was a very efficient dictatorship. In the end, they made the island the fastest growing economy in the region.
The troubles started when the mainland church suddenly got expansionist ideas. Through Makarios, they convinced the Christians of the island that they belonged to Greece. Britain tried cracking down on dissent by hanging Cypriot youths who were encouraging Enosis. The murderous rage of the nationalists just grew and grew. Soon Cyprus was crawling in random acts of brutality towards its British citizens. The Muslim Cypriots at this point were not in the equation. They were viewed as a silent minority. Until Britain assembled an anti-terror force comprised exclusively of Turkish Cypriots. When the Christians saw their community leaders being arrested by Muslims they decided that they now had two enemies. Cue the massacres, rapes and ethnic cleansing of the island by Makarios’s private army EOKA. This, in turn, provoked Turkey to invade cuing massacres and rapes of their own by the occupation forces.
The biggest tragedy of Cyprus is how little control the Cypriots had over their own destiny. If Cyprus became a part of Greece then Britain would potentially lose their military bases there. This was a land grab by Greece which became an excuse for a land grab by Turkey. The Greeks were in the pockets of the Russians and the Turks were being backed by the British because of Cyprus became a part of Greece they would lose their military bases on the island. The Americans were backing both horses. At the end of the day, Cyprus happened because five nations that had nothing to do with the lives of the Cypriots saw the island as a giant fucking aircraft carrier. This has been to be of the most profound courses of study I’ve ever embarked on, and it’s really shown me the sickness of nationalism and its myths.
Their point about the lives of Jesus and Muhammad took me a very long time to come back to. Though we can’t pretend to know the details, it’s generally accepted that Jesus was a pacifist and Muhammad was a war leader.
The big thing now is reunification. Both sides of Cyprus want it. But they have no idea what it would look like. I believe the best answer is a federal government, with two zones, north and south. Both Greece and Turkey have occupation forces there.
If I’m dead next morning it was the Eastern Orthodox Church that did it.
The diplomatic dynamics in the region will not volunteer discussions on reunification.
In Turkey, Erdogan is strengthening his political power with human rights abuses, effectively distancing his government from the prospect of European cooperation.
In Greece, you have a far-right state pushing orthodox Christianity as a fundamental representation of Greek identity and anything Muslim (including the hundreds of thousands of vulnerable Syrian refugees) as a threat. The days of Nobel Prizes won by greek islands for their humanitarian work in the refugee crisis are long gone. The current government is shrinking the state like any populist conservative government does, reducing the role of education, institutions, health and welfare in development, whilst pointing the finger of blame to those outside the power held by political elites, or power to influence or inflict any damage in corrupt undertakings.
The last positive diplomatic action in the region, between North Macedonia and Greece, under the centrist-left governments, saw Tsipras loose the elections (albeit by a close margin) because Greeks were sold the lie the Prespa agreement signed-off their land over to Macedonians, and at risk of losing their national identity too.
The Road and Belt investments in Eurasia are being too China and Russia-centric for Europe and the Brits to feel comfortable with. The loaning conditions to fragile European and African economies are a point of contest, and reinforcing China’s soft power diplomacy.
I don’t think the British, or Europe, will allow Greece (even if Greece was in a position to ie. under a politically different government) to sign-off a reunification deal. Turkey wouldn’t want it too. As recent as 2018, tensions quickly grew on the identification of sources of gas near the island. Turkey was not shy attempting to claim it.
If you really think about it, the island itself has little value to economies, so its population is worthless to politicians too. Not big enough to produce anything at scale (apart from Haloumi cheese the Chinese love and have been ordering by the ton). Yet it has a geopolitical position of importance, and in combination with the potential of natural resource explorations and the further tensions arising from common pool resource governance debates, it is very unlikely either side of the diplomats would bring up the idea of reunification.
Because at the end of the day, even under miraculous conditions, a local leader/President/PM will still need to identify with either of the two main religions to even stand a chance of being listened to by either camp. Likewise, any extractive generated wealth will need split between one, or another camp, to serve the interests of the political donors.
And more so, how likely is that, for a post-colonial little island surrounded by strategically positioned near dictatorship run neoliberal governments aspiring to Thatcherism structured on theological approaches to socio-economic development inspired by Adam Smith’s mythological ‘Invisible hand of the economy’ economics?
Unless of course, they ban religious representations.
But really, how likely is that in a place that has been defined by religious conflict ever since it went into conflict with itself?
Chances are slim.
Intro by blog owner:
Everyone should read Nick’s beautifully empathetic, humility fuelled, comicly crafted answers, coming from a big pool of love for his fans.
I first encountered his music as a punk/gothy teen at the Rebound club in Athens and my mature years had me thinking he needs to grow up and out of the pool of self-absorbsion and then his son died, and that was the fundamental lifetime event that I perceive when he did. We so need loss of life to define our reality and reconnect us with life again.
ISSUE #59 / SEPTEMBER 2019
My girlfriend, a woman I love through soaring heaven and table-flipping hell, refuses to read any of my writing because she always sees some hint of infidelity, resentment, or perhaps madness in it. How do I get her to understand that just because I might write a poem about some lusty girl I saw on the train I don’t actually want to sleep with another woman?
CIRCIUM, COLORADO, USA
Tom Waits famously wrote “You are innocent when you dream”, yet dreams are not nearly as innocent as they seem. Neither are songs nor poetry. Songwriting and poetry are perilous callings, full of intrigue and infidelity. They are covert undertakings that creep around our deepest and most hazardous needs. They are not for the squeamish or the eager to please.
I believe you when you say you don’t want to sleep with the ‘lusty girl on the train’ – the problem is what you want to do is actually worse. You want to write a poem about her. To write a song or a poem about another human being can be one of the most intensely intimate acts a person can perform, it is an act of profound, unblinking contemplation, a near religious meditation on that moment of carnal recognition.
Listen to Patti Smith’s version of ‘Gloria’, where she has taken Van Morrison’s already wolfish classic and expanded it into a supercharged religious rumination on lust.
I look out the window
See a sweet young thing
Humpin’ on the parking meter
Leanin’ on the parking meter
Patti Smith’s ‘Gloria’ is not concerned so much with the actual sexual encounter, but rather with the brutal carnality and religious ecstasy of language itself. It is one of the most demented displays of predatory sexual desire ever recorded. Yet, it is beyond sex. It is even beyond worship. It is poetry. The “sweet young thing” that is “humpin’ on the parking meter” is your “lusty girl on a train”.
Gloria, Peggy Sue, Billie Jean, Angie, Delilah, Fernando, Jolene, Ruby, Maggie May, Chuck E., Sharona, Sara, Suzanne, Sweet Caroline and, indeed, Deanna – these names live on, as sacrificial lambs, compulsively sexualised in our collective consciousness.
My song ‘Deanna’ was seen as a particularly brutal act of betrayal, and thirty years on I still haven’t been fully forgiven. I console myself with the thought that I was unflinching in my duties as a songwriter and in doing so wrote a song that brought joy to the lives of many, even though it broke a heart (or two) in the process.
From one wordsmith to another, and from someone who has spent a considerable amount of a long and contentious career in the songwriter’s doghouse, that’s the name of the game, Circium. Harsh as it is, we spend our lives walking on the hearts and messy eggshells we have smashed in order to make the omelet that feeds the multitudes.
I can perfectly understand why you want your girlfriend to read your stuff, as we poets and songwriters often have little else to offer than our words, and of course our perverse little truths. However, your poems are intimations of an eroticized and imaginative adventure of which your partner is excluded. It’s little wonder she might be reluctant to get involved.
Having said that, over time I have discovered great poetic and personal value in writing about the familiar, that which is in front of you, that which you see every day, that which sleeps beside you, for often that quotidian presence is the most extraordinarily complex and dangerous thing of all. It holds a looking glass up to beautiful and terrible truths that live inside us. As we look into our lover’s eyes and see our reflected selves, our courage as writers is tested and enlarged.
The girl on the train will always be there, forever travelling through that imaginative space, but maybe the challenge for you as a poet lies within the intricate wonder of the one who sits before you. She is, after all, your mirror.
I went to the UK launch of the Judy & Punch movie at the Picturehouse Central near Picadilly Circus.
The event had a live puppet show and actors portraying the audience husslers you’d get in the 17th century pre show crowds.
Drinks flowing, the pre movie event was comic, dark and intense with high pitched call outs and bashing noises, floating between comedy, with hints of tragedy, to fairy tale like medieval perkiness.
Now onto the movie.
Set in the mountain village of Seaside, the scenes are made in 17th century English/western European surroundings with a forest, unwavering views over the mountains and further away and filled with all the weird and wonderful characters you’d find in the dark streets of London mid century.
The story of the name Seaside goes like that. The villagers believed the sea would rise to near the top of the mountain, making their village a seaside settlement. They went on as far as building boats, which coincidentally and comically the housekeeper of Judy & Punch wonders what happened to them.
The script takes you through the success of a puppeteer couple who have returned to Seaside after the money and drink thirsty husband burned through their earnings from the big shows in the Big Smoke.
They start very successful shows at the village, waiting on the day talent spotters will come through and open up a new chance for a show in the city.
Whilst all of this rolls out, the husband keeps on failing. Whilst the wife (Judy and female puppeteer) goes out for the day, he gets drunk, nearly forgets a crawling baby to the fireplace, chases a dog for stealing his breakfast sausages and trips over throwing the baby out of the window into the dense thick forest down the mountain.
The wife returns (Judy) and the fight kicks off where he leaves her for dead in the forest. Nearby travellers/White witches find her, bring her back to health and before they move on their next journey, go back to the village to tell some truths about Mr Punch, who is about to hang the elderly housekeepers to clear his name of his wife’s and baby’s disappearance.
I won’t spoil the finale. From second to second I couldn’t predict what would happen. All I can reveal is that’s the first movie that I watched mesmerised without noticing how the time went past.
Go check it out for yourself and tell me what you think.
Just visited the Oregon Historical Society, where the disappointment turned into contempt and anger.
A state with around 200 years of history.
The first thing that I noticed is how everything was presented as a story of ‘doing’ instead of a series of histories emerging in equal importance on the narrative of what is new America.
The natives, the African Americans, the Asians presented as sharing the same space in an assumptive scenario that puts them in the otherness of America’s existence.
No narrative of their histories, just the acknowledgment they exist.
The pioneers who made this land in the forefront. The dislocations of indigenous people to securitize vast areas of land. The securitization agenda in its earliest form.
Securitise from what? This word serves the interests of those who are pursuing the agenda without equitable considerations for those marginalized in the process.
A history of half-hearted stories, incomplete narratives, equalization said but not existing in any form or story in real life.
The marketization of ideas, becoming ideas in themselves and accepted as currency fueling development, without any fundamental structure for emerging cooperation.
Forcibly changing a world that doesn’t want to change and presenting it as de facto.
I can dig a thousand words to describe the disappointment in American history. Mostly, because whoever took the lead in making this the common reality, had not thought through all they lost in the process of focusing on the small detail of the multiplicity the size of land has offered them.
Agrarian change for who, and to feed who?
The land of the amble, producing less for less.
The establishment of fake stories as a level of understanding of what might have been better imaginable.
This summer I went to Epidaurus (/ ˌ ɛ p ɪ ˈ d ɔː r ə s /; Ancient Greek: Ἐπίδαυρος Epidauros) was a small city in ancient Greece, on the Argolid Peninsula at the Saronic Gulf, because I always wanted to watch an greek tragedy in the ancient Greek open air theatre.
I picked the play Elektra because it is a classic and a true tragedy, set in the city of Argos a few years after the Trojan War, it recounts the tale of Electra and the vengeance that she and her brother Orestes take on their mother Clytemnestra and step father Aegisthus for the murder of their father, Agamemnon.
The play was directed by a relatively new director, Thanos Papakonstantinou, who has found increasing attention, in a relatively short space of time, and in a very competitive genre.
I really loved the drive to Epidaurus, in the late afternoon, nearing sunset, travelling through the mountains with many other thousands, for the one purpose, to be at this venue and watch an ancient play. My expectations were close to none, as it would have been my first experience. I only assumed, Elektra would have been translated into a slightly more modern version, as many other cultural references and movements in Greece nowadays do.
I only realized the enormity of the crowds gathering there when I saw the size of the carpark and the queues when we got to the theatre gates. The ancient stone carved and built space welcomed us with a stage made in the same shape of its roundness, all in white with a round hole cut out on the white backdrop, linking the stage with the backdrop, by steep dramatic steps.
The tragedy begun and it was a disorienting and confusing experience. There were women covered in see through cloths, moving effortlessly like on-screen ghosts from the 70’s era. They reminded me of Catholicism and that became even more apparent as the play evolved. They were judgmental and backbones-less. The main character squeaked and screamed in unconnected personas making it even more uncomfortable. Yes she was going through a huge trauma however she did not need to be portrayed in such a misogynistic way. She was neither a woman, nor a devil. She was bitter and lost but the character portrayed was uncharacteristically poltergeisted for the pain and revenge she was planning. The whole lot of the other characters played out the same, they were either too weak or a copycat of Dracula like comicon characters that lacked dimension – this was a huge disappointment. The director could have played out the roles much more and did not think about their human element. It felt like he imposed his impression of the story on the actors. This left me with the impression the actors did not connect with the Director, and that is was pretty obvious he had made little effort to collaborate them even between them.
At the end of the tragedy, a bigger one happened. As the actors were bowing to their audience and receiving lots of thanks, the director, Thanos Papakonstantinou, went to the stage, dressed in an outfit resembling a German soldier outfit from the 2nd world war.
I did not find that funny or creative. I understood well his tendency to associate with the dark wave movement in Athens, after all I once was part of it too and remember al the boys getting excited with memorabilia, only to find themselves very isolated in the end. His choice was distasteful and inappropriate given we are at the verge of fascism all over Europe.
Thanos Papakonstantinou, failed on all fronts. It sounds like someone is pushing him to the front stage, however unqualified. The Greek economy may be small, and opportunists like him can get attention and success, however Greece doesn’t deserve people like him mocking the situation (this is not a creative license, whatever he may come up to say) and fueling the division in our society further.
I wish to not see Thanos Papakonstantinou getting opportunities any day soon and for greek stages to host the original grassroots talent that exists but doesn’t try to buy in their way, through controversy. This is not USA, and there is no reason to be wearing an offensive outfit, not un-similar to Melania Trump’s ‘I don’t care’ outfit as she visited the children immigrant detention centres.