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
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
January 26, 2018
“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.’
‘ 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.’
‘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”.’
‘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.’