Wednesday, February 4, 2009

An Interview with Kevin Vowles

*As part of an ongoing series, I interview various Canadian activists from many walks of life to discuss their politics in a short debate-style format. This time on The Revolution will be Improvised, I talk with Canadian author and peace activist Kevin Vowles about his new book, Twenty-first century Hippies: Activists in pursuit of peace and social justice (Hip-E Books, 2008). In his book, Kevin examines the techniques of the '60s peace movement and their relevance in contemporary approaches to human rights, war, poverty, the environment and HIV/AIDS.


David Zeglen: What are the most important points you are trying to express in your book?

Kevin Vowles: My book starts by examining 1960s Hippies and the peace movement they created. It draws comparisons between activists of the 1960s and today, and the common techniques used to bring about change. Human rights, the environment, war, poverty, HIV/AIDS, and the root causes of these problems are subsequently explored. Take-action plans follow each of the issues, which people can use in their pursuit of peace and social justice. By exploring and differentiating activism and advocacy, this book encourages non-violent, peaceful and proactive change.

This book aims to inspire people to engage in social activism and provides action plans. Anyone can be the change they want to see. We can all take action to make the world a better place, and this book gives people the tools to do just that.

DZ: Was your book an attempt at putting together a response for people who feel like there are so many problems in the world, but no concrete way of going about it?

KV: I would say that's very accurate. I wanted to make information not only interesting for people who might be interested in global issues such as human rights, but also accessible. Many people do not know where to start...I certainly didn't when I became interested in human rights as a teenager. I wanted to give people activities and ideas to help initiate change in the world, ranging from really simple ideas, to more complex---lifelong---forms of activism.

DZ: Tell me more about how you got interested in activism. Was there a defining moment or social issue that drew you into the fold? Can you define for me what activism meant to you then, and what it means for you now?

KV: I got interested in activism, specifically human rights when I read the Long Walk to Freedom by Nelson Mandela. I was quite young at the time---in high school. It was a pivotal moment in my life. I began to realize that life is not so good for the majority of people in the world. At that time activism was a very vague concept to me.

On my tour I went into a Grade 8 classroom and spoke to budding activists about the issues that interested them and the activism they were pursuing. It's very inspiring to see education being used to get things done in the world---making the world a better place. Teachers have a great opportunity to teach and initiate change with students, at the same time creating leaders of tomorrow. For me, activism didn't really begin to crystallize until I joined Amnesty International while at McGill University. At that point activism meant protest, and raising awareness. The definition of activism for me has evolved significantly. I believe it's a fundamental method to bring about change in the world. I define it fairly simply in my book:

"Activism refers to action meant to bring about change. This can range from writing letters, blogging, fundraising, writing books, articles, poetry and songs, raising awareness, speeches, protests, demonstrations, rallies, sit-ins or strikes."

As time progresses, issues and technology evolve and change. So too will activism, and I hope more people will become inspired to get involved and raise awareness to bring about change.

DZ: In your book, you cite the 1960s as an inspirational model for contemporary protest. However, the counter-cultural techniques of that period have been effectively co-opted by many groups on the political spectrum. Beginning with the 1980s North American right-wing campus movement, figures like the young Jack Ambrahoff created a 'conservatism as revolution' college frenzy, effectively sweeping Reagan, and consequently Mulroney, into power. How can would-be activists know they are joining an authentic campaigns for positive social change when so many divergent groups claim they are the true inheritors of the Left?

KV: Personally, I am not a fan of labels. This may sound contrary given the title of my book. I used the term 'Hippies' in my book as a way to creatively draw people into activism---hoping that many people were already identifying as Hippies. I believe that Hippies were pursuing an improvement in the human condition---this was the basis of the peace movement and transferred well into the environmental movements which arose out of the 1960s---which saw corporate endeavours harming our planet in numerous ways.

Yes you are right, my definition of activism is fairly non-partisan. I believe people will know that they are joining 'authentic' efforts by asking themselves the question, "Is this activism attempting to improve the human condition? Or, am I helping the Earth?" I certainly believe that in many cases corporations have co-opted environmentalism, and human rights to turn a profit. One of the clearest examples of this is Walmart and Starbucks and Fair Trade campaigns. I think we need to be very wary of corporations that have had a history of exploitation. They are certainly not agents of change.

Honest, sincere efforts for change have always been just that: honest and sincere.

DZ: Chapter eight of your book briefly names Afghanistan as one of many countries currently undergoing a military operation, a subject that resonates deeply with the Canadian public. Unlike Iraq, which you discuss at length in that chapter, the mission in Afghanistan is a multilateral UN sanctioned operation which was also invited to the country on behalf of the Afghan government. Several opinion polls taken from local Afghans almost unanimously support a foreign presence there, and yet several major Canadian protest groups like the Vancouver based StopWar Coalition, PeaceNow and the Canadian Peace Alliance have sponsored rallies in the past year calling for Canadian withdrawal from Afghanistan. Some protestors have even gone so far as to dub the Taleban as freedom fighters resisting imperalist powers. However your book also outlines an important need to protect human rights, which poses a paradox to these peace activists. The Taliban, a neo-fascist paramilitary group that oppresses women, destroys trade unions and kills political rivals will essentially wreck havoc across the country if withdrawal at this stage actually occurs. Meanwhile, peace protests in Canada have aligned themselves with these fascists, united by the righteousness of their cause. How does a well-meaning activist sift through and reconcile these contradictions without succumbing to a partisanship that you admonish?

