Saturday dawned with yet another clear sky. I finally understood that El Niño and the weather gods are smiling on the Writers’ Festival this year, and my light linen jacket was all the warmth I needed. It was my busiest day at the Festival, even busier for The Art Student, who went in early for The Joy of Art with Betty Churcher, John Armstrong and Alex Monroe. Rachel Kent, director of the MCA, who chaired the session, tried to keep up the SWF tradition of ditching her advertised topic, in this case presumably because joy hasn’t been sufficiently theorised, but according to the Art Student the panellists gave the audience what they’d paid for and kept joy on the agenda.
I arrived at Walsh Bay in time to join the AS in the packed Sydney Theatre for
11.30 am: Reza Aslan: Zealot
There’s a famous clip on YouTube of Reza Aslan being interviewed on Fox News. The Fox person is outraged that Aslan, a Muslim, has written Zealot, a book about Jesus Christ. The implication hangs in the air that this close to a literary equivalent of 9/11. Aslan is the very picture of cool reason, repeating over and over that he is a scholar who studies religion and has a scholarly interest in Jesus. He insists, to the point of being boring, that his primary identity in this context is as a scholar rather than as a Muslim.
I was a little worried that he might be just as one-track boring when not dealing with a terrified fundamentalist, a worry which was intensified by my past experience of interlocutor Steven Gale as somehow impersonal, even mechanical. But my worries were total garbage – both men were fabulous. Reza Aslan was witty, warm and exuberant as well as scholarly; Steven Gale obviously liked him and revealed a mischievous streak of his own, at one stage slapping his thighs in enjoyment.
Aslan’s book is about the historical Jesus rather than what he calls ‘the Christ of faith’, but he’s not a debunker – not, as he put it one of those biblical scholars who peers as if down a microscope and cries, ‘Ooh, look at all the people believing things!’ Asked what was known with certainty about the historical Jesus, he said that if you brought a hundred biblical scholars onto the stage and asked that question, once the fisticuffs had finished they would come up with a hundred different answers. But they would agree on three things: he was a Jew; he preached something called the kingdom of heaven, though there would be much disagreement about what it was; and the Roman occupiers executed him because of that. All the same, he says there’s nothing particularly new in his book – its aim is to open up the field to a wider audience. Sure, he takes many positions that other scholars will disagree with, but then he lists the disagreers in copious endnotes.
Jesus was almost certainly illiterate. He was one of probably hundreds of self-proclaimed messiahs of the first century of the common era, which Aslan said was the Middle East’s most turbulent period in history (cue gasp from audience!). Every messiah, including Jesus, had a project to free the Jewish people from the oppressive Romans, and when each one failed he was seen not to have been the real messiah. Jesus differed crucially (no pun intended, the cross wasn’t particularly distinctive) in that his disciples reported experiencing him as risen from the dead – something completely novel in the Hebrew context.
The four Gospels, he pointed out uncontroversially, were written after the destruction of the temple in 70 CE. Given that the Jesus movement had been pretty unsuccessful among Jews, the Gospel accounts were tailored to make it more attractive to the Romans. This they did in three ways: they made Jesus’ teachings seem less embedded in Jewish culture, more ‘universal’; they removed the nationalism, translating it into ‘spiritual’ terms; they shifted the blame for his death from the Romans to the Jews (what we know of the historical Pontius Pilate’s extraordinary cruelty makes the Gospels’ account of him reluctantly complying with the High Priests’ demand that he crucify Jesus completely implausible).
Aslan ended on an enigmatic note: in all the gospels, it was women who discovered that Jesus had risen from the dead. This is a stumbling block for historians, because at that time women could not be called as witnesses, so if the gospels were inventing the story they would have picked someone else as the discoverers. [I immediately decided that Mary Magdalen was the key person who ensured that the Jesus movement survived his death.]
We had an hour for lunch and then were just about the last people to squeeze into the Philharmonia Studio for
1.30: The Changing Face of Indigeneity: Now and Beyond
Wesley Enoch, Anita Heiss and playwright Nakkiah Lui were on a panel chaired beautifully by Lydia Miller. If I understood what Lydia Miller said in her introductory remarks, Native Title legislation of the early 1990s changed the way people in Australia think about indigenous identity, because it led to a diversity of narratives. There is also diversity because of intergenerational differences – I think I heard correctly that 60 percent of Aboriginal Australians are now under 25 years old, and 40 percent of those are under 15.
