Invasion Day 2018

Settler Colonialism

False Muse

what is this verbose cotton wool
but suffocation of truth?
sentinel poet effuses verse
for privileged settlers
descant to daily injustices
chorused in white racist media
relentless revisions of theft and denial
endless rights and return betrayal
triumphalism of patriarchal curses
veiled advice to contaminate resistance
normalise collaboration
embrace post-colonial defeat
tender submission to ongoing genocide
for security of invaders
boot must sink in hard
negative peace sucks the bones
such brave generous poetry
healing to conqueror spirit
a noxious complicity with drones
rubbing noses of oppressed
in the misery of their predicament
with hubris of beauty and art
escaped red lines revealed
in anodyne alliterations
and poetic capitulations

January 26, 2018

Invasion Day

Invasion
Invasio
Invasi
Invas
Inva
Inv
In
I

January 26, 2018

Related Links

“The new campaign to deny the Aboriginal genocide, led by Quadrant, was taken up in the Australian mass media by a chorus of right wing columnists with records of antagonism to Aborigines and “leftist” supporters, and easy access to a wide public.”

In Genocide and Resistance in Southeast Asia by Ben Kiernan.

‘Even within the realm of literature, political writers and readers knew that their enemies were active. In 1956, Richard Krygier, head of the local arm of the Congress for Cultural Freedom, established Quadrant, explicitly intended, as he put it, as ‘a counterweight to the kind of leftism so evident in Meanjin.’ The founders of Quadrant liaised about their project with ASIO and Prime Minister Robert Menzies; their funding came primarily from the the Congress for Cultural Freedom.

Yes, that’s right – Quadrant, that scourge of tax-payer funded arts organisations, owes its existence to money secretly siphoned from American taxpayers courtesy of the CIA.’

https://overland.org.au/2014/06/overland-and-the-cia/

‘ After a series of exposes and repudiations of the CIA connection, in 1967 McAuley published a careful response in Quadrant admitting the funding from the CIA was ‘deplorable’, but no more than ‘a well-intentioned blunder’. His defence that he had been an unwitting recipient of CIA largesse has been restated by the new editor of Quadrant and by its previous editors. Yet how was McAuley so unaware when Clem Christesen knew the money came from the CIA as far back as 1956? How was it that the editor of Quadrant had shown so little curiosity as to the source of money being so liberally handed out? A quick perusal of McAuley’s editorials give the flavour of the invective he would employ should the editor of a left-wing magazine discover he had ‘unwittingly’ been receiving 40% of his income from the KGB.’

http://jacketmagazine.com/12/pybus-quad.html

‘THE conservative magazine Quadrant has accused the Australia Council of political bias after its annual grant for next year was cut by 30 per cent, from $50,000 to $35,000.

Quadrant’s editor, the historian Keith Windschuttle, a key protagonist in the history wars who denies that the removal of Aboriginal children from their families was racist or deliberate policy, has written to subscribers saying the decision by the council’s literature board was ”patently political”.’

http://www.smh.com.au/national/quadrant-cites-political-bias-for-15000-funding-cut-20091221-la2e.html

‘The troubles Quadders has with Ozco funding might suggest that they would have an easier time returning to the CIA as their main funding source. But wait – in Cassadnra Pybus’s The Devil and James McAuley, we learn that the Congress for Cultural Freedom (the irony-free CIA front set up to pay for magazines like Encounter and Quadrant) repeatedly warned the magazine’s early editors that it was too politically strident, and not publishing enough of genuine cultural worth.

Got that? Even the CIA thought Quadrant didn’t publish enough good poetry.’

https://www.crikey.com.au/2009/12/21/rundle-windschuttle-screams-blue-murder-over-quadrant-funding-cut/

New Year’s Contemplation

they’re genociding the homeless
snapfreezing them into iceblocks during the night
screwing us all so they can buy
one more yacht and investment property
another poor little child is born in the ghetto
and the media sells the next Iran war
to employ imperial cannon fodder
so its ruling monster class can buy
more yachts and investment properties
with defence share profits
Trump’s ghoulish puffy face gloats at tax cuts
for his mates so they can buy
even more yachts and investment properties
we share beers and Fresita
take photos of the storm
talk of guillotines
refugees
the filthy rich
and the bourgeoisie
who let them get away with it
so they too might be able to buy
a yacht and an investment property in twenty years
i snarl curses and invoke a release
from the thrice times three rule
for these craven acts of sympathetic magic
an upload to virtual reality is looking better and better
watching the exhumation of 80s hits on Countdown Live from Sydney
remembering when anything was possible
before Gordon Gekko convinced everyone
greed was good and me, me, me the answer,
they don’t care, don’t care, don’t care,
let them all freeze, freeze, freeze.

January, 2018

Freeze

Because, parody and satire

King Parrot

Because …

Wine
drink wine
drink fine French champagne
because latte sipping isn’t good enough
and it hurts to be a struggling rhinemaiden
with a developing fan club of bourgeois racists
in a gasping country where blackness is ignored
and because these people are boozing at a cocktail party in frocks
and swilling wine
BUY BITCOIN
Buy bitcoin because your parents only had gold
and shares
and because you’re the hostess with the mostest
and because the suffering of refugees
is distant
BUY POETRY!

December, 2017

Nick Cave Takes the Red Right Hand of Apartheid Israel

Nick Cave in Apartheid Israel

Parading round the racist spoils,
white settler man groomed
to ignore bantustans,
compassion erased by genocide,
each word sung an arrow of malice
shot by the oppressor into
the hearts of the oppressed,
here is a cave wherein
light does not reach.

November 2017

Shallow Cave decides to play apartheid because he doesn’t like lists, and it’s all about him and his feelings of being silenced and bullied, never mind the cries of oppressed Palestinian people for justice and rights and several generations of colonial bullying by their zionist oppressors. With bitter irony, Cave will now be added by the Israeli hasbara machine to its list of artists which it uses as ammunition to continue its brutalisation and deprivation of Palestinians.

In his press conference statement, Cave complained about feeling cowardly for not playing Israel sooner, yet it is truly the coward’s path to side with power against those who are being crushed by it. Cave exposes his own white settler ideological origins.

“It’s no secret that Israel systematically uses performances by artists to normalise its racist, discriminatory system that oppresses me, my loved ones and every Palestinian.” Palestinian musician Rima Nasir calls on Nick Cave to support the boycott of apartheid Israel, or he’ll be used as a stick by the Israeli regime to beat the oppressed.

Dear @nickcave Are you seeing the refugee camps? The apartheid wall? The illegal colonies stealing land? Can you see besieged Gaza? Why won’t you hear #Palestinians?
https://twitter.com/DPAI1/status/931869972854341632

Is @nickcave taking a guided tour with a key ‘Brand Israel’ tourism agency, with a guide who just happens to have been a paratrooper on “the front lines” of major military assaults?
https://twitter.com/BFW_IL/status/931853247299678208

Israel’s cynical tactic of using culture as propaganda was promoted in 2005 by Nissim Ben-Sheetrit of Israel’s Foreign Ministry:

“We see culture as a propaganda tool of the first rank, and I do not differentiate between propaganda and culture.” (Ha’aretz; 21/09/05)

Related Links

Nick Cave – Don’t Play Apartheid Israel

Open letter to singer Nick Cave from the Gaza war protesters he once supported

Nick Cave: A Journey from an Anglican God to the Creative Christ

Apartheid Israel demonizes and pathologizes Palestinians whom it cages in the Gaza bantustan to “justify” its persecution of them. This is how genocidal settler colonialism propagandizes to obscure its criminality.

From Boycott from Within to Nick Cave:

“Your claim that somehow we have the ability, or the will to silence you is fallacious, and it rings careless in the face of the fact that Palestinian culture and heritage, along with its people, has been undergoing Israel’s erasure for the past seven decades. So successful was this erasure, that you neglected to mention Palestinians in your own statement, as if they aren’t the reason you felt you had to make the statement in the first place. As if they don’t exist.”

Nick Cave’s arrogant colonial stance is highlighted in the music press, sure to increase self-indulgent white supremacist shame, guilt and victimhood :

In response, the Palestinian Campaign for the Academic and Cultural Boycott of Israel (a founding organization in the BDS Movement) has released a new statement. “Nick Cave’s performances in Tel Aviv and recent statement are a propaganda gift to Israeli apartheid,” they write. “We thank Nick Cave for making one thing abundantly clear—playing Tel Aviv is never simply about music. It is a political and moral decision to stand with the oppressor against the oppressed.” The independent initiative Artists for Palestine UK also issued a statement to Pitchfork, saying, “Artists for Palestine UK thinks it is Palestinians who are daily humiliated and silenced. It regrets that in a land of injustice, Nick Cave is giving comfort to the unjust.”