KV: When I opened my book tour, I invited a man from Kingston who I knew when I was growing up. He is the principal of the Royal Military College in Kingston, Ontario--my home town. When I argued that we need to look to peace in the face of Afghanistan and Iraq, he argued that sometimes you need wars to gain peace. He was especially critical of my profiling Hibakushas in my book-telling the stories of some of the first survivors of the first detonation of a nuclear weapon on civilians in 1945 in Japan-noting that the Japanese committed numerous attrocities themselves (including taking thousands of Korean women as sex slaves), and that the bomb ended the war. At the time I will readily admit I was at a loss for words. Later I better came to understand the arguments he was making, and thus more clearly understood my point. People need to advocate for peace, for a more peaceful world, and this is what I have been doing for quite some time now. Many people affected by western led wars of aggression might argue that dropping nuclear bombs on Washington and Ottawa would be justified if it ended wars of aggression and prevented possible future conflicts in countries like Iran. Of course this would be extremely tragic, anti-peace, and possibly signal an end a chance for world peace.

The war in Afghanistan has been tragic and despite being a multilateral UN sanctioned operation (and NATO), it is very much a war started at the behest of the USA, and infact is also a war about energy as much as anything. There are various energy motivations at play, including natural gas, oil and the security of these commodities. One need only look to the Canadian Centre for Policy Alternatives paper A Pipeline Through a Troubled Land: Afghanistan, Canada, and the New Great Energy Game by John Foster. My 90 year old Grandmother actually gave me this article...Yes, she's a raging Granny! Politicians point to the 6 million children now able to go to school as progress. Everyday in my career as an educator I advocate for human rights of all varities-food, water, education, safety, security, and a chance for a better future---for people from all walks of life.

Currently I teach on a First Nations Reserve on Vancouver Island. We have a school here. Just because there is a school though does not mean human rights are respected and upheld, even here in Canada. Progress, justice, human rights and an improvement in the human condition cannot be imposed as has been done in Afghanistan. Real change takes time and must come from within. It must come from the people.

That being said, my belief is the Taliban is not for these things either, leaving a glaring contradiction on the Canadian anti-war scene currently. My other impression is that we are not nearly pro-peace enough, and I do not know how anyone could possibly believe the Taliban are pro-peace---they might be fighting an occupation of their country (and just become something is legal does not make it right---need we look further than the continual sale of tobacco in Canada which kills 45,000 Canadians annually?), but they do not stand for equality or peace; that much is clear and I would not walk with activists who stood by the Taliban. I believe that if we take the road of peace and nonviolence as Ghandhi did in the movement to independence from the British in India, we will be clear, peaceful and right in our stance and efforts to improve the human condition.

DZ: The report you cite mentions how beneficial the pipeline would be for 33 million Afghans, providing jobs and a national infrastructure. If Afghanistan wanted to build a pipeline in negotiations with other neighboring countries, this seems to be at the prerogative of the Afghan government. Activists wishing to stop this process sounds, well... a lot like imperialism. Claiming the U.S. impetus for invasion was energy gains support because it sounds sensational and unfortunately detracts from more complex issues at hand. I'm deeply concerned about a rabid anti-Americanism ingrained into the Canadian Left's activism, which is just the opposite side of the same coin that believes in an American manifest destiny. Both sides fail to assume the responsibilities of citizenship that fairly assesses and criticizes foreign policies rather than maintaining partisanship regardless of a particular side's lunatic positions. If the United States does anything, then it simply must be protested against or a conspiracy theory must be invented to "justify" protest. But international conflicts aren't as simple as having an X factor. Don't you think that your book might encourage Canadians to adopt the 'trendiness' of activism by generalizing peace issues to hippydom, without demanding the more solitary and unglamorous work of committing to a single cause and spending a lifetime of work understanding its nuances? If we want to be meaningful activists in pursuit of peace and social change, doesn't this mean we have to criticize both the Left and Right's positions to determine positive change regardless of popularity?

KV: I think that many Hippies from the 1960s believed that they would be Hippies forever; advocating for peace in the style and mode of their counterparts. Many splintered and formed the radical and violent left Weatherman Underground, a group of radical activists who bombed many targets around the US in retaliation for the Vietnam War---they believed that the inaction of the American public was complicity with the devastation of the war. I believe they are right. This is true today. By not taking action, paying taxes which pays for the war, people are complicit. Many true pacifists believed violence to be too 'sensational' and not in keeping with the roots of the struggle for peace. I believe they were right then and now.

I sincerely hope my book does not spur trendiness, but rather a genuine commitment to activism, as is exhibited in many Hippies I have met in my travels---people committed broadly to social justice and specifically to other issues as they see fit. The thing we have to remember is that Hippie is a label, and for a time I considered dramatically restructuring my book to avoid this idea. I decided not to in the end because Hippies inspired in me a life committed to something greater than me; greater than the pursuit of personal wealth. They inspired personal liberty, peace, change, belonging, freedom and power. I believe it can take a very long time for people to find their niche in activism.

As I clearly state in my book, change can take a lifetime. I am personally beginning to take an interest and pursue involvement in the Campaign for Nuclear Disarmament---a campaign for a more peaceful Earth, now more than 50 years old. We all have to look deep within ourselves to find peace, ignite the flames of passion (forgive the cliche), as the 1960s Hippies did. For many activists today, this is the war in Afghanistan, and Iraq. A recent article in Adbusters stated that the Bush era ushered in an era of stupidity for activists...making us struggle for the stupidest things. For others, it ignited the flames of activism and involvement in a cause. Many people became Hippies as did people in the 1960s.

DZ: It seems to me that pacifism has become a convenient ideology that Westerners have adopted that doesn't demand much from them in a democracy, nor does it make for much of a foreign policy in the real world, where a flower for a fascist earns you a bullet in the head. You quote Ghandi several times in your book, but aren't there circumstances that require a popular uprising (or support of one) that may use violence as one of many tools to overthrow oppressors to achieve peace?

KV: Great question. In fact I think that I like this question the best out of all of our dialogue.

I believe true pacifism requires restraint. Much of human kind's instinct suggests the need for violence (hence all the wars), and the need for violence, war, intervention to bring peace. Ghandhi believed that peaceful action was more powerful than any soldier's weapons or bombs. Furthermore, use of violence is usually only met with more violence and repression.

The best example of the lack of effectiveness in violence is that of the Weatherman Underground---the violent faction that broke off from the Student's for Democratic Society. They believed violence was needed, destroyed property, blew things up and created an uprising across America, in the response to the Vietnam War. Eventually they lost the struggle and fell apart after a bomb they were making exploded, destroying a town house.

One really effective means of activism is not paying taxes. I am personally contemplating this notion, the implications for on my teaching job (I teach Grade 7-8 in an aboriginal village), possible jail time, and other legal ramifications. I want to take this action because I do not support the war in Afghanistan, and believe that it could garner the cause of peace a lot of attention. I believe that Harper's proposed bolstering of spending on military is wrong and needs to be stopped.

In short, I think that pacifism and non-violent struggle as so many have advocated for, demands a great deal, the question is, can we and are we ready to meet the challenges?

DZ: I'm not talking about a group of middle-class liberal hippies, I'm broadly talking about militia groups like the anarchists and communists fighting the fascists during the Spanish Civil War or Nelson Mandela's founding of Spear of the Nation. The current Western peace movement is predicated upon ideals that comforts privledged morals that ironically deny basic freedoms to others.

Explain how not paying your taxes is an effective form of protesting the war in Afghanistan, which sounds like you advocate for withdrawal, which ordinary Afghans shudder at the prospect of. What are your solutions to solving the brutality of the Taliban? Instead of fighting fascism with violence, Pakistan has recently 'negotiated' an agreement with the Taliban, handing them the Swat Valley, giving extremists a chance to rule over property, close down schools for women, and institute a brutal law system, without having ever been elected!

KV: I don't believe I ever advocated that we walk out of Afghanistan. I don't think we should have ever walked in is what I believe I said, despite the fact that it is a NATO sanctioned mission. Withdrawing now would be foolish and irresponsible. Afghanistan is most unfortunately similar to many other countries engulfed in human rights violations (Zimbabwe, the DRC, Burma, China, North Korea are other examples of countries where human rights violations are rampant). Do we invade these countries too? We didn't go there to Afghanistan to liberate people. We went there because the US had 'information' that al-Qaida was there, and wanted us to go.

Now there are times when violence is needed to end violence---that's the essence of pacifism as I understand it. Peaceful action except to save lives and prevent human rights violations. Let's stop kidding ourselves though, we didn't go to Afghanistan or Iraq to do these things, and those who do believe we did should endure the reality check that we have made a mess of both countries.

Not paying taxes is a great form of non-violent action. At the heart of the most effective non-violence is action which raises awareness about issues. For me, I realize that the people I work for are not going to be very supportive, because if I get arrested, there won't be anyone to teach the children in their community. Getting teachers into first nations communities, and stay, is a difficult task.

Those who are protesting in the streets for withdrawal though are on a larger scale protesting for peace and are raising awareness which will hopefully prevent future conflicts and the further militarization of Canada.

DZ: We've mostly talked about Afghanistan however your book covers a lot of territory and a plethora of political issues. Leaving you with the last word, what do you think is the most pressing crisis that Canadians need to address immediately in the here and now and what can they do?

KV: I believe there are two key issues for Canadians to get involved in.

The first is nuclear disarmament. Not only do we have more nukes than ever floating around the world, but we have nuclear subs nearly colliding below the waves of the ocean off the shores of England. Despite a sordid and troubled history around the colonization of Canada and the segregation of first nations people, Canada has in the past claimed a great role as a peacekeeper in the world. Activists can help reclaim this role by becoming involved in the Campaign for Nuclear Disarmament (www.cnduk.org). Not only does campaigning for a nuclear free future take steps towards it, but they begin clearing the road for a more likely, real and much needed peaceful future without conflict. Hey, a guy can dream can't he. That's my dream. It's a world without war. I believe we not only can get there, but we must get there. The alternative ain't pretty (see my book or the Campaign for Nuclear Disarmament), and Canadians can all help lead the way towards a more peaceful future for the children who come after us.

The second issue which I think warrants action by all people is climate change. Canada unfortunately has a dismal record on climate change, not that far behind the US. Many scientists are now saying climate change is now irreversible, but I believe we must still try. To do otherwise is to act in collusion in the destruction of our world. While many consequences may already be irreversible and catostrophic (rising sea levels), it is not too late to engage in positive change. Everyone can take small to large scale action to affect change. The
A Million Acts of Green initiative by George Stroumboulopoulos from the Canadian television series The Hour, is a great place to start, and will give you 1 million different things to do to stop climate change ranging from using less electricity to taking public transport (thus far it is estimated 78 million kg of greenhouse gas have been saved). Every act of kindness, compassion and caring matters.

On a final note, I would like to wish all those who are steering their energies into positive social change, well. If people didn't care and try, things just wouldn't get better.

Related Links

Kevin Vowles' official website: 21st century hippies: activists in pursuit of social change

Website for the Canada-Afghanistan Solidarity Committee


Canadian Centre for Policy Alternatives: Pipeline Through a Troubled Land: Afghanistan, Canada, and the New Great Game by John Foster
Slate Article: "Is The Afghan War about an Oil Pipeline" by Seth Stevenson
Guardian Column: "Pipe Dreamers" by Colin Foley

Sunday, February 1, 2009

Art History: Who's The Bosch?

This month, I attempt to demystify one of the early paintings of Hieronymous Bosch entitled The Conjurer (c.1475-1480?). Best known for his triptych The Garden of Earthly Delights (1504), the virtuosity of Bosch's hallucinatory imagery inspired many generations of artists including the Surrealist movement of the early twentieth century. However, the complex themes of his work consist of more than a phantasmagorical landscape, they also expose a Catholic conceit for the poor. By introducing Bosch's socioeconomic background and examining the content of one of his early works, I attribute a starting point to the bourgeoisie Christian mentality of Bosch's brush, which would further manifest itself in his later works. Although finding flaws with the Catholic Church is like beating a dead horse with a dead horse, my intent is to re-consider Bosch's place in art history as a painter who believed poverty was not only blameworthy, but a natural consequence of straying from Christian orthodoxy.


That Rich Dutch Bastard
Unfortunately, there are few details concerning Bosch's life. He left no known correspondences with contemporaries, wrote no will, kept no journal, and rarely signed and dated his paintings. Additionally, no logs of his travels exist, as Bosch rarely if ever left his hometown of s'Hertogenbosch, explaining his conservative and regional artistic tastes and lack of influence from Italian masters or Dutch contemporaries. Currently, the information most abundantly available on Bosch are his finances, revealing his class status. During Bosch's lifetime (1450?-1516) the town of s'Hertogenbosch [1] constituted one of the richest parts of Europe under the Hapsburg Empire. Wealth bequeathed the prosperous Dutch families of Brabant to indulge themselves in the arts, partially explaining large Dutch artisan families like the Van Eycks. That Bosch's grandfather, father, all three uncles and brother were painters indicates that he was most certainly born into a middle bourgeois family. Bosch's personal wealth increased moderately in 1481 when he wed into the wealthy family of AleytGoyaerts van den Meerveen, inheriting more property in the nearby town ofOirschot. Surviving municipal tax records from s'Hertogenbosch bearing Bosch's signature provide a bolder sketch of his economic status. [2] The records indicate Bosch owned a stone house on the market-place, which was one of the most distinguished in the town according to tax on the rental value of the houses he paid. According to these records, Bosch was in the top one percent of wealthiest citizens in the city. Bosch's name also appears on the record sheet of a highly orthodox Elite religious order called the Illustrious Brotherhood of Our Blessed Lady, signed in as a sworn member. Sworn members were chosen among the nobility and magistrates, and had powerful ties to the community while upholding the values of the Catholic Church. [3] Based on these facts along with his works, it is reasonable to conclude that Bosch was not only absurdly wealthy but also extremely devout. 

Patronizing Bosch
Bosch's paintings remain a fascination because he was an anomaly of style, situated between and altogether rejecting, the great Dutch masters and the emerging High Renaissance. [4] Bosch's work descended into a ruthlessly grotesque orgy of Catholic orthodoxy, while the rest of Europe moved into the Renaissance. Although Bosch remained in considerable demand during his lifetime he asked small fees from his patrons, probably just enough to cover his art supplies. [5] Bosch, who was financially secure, did not have to cater to the whims of wealthy courts whose tastes would have been specific and demanding. Instead, Bosch painted small expressive faces with spindly bodies, refusing portrait assignments (which were lucrative) and never included patron characters in his works (which was common practice). Although it is difficult to determine Bosch's patrons due to poor record keeping, a few of his beneficiaries were well known. The Garden of Earthly Delights took residence in the Brussels Palace of Hendrik III, while Philip the Handsome, the archduke of Austria, commissioned him to paint The Last Judgement. The Brotherhood also commissioned Bosch to design altarpieces as well as execute designs for the stained glass windows of St. John's Cathedral in downtown s'Hertogenbosch where the Brotherhood frequently congregated. [6] Although the most Catholic of monarchs, Phillip II of Spain, took possession of many of Bosch's paintings after he died, he is not known to have commissioned any work from Bosch. Unfortunately, many of Bosch's early paintings, like The Conjurer, have no evidence of being commissioned, if they were commissioned at all. However, The Conjurer could have been commissioned by the brotherhood Bosch belonged to, for a few reasons. Compared to his other works, The Conjurer is a highly accessible painting for public viewing and might have been commissioned by Bosch's fellow members to hang in the Church and provide an ample warning to the laity. The simple arrangement, recognizable symbols and depiction of common people would have made an impression on the public. Indeed, the framing of a street magician with his cups and balls entertaining an enthralled audience perhaps evoke a scene that Bosch might have witnessed in the market streets of s'Hertogenbosch. I have chosen to look at one of Bosch's early works because of its broad appeal to the masses, but also because it is an early point to study Bosch's pedantic religiosity, which grew proportionally with his subsequent paintings.

Analysis of The Conjurer


The Conjurer
The location of Bosch's scene in The Conjurer appears away from the bustling regularity of the market, removed from a large crowd. The landscape is blocked off with a tall brick wall, placing the conjurer's venue somewhere between buildings or an otherwise questionable alley. In Bosch's time, the effects of the Medieval Inquisition, effectively conflating all acts of magic to heresy and sorcery, would have forced the conjurer to ply his trade between the cracks of public life. In the mind of the Medieval Catholic, the source of such immense evil could only be permeating from the indefatigably unrepentant Jew. The suggested identity of the conjurer is based on the "prominent hooked nose, a feature traditionally associated with Jews in medieval painting." [7] This claim is substantiated by the conjurer's pet owl, carried in a woven basket around his waist. According to several medieval bestiaries, "owls are symbolical of the Jews who repulse our Savior when he comes to redeem them" because they reject the light. [8] In most illustrated manuscripts, the long, hooked beak of the owl was supposed to emphasize the hooked nose of the Jews, sometimes even giving the owls human faces. [9] All the conjurer's tools are available for the spectator to see, as Bosch has foregone perspective to cant the tabletop towards the viewer of the painting. The subjects, intently gazing at the conjurer's work, appear not to be looking at the table however, but the conjurer's hand, providing a visual clue for the layout of the painting. Upon initial observation, Bosch's composition appears to evoke a vague familiarity with the Eucharist, or some kind of parody or false mass. It is the conjurer's right hand gesture extending forward that confirms this evocation. His hand mimics a circle with the index finger and thumb, with the rest of his fingers extended, as if holding the host. Known as the "iunctio digitis," Catholic priests would hold their right hand in this position, saying "for this is my body" before administering the host to the celebrant. Several records on mass commentary existing before Bosch's time prove this gesture would have been used as early as the eleventh century. [10]Bosch's audience would have immediately recognized the reference of the conjurer's gesture made iconographic by the juxtaposition of the hand against the color of the back wall. A Jewish conjurer performing a false Christian rite in an alley speaks to the controversy of the sacrament just prior to the Reformation. A sweeping reform throughout in the Netherlands, a movement called DevotioModerna, focused on a personal devotion that "presupposed that whole sacramental and ecclesiastical system of salvation which Catholic orthodoxy proclaimed to be of divine ordination."[11] Devotio Moderna highly valued the Eucharist, but interpreted the sacrament as a representation rather than a repetition of Christ's sacrifice through transubstantiation. For Bosch and the Catholic Church, the Eucharist was the literal consumption of Christ's body, even if empirically the bread retained its appearance. An inversion of the Eucharist with magic by a Jew would have represented the pinnacle of evil for fifteenth century laity. By further analyzing the other key symbols, Bosch's deeper intentions reveal themselves to associate destitution with a lack of piety.

The Crowd
To the left of the picture, a flatly assembled mass of townsfolk, a seven-headed hydra of sorts, lump together into one entity. The eyes of the crowd, some meditating, others gawking, witness with fervor the conjurer's tricks. Such is the persuasion of the conjurer that the clergy are also seduced along with the gullible, as a nun, third from the right, peers intently at the Jew's hand. If this layout is to a false Eucharist, then why is the crowd just watching? The ritual of witnessing the bread as it was being elevated began in the thirteenth century when priests would raise the host after its consecration. As Dutch historian JohanHuizinga points out,"the highest mysteries of the creed became covered with a crust of superficial piety. Even the profound faith in the Eucharist expands into childish beliefs for instance, that one cannot go blind or have a stroke of apoplexy on a day on which one has heard mass, or that one does not grow older during the time spent in attending mass." [12] No doubt the simple repetition of a phrase of words that altered bread into flesh must have persuaded the minds of the late medieval period into a state of piety; the term "hocus-pocus" deriving from the crucial phrase in the mass, "hoc est enim corpus meum." [13]  The crowd as witness forms a queue, waiting in line for their turn to receive the conjurer's trick and taste no pain or become cured of an ailment. The crowd's presence in the scene elucidates their misunderstanding about the power of the Eucharist, the central ceremony in Christianity.

The Victim Vomits A Frog

However, the conjurer's perversion of the Eucharist fully manifests itself in the current receiver, who is slouched over the table. The victim of the conjurer's tricks appears to be taking a frog as the host. However a closer inspection shows that she is spewing the frog out, as the vomit trails from the corners of her mouth. This act moves the conjurer's power from simple sleight-of-hand to actual sorcery. Frog imagery had a special place in the mind of the Medieval spectator, as they were commonly associated with a broad range of medieval artwork, all of them allegorical of the Devil. [14] Bosch commonly used frog imagery in the tabletop of the Seven Deadly Sins (1485) and the Haywain (1490) where frogs crawl over the victims' bodies and chew on their genitals. The devils themselves assume the form of a frog in The Temptation of St. Anthony (1505) while in The Carrying of the Cross (1480s) the tormentors of Christ carry frog heraldry on their shields. There are no mentions in any Dutch/Flemish proverbs or Scripture regarding the vomiting of frogs save one, from Revelations. After the opening of the sixth seal, John witnesses "from the mouth of the dragon, and the mouth of the beast, and the mouth of the false prophet, three unclean spirits like frogs." (16:13) While the victim is subjected to the horrifying discovery in her mouth, an accomplice to the conjurer averts his eyes to the heavens while snatching away the moneybag. The distinguished woman with the pearl necklace appears to be next in line to have her riches taken from her after the thief is done with his current victim. The fifteenth verse in the same chapter of Revelations alludes to the thief: ""Behold, I come as a thief. Blessed is he that watcheth, and keepethhis garments, lest he walk naked and they see his shame." (16:15) The association with frogs and false dogma is strengthened by the thief's garments, belonging to the Dominican Order associated with the Devotio Moderna. [15] The theft of the victim's purse is Bosch's central thesis in The Conjurer, punishing deviation from Orthodoxy, and associating them with evil.

The Child
Along the bottom of the picture, there is a small child carrying both an expression of glee with a whirligig in hand. In order to determine the character of this quizzical inclusion, we must look at one of Bosch's other works, Christ Carrying the Cross (1480s)On the reverse side of the painting, a nude male infant is carrying a paper windmill while pushing a medieval stroller. Additional paintings by contemporaries of Bosch  confirm that the image of a child with a whirligig in hand would have been recognized by Medieval spectators as the infant Jesus.[16] Additionally, in the low countries of the Medieval period, the windmill remained a popular Eucharistic symbol, inspired by the passage of the Last Supper describing Christ as "the living bread which came down from heaven. If any man eat of this bread, he shall live forever; and the bread that I will give is my flesh, for the life of the world" (John 6:51-52). Art historian Walter S. Gibson, writing about the iconography of the whirligig in Bosch's work, describes a passage in the Pelerinage de la vie humaine, by the fourteenth century poet Guillaume de Deguilleville; "Christ is described as the heavenly grain sowed on Earth by Charity, reaped and converted into food for mankind by being threshed, beaten and finally ground in the mill whose sails were turned by the "false wind of envy."" [17] Although the windmill occupies a place in the pantheon of Dutch national symbolism, it also evoked the spirit of the Eucharist and consequently the Passion. Many fifteenth and sixteenth century Dutch books of hours illustrated passion scenes lined with the backdrop of windmills, evocative not just of the landscape of the Netherlands, but of the shape and nature of the Cross and the remembrance of sacrifice through the Eucharist. Bosch's inclusion of such recognizable iconography explains the folly of the audience's perceptions of The Conjurer, foreshadowing the Crucifixion because of a refusal to adhere to true doctrine.

Conclusion
While the influence of his work in contemporary modern art is undeniable, Bosch's immense wealth afforded him an opportunity to judge his fellow citizens by creating pedantic and grotesque art that made them fear not only for their souls but their coiffers. His paintings allude to a Catholic zeitgeist that reasoned poverty could be overcome so long as one was faithful. Bosch's works more obsessively descend into a melange of chaos when people stray from the path of Catholicism, resulting in a poverty of piety and pocket. His oeuvre suggests an attempt to justify his own wealth, while trying to maintain an affinity to God by increasing his own moral worth.



Notes

1. Born Jeroen Van Aken, the usurpation of the town name as his own suggests a slight provincial fetish complimentary of his typical lack of travel not only to other countries but within his own.

2. Bruno Blonde and Hans Blieghe, 'The Social Status of Hieronymus Bosch', The Burlington Magazine, vol. 131, no. 1039, London 1989, pp. 699-700.

3. 'Blood and Roses', Time Magazine, 15 September 1947

4. Although it is evident Bosch was not influenced by the emerging Renaissance, close comparisons indicate that Bosch influenced Raphael and Leonardo da Vinci. For a more in-depth comparative study, I highly recommend Leonard J. Slatkes, 'Hieronymous Bosch and Italy', The Art Bulletin, vol. 57, no. 3, New York 1975, pp. 335-345.

5. Phyllis G. Jestice, 'Hieronymous Bosch', Reinassance and Reformation, New York 2007, p. 129.

6. Mary Yakoush (ed.), 'Hieronymous Bosch', Early Netherlandish Painting, Cambridge 1986, p. 15.

7. Jeffrey Hamburger, 'Bosch's "Conjuror": An Attack on Magic and Hersey', Simiolus: Netherlands Quarterly for the History of Art, vol. 14, no. 1, 1984, pp. 5-23. 

8. W.J. O'Shea, 'Elevation in the Mass', New Catholic Encyclopedia, vol. 5, New York 1967, pp. 265-266.

9. The Medieval Bestiary, Web accessed on: January 21st, 2009. http://bestiary.ca/beasts/beast245.htm

10. J.A. Jungman, The Mass of the Roman Rite: its Origins and Development, vol. 2, New York 1955, p. 205.

11. Jeff Oakly, The Western Church in the Later Middle Ages, Ithaca & London 1979, p. 105.

12. Johan Huizinga, The Waning of the Middle Ages, London 1924, p. 161.

13. Oxford English Dictionary. Also a corruption of 'hoc est corpus.'

14. Frog imagery in medieval art is covered extensively in D. Bax, 'Bezwaren tegen L.B. Philip's interpretatie van Jeroen Bosch' marskramer, goochelaar, keisnijder en voorgrond van hooiwagenpaneel', Nederlands Kunsthistorich Jaarboek 13, 1962,  p. 39, 41, 57, 67, 108, 133, 139, 153 and 394.

15. D. Bax, op. cited. p. 20

16. 15th century Dutch engraver Israhel van Meckenem made an engraving of the Christ child and the infant St. John engaging in a jousting match with whirligigs while being supervised by two angels. Albrecht Durer placed a toy windmill in hands of one of the angels assisting St. Joseph in The Sojourn of the Holy Family in Egypt (1501).

17. Walter S. Gibson, 'Bosch's Boy with a Whirligig: Some Iconographic Speculations', Netherlands Quarterly for the History of Art, vol. 8, no. 1, 1975-1976, p. 12.

Monday, January 12, 2009

Political Commentary: "Oh, Gazanada!" Or "The Very Timely Discovery of Samson's Children"

"It’s unimaginable that people have maintained any kind of individual or communal coherence in the face of this kind of suffering. And, I mean, it’s real terrible suffering. And Jews, with our millennial history of surviving oppression, really should have a deep sympathy and understanding. And it’s a shandah that we’re the authors of oppression anywhere on earth. It shouldn't be the case. We should—we know better, and we should do better."

-Tony Kushner
Pulitzer prize winning playwright and author of Angels in America

Since the Israeli military assault on Gaza began two days after Christmas last year, prominent American pro-Israel officials have come up with a dazzling array of sound-byte justifications to explain the offensive back to the understandably confused masses. [1] Decorative phrases such as a "moral obligation to defend democracy" or the more pungent call that "enough is enough" apparently seemed to offer the public a passionate rationale for the disproportionate use of force on a civilian population. The American government's unwavering support for the invasion stems from the common bond of a frontier-people who were tempered in the heat of battle to found democracies that would pass down power without tyranny or heredity. Additionally, Israel, a nation founded on the emancipation of world Jewry, shares America's mentality that anyone opposing its actions of true freedom would be categorically labeled anti-American/Anti-Semitic.

Despite mounting international protest and a passing irony of 20th century displacement that seems to have gone largely unnoticed by most pro-assault supporters, pundits have stepped up the campaign to protect democracy at all costs by bringing the reality of the situation back home. The latest justification for butchery and ethnic cleansing came on January 5th from New York City Mayor Michael Bloomberg during a visit to the city of Ashkleon, about 15 kilometers north of Gaza: "New Yorkers know what terrorism is about... If we were threatened in New York, we would do everything in our power to protect our citizens." [2] The Senior Advisor to the Israel Project, a pro-Israeli group in Washington, Meagan Buren asked "What would America do if, every day, rockets were coming over our border, sometimes hundreds of rockets a day, specifically targeting innocent civilians?" [3] In an effort to make the analogy much clearer, Senate Majority Leader  Harry Reid (D) says  "I ask my colleagues to imagine if this were happening here in the United States and rocket fire was coming from Vancouver, Canada, into Seattle. Would the United States react?  Of course we would.  We would have to react to protect our people, and it would be not only our right but our obligation to do so. That is what the Israelis have done" [4] while Former Clinton special counsel to President Clinton Lanny Davis added that "If Rochester were being exposed to mortars and rockets from Montreal, I believe that the United States would not sit idly by and allow the Canadians to do that." [5] Finally, the Anti-Defamation League, ensuring that the American public fully understood the impetus of the invasion, ran a full-page ad (see above, with a picture for the illiterate) in the New York Times emphasizing just what kind of threat Israel was under. [6]

Besides following a thought process resembling the logic of a mildly retarded clown, this Bully's self-defense rhetoric, having been picked up and made ubiquitous by major U.S. news network pundits, share a common if grossly uneven analogy: Gaza/Israel to border country like Canada/United States. The spin being that the United States, in complete self defense, would be justified in wiping out Canada if a couple of drop-out frat boys in Windsor, Ontario grew testicles the size of Jupiter and launched rockets fueled by maple syrup onto the good car-making people of Detroit, Michigan. In short, fuck with us in any way whatsoever, and we'll kill all of you motherfuckers. This highly persuasive analogy of fear and superiority preys off the anxiety of post-9/11 America leading some dolt at a pro-Israel Gaza protest in Times Square to comment that "The reason why more Israelis haven’t been killed or wounded is sheerly by the grace of God, because God has been performing just miracle after miracle. Those who are dying are suffering God’s wrath, but—but we also believe that when the Angel of Death comes out, he takes everyone in his path." [7]

These dull metaphors of death sidetrack the public away from the fact that the issue isn't about nation/nation but about occupier/occupied. Canada is a recognized democratic state with a highly transparent government, one of the largest land masses in the world, advanced water treatment plants, proper sanitation and sewage waste management, complete autonomy over its land, sea and air, trade relations with virtually every country in the World, and absolute control over its international borders, just like Gaza right? In defense of the impressionable, if you've been bludgeoned with a frozen swordfish several times a Monet begins to look like a Mondrian. Imagining how an American attack on Canada could actually unfold requires little ingenuity, given America's historical pre-text for war in the face of a threat, real or perceived. Additionally, the conjuring of such a chimera would only confirm the righteousness of xenophobia rather than cultivating sympathy towards the victims of war. The challenge of science fiction writers like Philip K. Dick, George Orwell, John Wyndham, Ray Bradbury and Alex Burgess was to depict a revisionist history dystopia that exposed such contradictions of a totalitarian state seeking to simplify ideology through fear. Furthermore, they had to generate sympathy for the victims of minority by identifying them with the status quo mentality of the reader. [8] Fortunately, the recent discovery of an unfinished manuscript for a novel called Samson's Children, unearthed by the estate of Kurt Vonnegut Jr. has appeared as a timely alternative history piece that would do the American public well to read. Apparently discovered by Vonnegut's estate keeper Kilgore Trout, he has summarized, as succinctly as a non-writer can, the contents of the unfinished book, which was published in last month's issue of The New Yorker, which I will reproduce here:

"Samson's Children is the bizarre and comical story of two men driven by the passion of modern progress, which only hastens the cataclysmic end of the world.  General Truffaut, leader of the New France Royal Canadian Army, invades the United States under the impression it is barren and unpopulated. Truffaut, suffering memory loss from a bullet lodged in his brain, repeatedly launches massive raids on America, who couldn't anticipate a mobilized land invasion from the North. Only when Truffaut begins exterminating the populace whom he has come to believe are invading Cossacks from Russia, do the Americans begin to resist while most flee abroad. The remaining Americans are segregated into Rhode Island, as Truffaut constructs a giant barrier around New England. The second half of the manuscript advances 50 years into the future to John Smith, the leader of the remaining Americans on Providence, which has been converted into an open air prison. Smith, born on Providence under French Occupation, reflects on his failed attempts to rebuild America by growing grapes. Disillusioned with the continual destruction of his vineyards by Truffaut, Smith laboriously begins drafts on a secret weapon called Fire-9, but is unable to use it without killing himself in the process. Again, Vonnegut portrays frail human beings who are simply incapable of the moral strength and wisdom that is asked of them." [9]

Unfortunately, the manuscript's narrative concludes here, as Trout concludes that the estate is currently in communique with Vonnegut's son Mark, who may or may not attempt to finish the draft. 


Notes

1. Israel has imposed a journalist black-out in Gaza, forbidding any international press from reporting on the events unfolding during the siege. Most of the information on Gaza is being reported by local Israeli correspondents and humanitarian aid workers reporting from within the region.

2. "What Would You Do If Terrorists Attack?" David Harris, American Jewish Committee Radio, rebroadcast on CBS radio and Bloomberg radio, 6 January 2009.

3. "A Debate On Israel's Invasion of Gaza: UNRWA'S Christopher Gunness vs. Israel Project's Meagan Buren," broadcast on Democracy Now!, 5 January 2009.

4. "Meet The Press with David Gregory," broadcast on MSNBC, 4 January 2009.

5. "Fmr. Clinton Special Council Lanny Davis vs. Israeli Professor Neve Gordon: A Debate on the Israeli Assault on Gaza." broadcast on Democracy Now!, 12 January 2009.

6. The New York Times, A13, 12 January 2009. 

7. "Pro-Israel Supporters Praise Gaza Assault as Justified despite Mounting Civilian Death Toll" reported by Max Blumenthal, broadcast on Democracy Now!,13 January 2009.

8. Obviously, this is a rather broad analysis of several extremely diverse science fiction writers. However I contend that revisionist history narratives like The Chrysalids, Farenheit 451, 1984, A Clockwork Orange and The Man In The High Castle serve as cautionary tales about the mechanics of oppression that eventually turn on those who think they control the levers.

9. If you couldn't already guess, I made this unearthed Kurt Vonnegut Jr. manscript completely up. Any reader of Vonnegut will know that Kilgore Trout is the writer's alter-ego in almost all of his books. I speculate that had Vonnegut been alive today, he would have whole-heartedly approved of my upsurpation of his name in the interests of exposing injustice through satire.



*Next time, we'll review Charle Dickens' classic, David Copperfield, through the eyes of a Somali pirate. Seriously.