Black Politics: behind the news

Sarah Maddison, Black Politics: inside the complexity of Aboriginal political culture (Allen & Unwin 2009)

Sarah Maddison is a non-Indigenous Australian academic. Over five years, she interviewed 30 Aboriginal leaders, activists and public intellectuals, ‘discussing their life histories, their political views, their worries and their aspirations’. Noel Pearson, Marcia Langton and Michael Mansell declined to be interviewed, but the actual cast of characters is very impressive, ranging over all mainland states and including household names as well as people who work at the community level, far from the limelight.

Starting from these interviews and drawing on very wide reading (the bibliography runs to 30 pages), while ‘privileging’ the voices of the interviewed and other Aboriginal and Torres Strait people (emphatically including the three who declined to be interviewed), Maddison constructs a kind of map, mainly for whitefella readers, of the complexity of Aboriginal politics. A reading-while-walking conversation helped me to think a little more about the idea of the book as a map. A park friend commented knowingly, ‘I would have thought that was more for dipping into than reading straight through.’ She’s partly right: the book could serve as a reference. But it is a map, not a street directory, so it also makes good sense to get the whole picture by reading it straight through.

Maddison gives a lightning-quick survey of the history of government policy (violent dispossession, ‘protection’, ‘assimilation’, ‘self-determination’, ‘intervention’) and Aboriginal responses from the beginnings of the colonies, but the book is about living politics, and so deals mainly with the Howard years and their dark shadow, in which we still live. While there is some attention to personalities – Noel Pearson, for example, emerges as a man most people love to hate, or at least contend with – our attention is drawn to ten ‘key areas of tension’. Here they are, with a little taster from each chapter to give you a clue on how the tension plays out:

Autonomy and dependency

In every country where Indigenous people have been subjected to a colonial regime, precolonial autonomy has been eroded. In its place a range of damaging dependencies have manifested themselves. These postcolonial dependencies add complexity to Aboriginal political culture as individuals, families and communities struggle to regain their autonomy as self-determining peoples and as political actors. These struggles take place in political contexts that tend to necessitate at least some degree of dependence on non-Indigenous structures of government.

Sovereignty and citizenship

Are Aboriginal people citizens of Australia or members of sovereign Indigenous nations? The nation-state of Australia may have sovereign legitimacy in the eyes of the world, but in the eyes of many of its Indigenous inhabitants it remains an illegitimate interloper on their territory, still trying after 220 years to usurp a sovereignty that they have never ceded.

Tradition and development

Without an economic base, Aboriginal people cannot be autonomous. Not surprisingly, however, there are complexities that get in the way of economic development for Aboriginal people. One is […] the tension between need for economic development and the importance of traditional connections to land.

Individualism and collectivism

Aboriginal value systems are often at odds with liberal democratic philosophy, creating tension between those committed to ideas of individual political equality and those who maintain that the foundational unit of society is the Aboriginal group or community.

Indigeneity and hybridity

The idea of “Aboriginal” or “Indigenous” identity is a distinctly postcolonial construct invented to both name and contain the “natives” of terra australis. In light of this, there is immense complexity concerning questions of Aboriginal identity today. […] Both non-Aboriginal politicians and, at times, other Aboriginal people will question an Aboriginal leader’s racial credentials on the suspicion that they may not be “Indigenous enough”.

Unity and regionalism

Attempting to organise political representation at the national level thus risks obscuring the diversity of Aboriginal nations and community groups, leaving many feeling invisible or unrepresented. This emphasis on localism can make national unity seem fragile or even impossible. In the absence of a credible model of national political representation, however, there can be tension between Aboriginal groups and communities who may find themselves competing for recognition and entitlements.

Community and kin

[The] majority of Aboriginal communities are a fiction, or at least a creation, comprising a number of kinship groups that, prior to colonisation, would have occupied different territories and that in many cases still retain different languages and systems of law.

Elders and the next generation:

Aboriginal political culture is still based on a gerontocracy in which elders command the most potent authority and influence. elders are holders of special and sacred cultural knowledge, and it is their responsibility to hand this knowledge down to the younger generations. The breakdown of traditional authority structures, however, means that this transfer of knowledge can no longer be assumed In place of this hierarchy of cultural seniority, younger leaders now emerge from the ranks of political activists fro community organisations, and from the developing class of young, university-educated professionals.

Men, women and customary law:

Colonisation has interrupted the inevitable evolution of Aboriginal custom and belief, instead pushing Aboriginal people to defend their threatened culture. At the same time there has been an extensive but poorly informed public debate about the recognition of customary law that has done much to muddy the water and demonise Aboriginal men.

Mourning and reconciliation:

The traumas of colonisation, including massacre, rape, starvation and introduced diseases through to policies that justified the removal of Aboriginal children from their families, are not resolved.

The author doesn’t keep her own mind out of the telling. She has struggled to do more than simply present the variety of Aboriginal viewpoints, which might have been useful to dip into but very hard to read. In general she has done a hugely impressive job of shaping her vast material into a narrative / argument. Occasionally there’s a sentence that strikes a chill. For example, when one reads, ‘What is almost universally rejected by Aboriginal leaders and activists, however, is the use of customary law to defend violent and abusive behaviour, particularly that directed at women and children,’ one does wonder what unspoken murk hides behind that ‘almost’. And, as the endnotes acknowledge, some complexities are simply not discussed – Torres Strait Islanders are generally not present, for instance. But a book that tackled this subject and didn’t have loose threads or unaddressed areas would be a miracle, and very very big.

I heard Sarah Maddison on Radio National saying that she wrote this book largely because of her love for Australia. Though this statement may have been in part a preemptive defence against imagined attacks from the weirdly patriotic right, on the evidence of the book itself it was also the plain truth. The book is the labour of an engaged, committed mind, and I for one am grateful for it.

Why not to hold your mobile near your ear

This has been up on YouTube for a year, but maybe you haven’t seen it either.

Added later (not very much later): Snopes says it’s rubbish. Sorry!

Me and Larry

Several of my younger relatives insist that Larry David and I are lookalikes. You be the judge.

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Herovit’s bygone world (with addition)

Barry N Malzberg, Herovit’s World (Pocket 1974)

HerovitI picked this out from my huge Science-Fiction-Books-To-Be-Read cache because it’s very thin, and because James Tiptree Jr/Alice Sheldon mentioned Malzberg as one of her favourites (though she did characterise him somewhat deterringly as a writer ‘in overt pain’, so that ‘Everybody and everything hurts, for no known reason’).

This is almost certainly not a book that Barry Malzberg reputation rests on. It’s hardly science fiction at all, in fact, rather a grimly comic tale of a hack sf writer’s disintegration after writing 92 novels and 51 pages, plus innumerable magazine stories in little more than 22 years. It’s a prolonged self-hating in-joke, or possibly a prolonged in-joke about self-hatred. After much anguish, the writer, Jonathan Herovit allows his much more practical pseudonym to take over his own life, but when the latter fails miserably to deal with the real world, he is replaced by the even more man-of-action but even less cluey main character from Herovit/Poland’s SF series. It’s a book that has dated severely, as the science fiction world it satirises is (I imagine) no longer with us, and because its sexual politics are repulsive. Even allowing for irony, the portrayal of sex/sexism is strikingly unreconstructed. Herovit rapes his sleeping wife at one point; waking up, she makes it clear that she’s not a willing participant and that he’s hurting her. No one ever calls it rape: it seems to be just one of a series of terrible sexual experiences all round. A couple of days later Herovit’s wife leaves him. It’s not the rape that was the final straw, however, but an episode of impotence. Clearly, for the staunchly feminist Tiptree to have seen Malzberg as a favourite, his writing elsewhere must offer something extraordinary to offset this horror. It’s true, though, that in this book everybody and everything hurts, including the reader.

There is a lighter note. I’m notorious for failing to respect books as physical objects (Hi Judy!). But considered as an artifact, this cheap US paperback from the early 1970s is a thing that even I could appreciate. Look at this spread:

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The narrow margins suggest that the publishers really want to give you maximum wordage for your dollar, and then the ad takes even less of the burden of cost from the reader’s shoulders. I’m grateful that there are only two ads altogether, both for the same brand of cigarettes. This one is clearly for the romantic, the one on the reverse page features an elegant model steam train, clearly for the man’s man.

Added later by request, the other ad:

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Melancholy derangement

Kate Jennings, Come to Me My Melancholy Baby (Outback Press 1975)

jennings coverI’ve mentioned Kate Jennings once or twice in my blogs, mainly because her New York based writing has given me much pleasure. I don’t think I’ve mentioned that she won a place in my heart nearly (gasp!) forty years ago with a speech she gave at a Vietnam Moratorium meeting on the Front Lawn at Sydney University. On that day, after a number of rousing speeches from various anti-war organisations, a number of women, perhaps there were ten of them, came to the front of the speaking area and fanned out across its full width, standing with legs apart and arms folded. I was off at one side near the front of the thousand-strong crowd, and was impressed by the deliberate drama of the moment. I noticed that the woman closest to me was trembling, and realised that they were doing something that terrified them. Kate stepped to the microphone – the painfully thin designated speaker – and delivered her speech in a voice that shook but didn’t break. The speech was intemperate, overblown, bitter, profane and inelegant. It changed my life.

The speech was printed five years later as ‘Moratorium: Front Lawn: 1970’ in Kate’s first book, Come to Me My Melancholy Baby. It’s a slim vol of poetry, plus the speech and one other short prose piece. I lost my copy decades ago, and was delighted when a slightly battered arrived in the mail last week from a friend who was culling her bookshelves. The poems, it turns out,  haven’t generally aged well, though the pain in some of them fairly leaps off the page. When Kate was interviewed on the ABC by Julie McCrossin a couple of years ago (published in Hecate Vol 14 Nº 1), Julie asked her about this book, and in particular about that speech. Here’s a relevant bit:

KJ: I think you’d call that speech ‘in your face’. They were wild, rackety outrageous days and we were not getting the attention of the men at that point. We were a very small group that started meeting and that was the speech I gave. I’m not sure that we can actually say it out loud on radio. It was that outrageous.
JM
: But what was the core content, the cry from the heart?
KJ
: The cry from the heart was that we were all Vietnam activists and the men were all gung-ho about fighting that cause, and nobody cared about women, and at that stage women could not have legal abortions.
JM
: And when you look back are you amazed at the courage you had, that was a new voice then, the voice of women saying: ‘Look out over here, something’s happening, or not happening?’
KJ
: When I look back at all my life I am amazed, I do keep walking a plank. I thought those days were terrific.
JM
: Why?
KJ
: We were very inventive. We weren’t as earnest as people are making us out to be now. I don’t think of course those tactics are necessary now.

The bit of the speech that made me sit up and listen wasn’t the vile man-hating rhetoric. What made it possible to listen to that and hear what was being said was the opening lines, printed in the book as an epigraph:

you’ll say I’m a manhating braburning
lesbian member of the castration
penisenvy brigade, which I am

I’d remembered the last three words as ‘Well, I am.’ The thing that so affected me was that Kate and the women who flanked her were proclaiming that they would no longer be silenced or kept in their places by even the most vicious putdowns anyone could throw at them. If need be they would claim the putdowns as badges of honour. It made my young, impressionable, male heart sing.

The poems that precede and follow the speech recount some of the personal cost behind that stand:

If it’s not booze, it’s drugs
if it’s not drugs, it’s poetry,
if it’s not poetry, it’s feminism,
if it’s not feminism, it’s love
if it’s not love,
well, you’re just plain crazy.
When you are crying like that
how long before you stop?
I’ve stopped.

Part of the pleasure of her more recent books is in their sheer urbane poise, a great relief to the reader who followed her through the derangement, rage and ‘racketiness’ of this book.

Audacity and education

Noel Pearson, Radical Hope: Education and equality in Australia (Quarterly Essay Nº 35, Black Inc 2009)

qeradicalhopeOur household is the kind where people yell at the television. When Noel Pearson came on screen recently to talk about the subject of this essay, there was yelling. The aroma he acquired from cosying up to John w Howard in a previous era hasn’t yet dissipated, so them that yelled weren’t about to give him the benefit of the doubt when he seemed to be denying the effect of, say, foetal alcohol syndrome of school results. And Pearson’s regular attribution of a multitude of Aboriginal ills to what he calls the middle-class Left isn’t designed to win friends.

It’s harder, though not impossible, to yell at the printed page, and a sustained piece of writing stands a chance of being more carefully reasoned than a TV sound bite, so I approached this Quarterly Essay with cautious optimism. And indeed, there’s a lot of very good stuff in it. There’s quite a bit of deliberate provocation as well, such as:

Over the years I have often told people that there is a rough rule of thumb when it comes to examining the nostrums and prescriptions of the middle-class Left (black and white): whatever they say our people should do, we should look at approximately the opposite, because that will usually be the right thing to do.

I’ve always found it hard to read straw-man arguments, and surely that’s what this is. Coming to the essay pretty much ignorant of current educational debates, I am in no position to evaluate the detailed heart of its argument about what is to be done about Aboriginal inequality in education. I hope that beneath the occasional pugnacity, it plays a useful role. I know nothing, for instance, about Siegfried Engelmann’s Direct Instruction approach to education of young people from disadvantaged backgrounds, in which Pearson places great theoretical and practical store. Pearson portrays him as a lone, successful evidence-based educationalist crying in the wilderness of vested (middle-class Left) interests that constitutes the educational establishment. He may be right. How would I know? Yet Pearson’s account of the DI approach sounds awfully like the explicit and systematic approach to literacy of the National Literacy Strategy., which as far as I know is being assiduously promulgated, even prescribed, by that same educational establishment. It makes me wonder if the lone voice strategy might not be counter-productive, as well as a little disingenuous. As Pearson writes, on page 77:

Many debates about reality and its characterisation are relatively healthy and rational and we can readily agree that they should submit to scientific resolution. It is when interests are strong that irrationality and ideology come to hold an awesome sway, and science, even when it offers illumination, is gamely denied.

Pearson’s interests are strong, and it would be weird if they weren’t. His concern to transform the hideous circumstances facing Aboriginal people on Cape York and throughout Australia is palpable. This essay’s faults come at least in part from that passionate concern. It’s confrontational, demanding and sarcastic, as well as erudite, personal and engaged. While its main thrust is practical, it often broadens out in surprising ways. I love this, from the final paragraphs:

The Enlightenment was not and is not at its core a European illumination: it is a human illumination. Its origins in Europe should not blind us to its human meaning and implications. The Enlightenment forced the Europeans to change their  societies and cultures in fundamental ways. It forced societies and cultures beyond Europe  to make the same change. The Enlightenment never mandated deracination or ethnic or religious assimilation or cleansing – all societies that have made this change  have left space enough for religion and social and cultural diversity. […] Radical hope for the future of Aboriginal Australia … will require the bringing together of the Enlightenment and Aboriginal culture. This reconciliation is not of necessity assimilation: just ask the Jews.

Wa modern

As the Japan Foundation web site says:

Wa Modern is a blend of cherished traditional Japanese crafts (floral arrangement, ceramics and calligraphy) presented as one. For a limited time only from 9–16 October, floral artist Setsuko Yanagisawa, ceramist Malcolm Greenwood and calligraphy artist Ren Yano come together in their first mixed media collaboration at the Japan Foundation Gallery.

We trotted off to Chifley Square this afternoon. Really, it’s a brilliant exhibition, and exactly as advertised the three crafts speak to each other and with each other in wonderful harmony. The flower arrangements are based in ikebana and use Australian plants. The pottery could have been created for these arrangements. The calligraphy, to my completely uneducated eye, seemed to have taken liberties with tradition, to be looser, more relaxed, more – possibly – Australianish.

As we were leaving the young woman at the front desk asked if I’d taken any photos, and when I said I hadn’t told me I should come back with a camera. So I whipped out my phone for a couple of parting snaps.

Some dramatic waratahs:

Waratahs

A big arrangement. You can’t really see it in the photo, but those poppies appear to be standing in a shallow pool of water on the shell-like pottery dish, defying gravity. Looking closer, one sees that the poppy stems are actually supported by being pierced by thorns on the branch that lies across the dish

alcove

The exhibition is open all week. I recommend it.

Small talk

I’ve mentioned before here that I like to read while walking around my suburb – actually, while walking round whatever suburb, or urbs, I happen to be in. One of the incidental pleasures of this practice is the micro-conversations it engenders.

The most common opening gambit is, ‘Must be a good book.’ Sometimes there’s an edge of reprimand in this, as in, ‘It would have to be a bloody good book to make me – or any normal person – read it like that.’ Other times, it’s quite benign: if Bob Thiele and George Weiss were right that friends shaking hands saying, ‘How do you do,’ are really saying ‘I love you,’ then people making this comment are really saying, ‘I notice you’re doing something unusual/making the environment slightly more interesting.’

The other common remark, though it trails a long way behind the first, is, ‘Careful you don’t walk into a post/tree/branch.’

I try to respond with something friendly and amusing, an equivalent of ‘Thank you for commenting’. My fallback is something like, ‘Have to get the reading done some time.’

A very few people scope out the book as we approach each other and make a book-specific comment: ‘Is that any good? I’ve had it beside my bed for a while.’  ‘Has he done that well?’ ‘You must be an academic, reading Heat.’

Yesterday, a friend coming up Booth Street laughed when she saw me, and said, by way of explaining her laughter: ‘You look so ancient. So untechnological.’ I had no comeback.

Opening

We own a painting by Sydney artist Carol Ruff – a landscape, featuring a single almost symmetrical, almost bare hill. It’s hard to say why, but I just love it. I can sit and look at it for a long time and not be bored. Some time ago we were invited to an opening of Desert Air, an exhibition of Carol’s work alongside that of her partner Greg Weight, but when we got there the crowd spilling out onto the footpath outside the gallery was so thick we turned around and went straight home. Tonight another dual exhibition was opening, Love Creek Bitter Springs, made up like the other of work created during trips to the MacDonnell Ranges in the Northern Territory. Learning from past experience, we turned up at the Australian Galleries in Paddington an hour early and left before the first glass of anything was poured.

It’s a fabulous exhibition. Both Penny and I fell in love with one landscape in particular, much bigger and more elaborate than our little hill, but with the same mesmeric power:

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There is much else that’s stunningly beautiful. I want to mention a set of photographs, described in the gallery’s list as created jointly by Carol and Greg, but most of them featuring Carol, indoors and out, in the same country that features in the paintings and photographs elsewhere in the exhibition, presumably with Greg behind the camera. The list introduces the set with a quote from Barry Lopez: ‘In the end, there’s little difference between growing into the love of a place and growing into the love of a person.’ Somehow this sharply personal note brought home to me the obvious fact that the whole exhibition is a work of love.

Posthumous Tiptree Jr

James Tiptree Jr, Meet Me at Infinity (Tor Books, 2000)

I got hold of this book as part of my Science Fiction/Fantasy self-education project. In years long gone, I’d read two Tiptree novels and a collection of short stories, so already had a healthy respect for her. (Yes,  James Tiptree Jr was a woman. However, in this book she’s identified primarily by her male pseudonym rather than as Alice Bradley Sheldon or Raccoona Sheldon. And that’s as it should be: she kept writing as James for roughly ten years after she was outed, and the pieces by Raccoona collected here are pretty forgettable. There are precedents: I’ll bet you struggle, as I do, to remember the real life name of Henry Handel Richardson or George Eliot.) This is a posthumous gathering of previously uncollected stories and essays, so might have turned out to be a grab bag of offcuts of interest only to completologists. I’m glad to report that it’s not so, not by a long shot.

In the fiction section, roughly the first half of the book, most of the pieces do turn out to be of mainly completological* interest. But two of the stories, specifically ‘Trey of Hearts’ and ‘The Color of Neanderthal Eyes’, are vivid reminders of Tiptree’s ability to portray intimate sensuality (including, as in the first of these stories, graphically described sexual encounters) between beings from different planets. If only I’d read the former story before my Book Group’s evening on erotica!

At the start of the non-fiction section, in which Tiptree is maintaining, sometimes strenuously, her male persona, I was reminded of Jennifer Maiden’s reference (in her poem in the current Heat) to

Wilde’s old aphorism that a man
is least himself in first person: give
him a mask and he’ll tell the truth.

These pieces were mostly written for fanzines – some of which were produced by the book’s editor, Jeffrey D Smith, whose notes explain for us visitors from the mainstream the nature of fandom and fanzines. The pieces are appropriately informal, ‘Uncle Tip’ telling traveller’s tales, dispensing advice to his younger co-fans and generally shooting the breeze in playfully overwrought language. You get the impression the writer was having so much fun creating, or being inhabited by, this male character that she allowed herself to say all sorts of things about creativity, science fiction, ageing, the environment (including, more than 20 years ago, a lament about carbon dioxide and climate change) and anything else that crossed her mind, things she might not have said in her own person. Some of it is embarrassing, as when ‘Tip’ writes with self-deprecating comedy of his lustful admiration for a young Mayan woman. But there’s a lot that’s eminently quotable. Like this, on the Doomsday theme in science fiction, in 1973:

Ever since things got serious, ever since we realised that we really are in danger of killing ourselves, of bombing or poisoning or gutting or choking the planet to death or – perhaps worst of all – of killing our own humanity by fascist tyranny or simple over-breeding, science fiction has been the only place we could talk about it. The mainstream took one look at it in Orwell’s 1984 and promptly caponised itself. It’s too terrible. Don’t look. Tell me Jesus saves.

Or this, which must surely be quoted in any discussion of women in science fiction (the emphasis is in the original):

I know now why women have always attracted me, you see: They are the real aliens we’ve always looked for.

A year or so later, edging closer to emergence from behind the male mask, she wrote, ‘I have changed my mind, by the way: Of course it is not women who are aliens. Men are.’ In that same piece, a compilation of contributions to a symposium on women in science fiction, ‘he’ responded sweetly when invited by the famously pugnacious Joanna Russ to bow out of the discussion on the grounds of his gender.

The book gets really interesting with his/her unmasking, in a number of ways. First, the real Alice Sheldon steps out onto the stage, and although she talks in a number of pieces of how disappointed her readers must be when the writer they’d suspected of having lived a daring life (a spy, or something worse?) turns out to be a nice elderly lady (‘At least I hope I’m nice’), she did have a very interesting life – starting with accompanying her parents on major journeys of exploration as a very young child. Second, her writing changes, becomes more straightforward, less florid, if perhaps also slightly less adventurous. And third, she reports on what she has learned about gender in science fiction, about sexism in general, from her masquerade and unmasking: all too often what can be heard with respect if said by a man, if said by a woman is understood to be whining. As ‘Tip’ she could suggest to a male anthologist (pen-)friend that he ought to include some women in his collection; the same suggestion from Alice would probably be heard as pure self-interested.  And so on. Without the male persona, she writes passionately about the situation of women, and about the importance of male allies in the struggle against sexism. But always with style, oddness, modesty, spark and a weird kind of grace.

* I didn’t make that word up. I just googled it, and got one hit.