The panellists, two from the theatre and one novelist, addressed the theme interestingly. Wesley Enoch described himself as a psychological vampire, looking around for young Aboriginal blood for use in the theatre. Anita Heiss told us that there are 60 different pieces of legislation in Australia defining what it is to be Aboriginal, and this obsession on the part of whites with defining Aboriginal identity was something that Aboriginal artists constantly have to negotiate: ‘We don’t sit around discussing identity with each other all day, you know. We have other things to do, like shopping.’ Nakkiah Lui, who spoke very quickly with the result that she was often incomprehensible to me (more about that later), said she was interested in critiquing the power relationships that were the context of cultural work. All three of them brought both zest and urgency to the question of challenging the dominant culture’s unremitting project of containing Aboriginal and Torres Strait Islander peoples in straitening identities.
[I’m writing this after seeing the wonderful Brothers Wreck at Belvoir Street on Sunday evening. The play reminded me of two other comments: Nakkiah Lui pointed out that there had been two Indigenous productions a year at Belvoir Street for some time now, and that this was building on an established tradition of Aboriginal theatre making. Wesley Enoch said that at the Queensland Theatre Company (of which he is Artistic Director) they find that if the audience is more than 20 percent Aboriginal, the response to Aboriginal theatre is completely different – the white audience members become a lot less uncertain in their responses, more open to the work.]
And then with a rapid change of mindset, to
3 pm: #three jerks,
This is a descendant of Alleyway Honour, a highlight of the 2009 Writers’ Festival. Like that event it is an austerely theatrical reading devised by Michael Mohammed Ahmad and directed by Roslyn Oades. Michael Mohammed Ahmad, Luke Carman and Peter Polites, three of the five readers from the earlier production, here read interlocking first-person stories. My assumption is that each of them wrote his own story.
Opening with an infamous 2006 quote from Sydney Muslim cleric Sheikh Hilaly about where blame should be apportioned for a number of rapes in Western Sydney, the stories play out a key couple of days in the lives of a number of Western Sydney adolescents – a gay Greek boy, a white boy who gets caught up in a petty crime, and Lebanese boys dealing with adolescent sexual politics. Some of it is confronting stuff, but there’s an intelligent reaching for understanding, and a basic decency in all three narratives.
The show is scheduled for a second appearance at the Emerging Writers Festival in Melbourne: at the Wheeler Centre 7 pm Friday 30 May. So if you’re in Melbourne here’s a chance to hear voices direct from Western Sydney, to provide some kind of counterpoint to the constant wailing about Western Sydney in the political commentariat.
[Luke Carman read very quickly, too quickly for me to understand most of it. This being the third time I’ve made such a complaint at this Festival, I have to ask if the problem isn’t with me rather than the rapid speakers. My ever-sympathetic partner is adamant that the problem is not that Melbourne poets, young playwrights and anglophone Western Sydneysiders talk too fast, but that my deafness has passed the point where I need a hearing aid.]
Bickering amiably about my growing disability, we headed up the queue outside the same theatre for the next session:
4.30: Jeremy Scahill: Dirty Wars
Jeremy Scahill, an investigative journalist from the US, chatted for an hour to Australian TV journalist Mark Davis about his book detailing the extent of the US’s covert military operations, particularly those undertaken by the Joint Security Operations Council. This was pretty scary stuff: Scahill’s early discoveries were dismissed by a spokesman for the White House as conspiracy fantasy, but the Snowden tapes confirmed that he was right on the money. Denied access to top levels of the military and the government, he has nonetheless built a substantial number of sources at the operational level. Mark Davis repeatedly expressed his astonishment and envy that in the US public employees seem to be willing to speak frankly to the press in a way that is not only illegal in Australia, but also simply not done.
Scahill’s book, Dirty Wars: The World is a Battlefield (subtitle taken from a Dick Cheney memo) is a hefty paperback. We stayed to watch the film of the same name, which follows his investigation into darker and darker territory until it reaches the climax of the killing by drone of a 16 year old boy, a US citizen against whom no charge had every been made. This was by a military unit that was legitimised by Rumsfeld but now operates under Barack Obama’s direct authority.
We walked to the train though the incredible crowds that had turned out for the first Saturday night of the Vivid Festival. The Opera House, the Museum of Contemporary Art, Customs House are all lit spectacularly. Having just come from these revelations of what the government of our special allies are doing in almost complete secrecy it was hard not to think of bread and circuses. Here’s the bit from Juvenal’s 10th Satire (which I found on Wikipedia):
Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses.